Flirtation under the Cherry Tree c. 1684 - 1698

Curator: Immediately, I'm struck by the dynamism inherent in the linear quality. The use of black ink creates bold outlines, really emphasizing the forms of the figures. Editor: You're drawn in by the graphic impact of the woodblock, I see. But to me, the charm lies in the context. This is "Flirtation under the Cherry Tree" by Sugimura Jihei, crafted sometime between 1684 and 1698. A fantastic piece of Ukiyo-e art now residing here at The Art Institute of Chicago. Curator: Yes, but consider how the arrangement of forms dictates our reading! Note how Jihei contrasts areas of detailed pattern work with areas of sparse ink, this rhythmic oscillation activates the image and prevents it from feeling visually flat despite the medium. Editor: Quite true, and yet Ukiyo-e in this period catered to a booming urban culture eager for glimpses into the pleasure quarters. These prints were mass produced, yet often displayed radical social perspectives on gender and desire, what do we make of this piece through that lens? Curator: The semiotics, as usual, point to internal harmonies of form: Observe the curving lines of the cherry blossoms echoed in the hairstyles, drawing visual analogies across the artwork's surface! The very idea of visual pleasure here relies on an underlying formalism, I would argue. Editor: Fair enough, but this "visual pleasure" was actively circulating as images through popular urban venues in the Edo period. Considering the hints of eroticism in this scene of potential courtship, its impact goes beyond formal interplay. We're given a taste of a unique moment within that specific historical context, something fleeting. Curator: Perhaps we can concede that the historical context augments, even enhances, the image... Editor: Indeed! Curator: It's easy to appreciate its cultural impact. Now if we look at the compositional layout in connection with its use of materials... Editor: Ah, yes, circling back to the ink and the paper and its own story...a dialogue in itself.