Arashi Kichisaburô II als Tsukimoto Enshû 1815

Editor: We’re looking at “Arashi Kichisaburō II as Tsukimoto Enshū,” a woodblock print created around 1815. It depicts a kneeling figure in elaborate robes, and I’m immediately struck by the contrasting textures of the fabrics. What compositional elements stand out to you? Curator: Indeed. Observe how the artist meticulously rendered the patterns on the kimono, juxtaposing the intricate geometric design of the torso with the flowing lines of the hakama. Note also how the face of the figure presents itself in contrast to the overall dynamic scene. Are these an attempt at realism or stylized theatre? Editor: That's interesting! It hadn't struck me the potential disconnect between the stillness of the figure and vibrancy of the clothing. Is the background intended to be plain to reinforce that stillness? Curator: One could argue that the monochrome upper register does not so much signal simplicity or lack thereof, but rather enhances the figure, thus foregrounding the main compositional components, color and texture. Now, if we shift our consideration to the relationship between color and form, what becomes salient? Editor: I guess the patterns and colors of the kimono seem to almost lift the figure off the ground. How much does the color impact your reading of this print? Curator: Color, undoubtedly, fulfills a dual purpose: it delineates forms and adds visual weight, while at the same time serving as a potent signifier within the iconographic system. Note the semiotic density within. How do you account for this phenomenon? Editor: The figure definitely jumps off the page with the visual density. I hadn't really appreciated how much a plain background can achieve. Thank you. Curator: My pleasure.