Evening Bell at Mii-dera Temple 

Editor: Here we have Keisai Eisen’s woodblock print, "Evening Bell at Mii-dera Temple." The composition feels very deliberate; the figure, the writing at the upper right, and blossoming tree appear carefully balanced. What jumps out at you about this print? Curator: Indeed. Let us observe the manner in which Eisen articulates the figure's costume. Notice the flat application of color, devoid of chiaroscuro, which serves to emphasize the intricate patterning. The juxtaposition of the geometric and the organic – the diamond pattern on the kimono versus the floral motifs – creates a visual tension. What theoretical models might illuminate these choices? Editor: Could this juxtaposition relate to ukiyo-e’s function as a representation of fleeting, fashionable society, contrasting the unchanging patterns of nature and human life? Curator: That is an intriguing direction. Consider the compositional arrangement as a system of signs. The female figure is not merely a portrait, but a signifier. What might she signify? Further, consider the negative space surrounding her – is it truly empty, or does it function as an active element in the overall composition, directing our gaze and shaping our understanding? Editor: I hadn’t considered the negative space so deliberately. It seems the artist isn’t trying to create an illusion of depth, but is focused on the arrangement of flat shapes. Curator: Precisely. This manipulation of flatness draws our attention not to mimetic representation, but to the inherent qualities of the woodblock print as a medium. A close examination of line and form reveals a carefully constructed artifice. Is there any sense of that artifice in other ukiyo-e prints we’ve studied? Editor: I think so. The stylization is something I can more readily see and interpret now. Thank you. Curator: The pleasure was mine. Formalism invites us to shed preconceptions and look anew.