Stories in Art

 

    In both pieces below, they are meant to be telling stories from their respective cultures. However, each takes a different approach in how they tell the story through the composition and how they reflect the stories behind the artwork, which is what I will be comparing.

Utagawa Kunisada I (Toyokuni III), Visiting Komachi (Kayoi Komachi) , from the series Modern Beauties as the Seven Komachi (Tōsei Bijin Nana Komachi) , c. 1821-22, published by Kawaguchiya Uhei (Fukusendō), woodblock print: ink and color on paper, 36.5 x 25.5 cm

    This Ukiyo-e piece by famous Ukiyo-e artist Utagawa Kunisada depicts an illustration of a woman visiting Poetess Komachi's carriage. The significance of this carriage is that it once belonged to poetess Komachi, and it has a connection to a man who loved her. A general of the time wanted Komachi's hand, and in order to prove his dedication to her, he had to spend 100 nights with her. The General would then mark these days on the side of her carriage, and before the final night, he tragically died. This woman who is visiting the carriage is not Komachi, in fact, an image of Komachi can be seen to the side of the woman. She is not really a part of the main illustration but is still present as if watching over her. The main woman depicted has a somber look to her face as she is touching the carriage. To a viewer with no knowledge of who Komachi was, the purpose of the carriage and the name would be unclear. 

    Utagawa tells the story simply with this piece, he simply lets the expression of the woman speak for itself- with Komachi's presence behind her. The expression of the women is arguably what tells the story here- just by looking at how she is touching the carriage tells you that something grim has happened with it and the use of the same shade of green being present on all of the subjects in the piece shows you that there is a connection between them. 

“Indrajit meets with Ravana, then binds Rama and Laksmana with magic serpents; Sita is told they are dead,” folio from the Yuddha Kanda of the Ramayana, by Sahib Din, Udaipur, c. 1650-52, watercolor on paper, approximately 9 x 15.38 inches (British Library, Add. 15297(1), f.34 r)

    This piece by Sahib Din depicts the story of the Ramayana- an ancient Indian epic poem. To a viewer with no prior knowledge of the Ramayana, it is still clear that a story is being told here. The use of the same characters shows that there is a relationship between each area of the piece. Also the way things "move" in the image draws your eye to how you should be "reading" the story. The carriage on the top that moves to the left and the horses near the bottom that moves to the right guide the viewer to the different parts of the story being told.

    Comparing the two, the main difference between the piece is how a connection is made between elements in the image to convey a story. How Sahib Din does this is with "movement." You have images such as the horses moving from one side to another, and the men walking. The direction which people are facing creates a guide for the eye to follow. It is much more eventful, just as how the actual tale of the Ramayana is very eventful. As someone who is familiar with the Ramayana, it is difficult to summarize all the events, since it is an epic tale. Many things happen throughout the course of the story, meaning it would be difficult to tell the whole story through a simple lens.

    Whereas in Utagawa's piece there is less action, it is a very static image in comparison. The lady's expression is subtle, but with her body language, you can see that she is moving gently and slowly as she is touching the carriage. It is very clear that something is going on here, regardless if one is familiar with the story or not. The story of Komachi and the general is a simple one. In fact, I was able to summarize it here. This is reflected in the artwork's simplicity- only having a few elements in it to be able to tell a whole story.