Righteousness (Gi), from the series "Five Designs for the Katsushika Poetry Circle (Katsushika goban)" c. early 1810s

Editor: So, this is Kubo Shunman's "Righteousness," a print from the early 1810s. I’m struck by the intricate patterns on her kimono and how they seem to almost weigh her down. What do you make of this piece? Curator: I find it interesting to consider this print within the context of Edo-period Japanese society. Shunman, like many ukiyo-e artists, was deeply engaged with the material culture surrounding him. Notice the actual processes employed—the woodblock printing technique itself. The labor involved in creating this intricate design. Consider the class of people represented in these artworks, and who purchased and consumed them. Does this raise any questions about the division between fine art and craft for you? Editor: Absolutely. The level of detail suggests a time-consuming process, requiring a team of skilled artisans, from the designer to the woodblock carver and printer. It feels far removed from the individual "genius" we often associate with fine art. Curator: Exactly! We can analyze the production chain. Consider how the artist’s signature or the publisher's mark functioned within this market system. The print is both art object and commodity. Are you drawn to any other details about the piece as it relates to consumerism? Editor: I see how the elaborate kimono with tassels speaks volumes. And perhaps there is a connection with class and status. This print highlights both aesthetic beauty and societal structures intertwined with material goods. Thank you! Curator: It’s also a fascinating entry point to consider labor practices and economies of the time period. I've learned more, too!