Mochi maken 1804

Editor: This is "Mochi maken," a woodblock print from 1804 by Kitagawa Utamaro, housed in the Rijksmuseum. The scene bustles with people preparing what looks like a feast. It's busy but also feels quite intimate. What do you see in this piece, particularly beyond the immediate imagery? Curator: Beyond the surface, this print gives us a glimpse into the lives of Edo-period women, often overlooked in historical narratives. Notice the distinct roles: some women are pounding mochi, while others are preparing it, and yet others appear to be managing affairs. This division of labor reflects a specific social structure. Utamaro is showing us not just a process, but a community and a network of female collaboration. Editor: So it's not just about making mochi, it's about female labor and social structures. That's fascinating! Curator: Precisely. And think about the *ukiyo-e* tradition itself – a popular art form reaching a broad audience. Who are these prints made for and what do they communicate about the lives represented, versus the lives of those consuming them? Editor: That’s a good point. The image portrays a bustling community, but might also exoticize this female labor for the consumers. I had never considered that dichotomy. Curator: And it begs the question of who has the power to represent who. What kind of social dynamic do we see, for example, in light of the fact that it was made and purchased mainly by the male population? Do you think this print challenges or reinforces the pre existing gender stereotypes? Editor: It's interesting to consider *ukiyo-e* as more than just pretty pictures; as a commentary on gender roles and social power dynamics. Curator: Absolutely. And that’s how art enriches our understanding of the past. Editor: It definitely gives me a fresh perspective on the piece! Thanks.