Shoki, the Demon Queller c. 1770

Curator: It strikes me immediately; the density of the line, the overwhelming black ink. What's your read? Editor: Today we are examining Utagawa Toyoharu’s “Shoki, the Demon Queller” from around 1770. It’s a striking woodblock print currently residing at The Art Institute of Chicago. Curator: I am really struck by the textures; see how the lines give weight to the figure but also imply the layered garment. And this sword almost echoes the contour. Editor: Note, if you will, the process inherent to Ukiyo-e printmaking and specifically woodblock printing: carving and layering to build up images; that this one uses strong contrast suggests how it emphasizes process to enhance expression. Also consider that printing in general relies on the labour of artisan collectives—the act of replicating a picture democratizes distribution by making this image available to more viewers beyond just one owner. Curator: Interesting, I’d almost forgotten about distribution. But more generally, this is such an intriguing synthesis, the near monochromatic scheme is so elegantly composed: it generates this interesting dynamism. And that fierce expression – the artist brilliantly creates tension! Editor: Indeed. This work pushes boundaries between artistic and functional: each cut serves a purpose. The use of black ink heightens the aesthetic experience, transforming simple outlines into meaningful artistic language, and challenging accepted forms. Curator: In closing, thinking about the graphic approach, combined with such visual restraint, offers rich ideas regarding visual storytelling. Editor: By shifting the focus to production, materiality and collective efforts that democratized these visual experiences, Utagawa challenges high art with the tangible elements, leaving room for all viewers.