The Monkey King Songokū, from the Chinese novel Journey to the West 1824

Editor: We’re looking at "The Monkey King Songokū, from the Chinese novel Journey to the West," a woodblock print by Yashima Gakutei, made in 1824. The figure dominates the composition with an expressive gaze. What are your first impressions from a formal perspective? Curator: Initially, my eye is drawn to the relationship between figure and ground. The solid black background forces the figure forward, but there's more at play than simple contrast. Consider the interplay of color. The bold red and detailed patterns of the robe are juxtaposed with the figure’s greyscale flesh, directing our attention to form and detail. Do you notice the vertical emphasis caused by the staff on the figure's back, cutting through the dark void? Editor: Yes, and I see how that verticality counteracts the diagonal line of the land below! The little figures emanating from his palm create an ascending visual movement too. Is there anything symbolic in the composition that you discern? Curator: Beyond the symbolic, the rendering of space commands attention. Flatness is key. There’s minimal attempt at naturalistic perspective. The artist instead embraces a flattening of planes, typical of Ukiyo-e prints, foregrounding the materiality of the print itself and its layered application of colors. What meaning do you ascribe to the stark areas of void within the picture? Editor: The negative space accentuates the subject; perhaps to mirror the isolation of Songoku? Thank you for pointing out the use of the flattening planes in woodblock prints – that is something I hadn’t considered. Curator: Indeed! These works beautifully exemplify a unique approach to form, color, and composition. It helps us to analyze and decode through a semiotic and formal lens.