Yamashiro in de provincie Ide 1857

Editor: Here we have Hiroshige's "Yamashiro in de provincie Ide," created around 1857. It's a woodblock print that feels incredibly serene and composed, despite the figures present. I'm struck by how the eye is drawn to the diagonal sweep of the river. What do you see as key to understanding this piece? Curator: Note the exquisite control Hiroshige demonstrates. The work functions through its structural arrangement of line and form. The stark contrast between the foreground and the muted background creates depth, yet there’s a flattening effect overall. It defies strict perspectival logic, wouldn't you agree? Consider the shapes, colours and distribution. The blue shades define the landscape, while figures become patterns. Editor: Yes, the composition is deliberate. Is this 'flattening' technique used in Ukiyo-e to challenge a Western ideal? How are the principles applied? Curator: In a purely formal way, the flattening contributes to the print's distinct character by emphasising design. Notice how outlines and flat areas of colour emphasize the medium and the woodblock’s graphic possibilities, rather than optical depth. What of the calligraphic elements above? Do these alter our perceptions, influence how we interpret the overall work? Editor: It pulls me further into its history, I notice elements that create distinct balance of space, shape and figure. The cool tones enhance that calm feeling. I am rethinking my first response in lieu of these formal properties. Curator: Precisely. The formal properties serve as the foundations to build more ideas on; always question the building blocks.