A Ferry Boat on the Sumida River by Keisai Eisen

A Ferry Boat on the Sumida River 

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print, paper, ink, woodblock-print

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water colours

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print

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asian-art

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landscape

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ukiyo-e

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paper

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ink

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coloured pencil

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folk-art

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woodblock-print

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watercolor

Copyright: Public domain

Editor: Here we have "A Ferry Boat on the Sumida River," a print attributed to Keisai Eisen. I’m drawn to its peaceful, almost melancholic mood; the muted colors and the vastness of the river contrasting with the small boat. What social narratives do you find present in this seemingly quiet piece? Curator: That's an astute observation about the melancholic mood. Think about ukiyo-e prints like this in the context of their time. The Sumida River was a vital artery of Edo (now Tokyo). The ferry suggests not only transportation but also connection, and by extension disconnection too. Who is using this ferry? Are they merchants, travelers, or perhaps people displaced by economic hardship or social change seeking new opportunities, or even anonymity, in Edo? Consider, too, how the rising merchant class embraced ukiyo-e as a form of popular art, perhaps challenging traditional hierarchies. Editor: So, the ferry ride could symbolize social mobility, but also displacement and the struggles of different classes in a rapidly changing society. The choice to depict the river and this singular mode of transportation must indicate class, privilege and social expectations for the individual. Curator: Precisely. Look also at the inscriptions, the calligraphy. They suggest a literate audience, perhaps one engaging with poetry or popular literature, but that begs the question; what level of society were most involved in these activities? Are there any historical traces in other documentation? Who was this art really *for*, and what message are they meant to digest? Are their meanings that are not directly available through Western cultural perspective? We have to look beyond what appears visually. Editor: That's fascinating. It gives a whole new depth to what I initially saw as just a pretty landscape. I never considered what kind of theoretical framework could be applied to viewing a singular cultural piece. Curator: And that is how we situate these prints in a much richer, complex history, revealing insights into Edo society.

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