No. 14 c. 1835 - 1838

Editor: This is "No. 14" by Utagawa Hiroshige, created around 1835 to 1838. It's a woodblock print using ink. The composition feels really dynamic, even with such a serene landscape. What do you make of the figures depicted and the printmaking process used here? Curator: The woodblock print, particularly within the ukiyo-e tradition, really emphasizes the means of production. This wasn't solely Hiroshige's vision; it involved carvers, printers, and publishers, all contributing their labor. Consider the cheapness of ukiyo-e prints. They became a booming business serving everyday consumer habits in the city. The subject matter, too – these aren't noble figures but workers and travelers, people embedded in their daily lives along the Tōkaidō road. Look at how the material conditions made this art accessible to a wider audience, blurring the line between "high art" and a commodity. How do the travelers influence this piece, do you think? Editor: It's interesting to think about it as a commodity rather than a precious art object. I suppose their presence, especially the workers carrying goods, highlights the work and trade supporting the area. The travelers show consumption, which completes the commodification cycle of daily commerce. Curator: Precisely! And each step from the artist to carver to traveler consuming helps solidify not just the artistry, but all stages and work relationships and economic flow during the process that goes far beyond “just art”. How has thinking about this woodblock print in terms of production changed your perception? Editor: It makes me appreciate the layers of craft and labor involved, instead of just focusing on Hiroshige's individual genius. Curator: Exactly. And by understanding those material conditions, we gain a deeper appreciation for the art itself.