Women and Femininity

Japanese woodblock prints produced during the Edo period frequently featured themes of women and femininity, with much insight into the gender politics of the culture at the time. Women were commonly represented as courtesans as part of the Bijin-ga (beautiful women) genre, and Utagawa Hiroshige (1797–1858) was well known for his works in the genre. Although more rare, women were also portrayed in strong and powerful warrior roles. Tsukioka Yoshitoshi (1839-1892) was known for producing prints of rebel samurai women. There are many interesting considerations for femininity in Japanese woodblock prints. While women are represented in this collection, there remains a disparity between women being displayed in artwork (frequently in the role of the ‘muse’ or sitter) compared to women as creators or producers of Japanese woodblock prints. Case in point, this exhibit unfortunately features no women artists. This is something that many digital libraries and museums are working to address for greater gender equality and diversity within the stories they can share.

12 Months in the Present Day, November

by Yōsai Nobukazu

     Woman demonstrating tea ceremony (sadō; 茶道) to two younger women in a tea house. The background features a garden with a water feature in autumn. Top left of the print features a vignette view of the garden from the outside and gaslamps lighting the way.

Genji at Sugatami Bridge, 12th month

by Utagawa Kunisada II

     Part of a triptych (right). The triptych overall shows a snow scene featuring Prince Genji and attendants on Sugatami Bridge from a set of twelve months. Right panel shows a woman crossing the bridge with a snow-covered umbrella. Our collection is missing the left and center panels of this triptych.

Courtesan of Okamoto-ya, no. 7

by Toyohara Kunichika

     A woman is playing marginal songs (hauta 端うた) on the shamisen against indoors against a winter landscape seen through a circular window. These songs, performed by blind and amateur musicians, were popular in Osaka in the mid-18th century. It appears as if she is tuning the shamisen with a book on her lap, while warming sake. Her hair is slightly dissheveled and kimono is worn loose, indicating we are looking at a courtesan. The title tells us that she is of House Okamoto (brothel).

Morning Glory, no. 20

by Toyohara Kunichika

     A woman stands on the veranda (engawa; 縁側) of a building with a circular window facing a garden. Morning glory (asagao 朝顔), the flower found in the title of this work, can be seen in the bottom left. The purple and red and light blue of the flowers match the colors found in her robe. The print is likely set in midsummer as morning glories are particularly associated with the heat and humidity of that season.

Shirabyōshi Dancer: Woman of the Kenkyū Era [1190-1199]

by Mizuno Toshikata

     Shirabyōshi were female entertainers of the Japanese Imperial Court known for performing traditional dances. They dressed in men's attire and often performed these dances for the gods. Their attire would consist of a tate-eboshi hat (worn by samurai), a tachi (samurai's sword), red hakama, a white and red suikan (male Shinto outfit), and a kawahori hand fan. They also traditionally wore white facial make-up that completely covered the face and neck, with painted eyebrows. Hair was worn long or pulled back in a long ponytail secured with a robbon (takenaga). Here, you can see the entertainer seated on the floor. In this print, she wears the red hakama and the white suikan, which is pulled down to expose the garment underneath. She holds a drum in reference to her musical talent. Her hair is down and her painted eyebrows and face are clearly apparent. In the corner of the room are arrows, bows, and a set of armor. The top left of the print has a blue and white striped curtain and the scene looks to the outdoors, featuring a pine and water.

First Warbler: Woman of the Manji Era [1658-1661]

by Mizuno Toshikata

     Two girls, one with a shamisen, looking outside a circular window at a green bird (a warbler) perched on a plum blossom tree. Next to them is an octagonal lacquer box with gold feet containing what looks like rice and food for the New Year (osechi ryōri). From the print series 36 Beauties Compared that visually explores a famous anthology of waka poetry titled "Thirty-six Master Poets" compiled by Fujiwara-no-Kintō. The series addresses 36 beauties from ancient times to the Era era and showcases the customs, manners, and fashions of each period.

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