The Ide Jewel River in Yamashiro Province by Utagawa Hiroshige

The Ide Jewel River in Yamashiro Province c. 1835

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print, ink, woodblock-print, woodcut

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portrait

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print

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asian-art

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landscape

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ukiyo-e

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ink

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coloured pencil

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woodblock-print

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woodcut

Dimensions: 14 7/8 × 5 in. (37.8 × 12.7 cm) (image, chūtanzaku)

Copyright: Public Domain

Editor: This woodblock print, "The Ide Jewel River in Yamashiro Province," was created around 1835 by Utagawa Hiroshige. I'm struck by the steep perspective, how the river seems to rush towards us, and I’m also intrigued by the figures in the scene, seemingly travelling. What layers are hidden in this artwork? Curator: This piece transports us to 19th-century Japan, but not merely as a picturesque landscape. What narratives do you see emerging from the representation of these travelers in this setting? Consider their attire and positions; how might they reflect the socio-political dynamics of the Edo period? Editor: I see what you mean. The rider seems to be of higher status, being carried, while the figure on foot appears to be of a lower status. Curator: Precisely. Think of the "ukiyo-e" tradition as not just depictions of the "floating world," but also subtle commentaries on class and power. How does the romanticized landscape either reinforce or challenge those power structures? Does nature act as a backdrop, or is it actively shaping these social relationships? Editor: It’s almost as though nature is indifferent to their status, just another obstacle they all have to overcome, literally ‘levelling’ them through shared experience of the environment. I'm starting to view the rushing river differently now. Curator: Exactly. Reflect on the history of woodblock prints like this one being available to a wide audience – does that change the way we think about these possible commentaries on Japanese society and its landscape? How does democratized art participate in challenging hierarchical status quos? Editor: It does add a new layer, thinking about art for everyone. Curator: Seeing it like that reframes our perspective, doesn’t it? It encourages us to connect the visual beauty with underlying questions of power and access that still resonate today. Editor: Definitely! I had never thought of landscape as being imbued with commentary on social dynamics and the prevailing culture.

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