Fukuroi 1906

Curator: Editor: Editor: Hiroshige's "Fukuroi," a woodblock print from 1906 residing in the Rijksmuseum, really captures a sense of everyday life. It's so serene, almost dreamlike with its soft colours and slightly skewed perspective. How should we be reading an image like this today? Curator: It’s important to consider this image within the context of the Edo period and the rise of ukiyo-e prints like this. These weren’t high art objects originally. Instead, think of them more like popular media – tourist souvenirs almost, showcasing the Tokaido road. What purpose do you think landscape art served in a rapidly changing urbanising society like 19th Century Japan? Editor: I guess that's like an early version of postcards! They reflect a longing for the natural world even as cities grew. Was the production and the dissemination of Ukiyo-e prints also about social change? Curator: Precisely. They were produced for and consumed by a wider public than traditional art forms. Ukiyo-e also democratized images and played a crucial role in shaping perceptions of landscape and travel within Japanese society. So it’s not just a pretty picture, it's about changing social values. Did this change how Japanese artists positioned themselves as relevant to social culture and visual literacy? Editor: That makes so much sense! Seeing it as part of popular culture, shaped by a moment of modernization really shifts how you interpret the artwork beyond just aesthetic pleasure. I will look at other examples, to grasp how an artist position can reinforce or disrupt a given canon of aesthetics. Thanks for the illuminating discussion. Curator: Exactly. Understanding the historical and social forces behind its creation opens up a richer understanding, challenging established norms of how imagery and values are consumed in contemporary culture. A really great insight to this ukiyo-e context of this print and artist!