The Abalone (Awabi), from an untitled series of Shells c. 1769

Editor: So, here we have Suzuki Harunobu's "The Abalone (Awabi), from an untitled series of Shells," created around 1769. It's a beautiful woodblock print. What strikes me most is the contrast in textures, from the rough waves to the smooth skin of the figures. What stands out to you in this piece? Curator: Immediately, I’m drawn to the material processes involved in creating this Ukiyo-e print. The labor of carving the woodblocks, the application of ink, and the final print run reveal a complex system of production and consumption in 18th-century Japan. We can examine this as more than just a depiction of women gathering shellfish. Consider the societal implications: Who had access to these prints? What kind of labor practices supported their creation? Editor: That’s a great point! I was focusing on the artistry, but not so much on who it was for, and how it was made. Do the materials themselves—the wood, the inks—tell us anything specific? Curator: Absolutely. The type of wood used for the blocks, the quality of the inks, and even the paper itself indicate the resources available to Harunobu and his workshop. These choices dictate the print’s durability, color saturation, and ultimately, its perceived value within the culture. Beyond aesthetics, this print functions as a commodity within a socio-economic system. Were these materials sourced locally, and if so, how does that contribute to the narrative? Editor: So by understanding the materials, and labor involved, we gain insight into the economy that supported the creation of this print, shifting our perspective. Curator: Exactly! It becomes a lens through which we can analyze not just the beauty of the print but the material conditions that allowed it to exist. We look at the object, and not simply through the object. Editor: That gives me a whole new perspective. Thanks! Curator: Indeed. Now, thinking about materiality, it adds another layer of significance, doesn’t it?