Album of prints from the series A Tōkaidō Board Game of Courtesans, Fifty-three Pairings in the Yoshiwara (Keisei dōchū sugoroku, Mitate Yoshiwara gojūsan tsui) 1790 - 1848

Curator: Keisai Eisen's woodblock print album, "A Tōkaidō Board Game of Courtesans," presents a fascinating juxtaposition. What immediately strikes you about it? Editor: The meticulous details, especially the textures of the kimonos, are incredible. It's interesting to see these figures positioned side-by-side like this. Are they actually playing a game or simply representing roles in this societal board game? Curator: It's a play on the idea of a board game, mirroring the Tokaido Road, and pairing stations along the route with courtesans from the Yoshiwara district. This layering is intentional, using familiar materials of woodblock printing for social commentary. Editor: The courtesans become almost commodified within this format, presented as another object within a larger system of pleasure and societal hierarchy. How does Eisen address the exploitation inherent in these scenarios through his choices in woodblock print? Curator: By emphasizing the careful labor involved in the prints’ creation, he elevates what might be seen as 'low' subject matter to fine art. The very act of printing these images necessitates the reproduction and, by extension, dissemination of idealized images. Editor: It definitely complicates any simple notion of empowerment, but the meticulous detail you mention perhaps draws a parallel between their labor and their presentation. Also, look how different these two women are positioned. What might those poses convey in terms of power dynamics or expected roles? Curator: Precisely, each detail becomes part of a sophisticated network. Consider the ground mineral pigments, the paper choices... all these materials work in harmony to craft specific visual message. Editor: Yes, each element speaks to the commodification of the feminine, and how they, by implication, exert agency under oppressive, patriarchal expectations, don’t you think? Curator: Absolutely, we begin to perceive art beyond representation. This artwork encourages an investigation into the art's very making, shedding light on consumption, power, and production. Editor: Eisen pushes us to contemplate not just what is represented but also, crucially, the historical and social forces shaping both the represented subject and the act of artistic creation. What starts out appearing so still, elegant even, teems with tension once we consider all those interlocking aspects.