にぶたにあっつし | Nibutani-attushi | Place where Wood Bark grows quickly Cloth | Fabrics #24

Nibutani-attushi is a fabric made from tree bark. Nibutani originates from the Ainu word (Niputai) translating to 'a land where the trees grow thickly' apparently.[1] The bark fiber is grown and harvested next to Biratori, Hokkaido by Ainu communities.[1] The bark is harvested and fiber contents scrapped from the interior layers of wild Manchurian elms in length strips. These strips then are left to dry and boiled with wood ash. The contents are removed in a sinewy like density, into thin strips of fiber content from the boiled bark and left to dry for 2 weeks.[1] These fiber contents are then left into very thin sheets and turned into 2mm threads. These tiny fiber contents are then woven into thread using a Attushi Karape which is a type of weaving loom perhaps, which uses a lot the dynamics of gravity to put weight on the warp and weft threads when weaving.[1] This is different from Honshu looms, as 2 people are required to operate the weaving process, and is a descendant of the Koshibata (back strap loom).[1] This craft has been produced as a traditional heritage craft since the early 20th century, around the first quarter of the 1900s.[1] The fabric is used for Kimono, Hanten (short coats), aprons, and accessories.[1]

Ainu craftsman in Nibutani at work (2014, CC2.0) Robert Kroos

Nibutani-attushi was originally made as a durable fabric for family members of the Ainu, this is most likely centuries before the 18th century when the first recognition of the craft was known to local literary languages. Later on down the line, Japanese merchants adopted the fabric and it became known throughout Honshu by the 18th century.[1]  Formal written records date this to around 1792.[1] By this time, the Ainu seem to have been due to a lack of access to the sea perhaps, going to the land to produce goods to sell to make their living.[1] This state of affairs would continue into the 20th century, when the craft was recognised by the Heritage Craft associations of Honshu, and then began to boom as an artisan production by the middle of the century. Nibutani crafting became a viable business in the 1950s and the craft went into mass production. These fabrics were some of the first tangible properties in Hokkaido to be designated as such in 2013.[1]

Bibliography

[1] https://kogeijapan.com/locale/en_US/nibutaniattoushi/

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ひらがな | Hiragana | Text | Pattern series #20

Hiragana whilst a seemingly unlikely contender has been a motif used on kimono for centuries. Text on Kimono is used often to add poetical effect to an image, in imitation of the Heian period motif of Ashida-E. Most motifs which include this in 17th century Kimono are very large often draped across the shoulder expressively on what at the time was the new silhouette of furisode, whilst modern Kimono only use this motif in smaller fonts and styles a stylistic motif to marry images and texts.[1] For example, having a waka or haiku across the front of a masters craftsmen work are some I have seen used myself, but this is an exceedingly rare and unique motif in Kimono generally speaking. Different stylsitic writing styles are used to get across different aesthetics and meanings within the space they use, as will all graphic design processes.

Hinagata-Bon showing Hiragana on Kimono design (c.1667, PD) Japan  

Historically, Ashida-E (reed writing) were a sort of insider message to those who knew the reference which the text and image correlated with during the Peace Epoch. Distinctive and 'gaudy' Kimono became the rage by the 1670s among the middle classes of Edo and Osaka due to the side effects of Tokugawa Sumptuary Legislation which saw a rise in coinage, leading to urbanisation and local industry, whose more profitable industry leaders desired exciting new ways to show their wealth due to the sumptuary legislation of their day increasingly curtailing their spending and extravagances. They got around this by buying their Distinctive gaudy Kosode made by local Machi-Eshi (Town artists) like Yuezen Hiinakatta who imitated Kakemono scrolls by writing on Kimono, a now vital trend of Genroku KTC.[2][3] This trend continued until the 18th century, but fell out of favour with new money as it was regarded as tacky, becoming instead a smaller variation by 1800 and falling out of use by 1900. Some modern kimono may use it as an advertising motif or for poetical connotation, but this is rare.

Bibliography

[1] See Bijin series #15

[2] See Essay series #8

[3] See The Bijin has Arrived in Bijin #15

Apologies that this is up a day before it should be, but honestly, I am frazzled with stress at the moment between juggling my current schedule and switching over to a new one which has been frustrating to say the least as most of the stuff that is affecting my life is out of my hands. On the plus side, it means I have more control over my schedule in the future and that I will be reopening the shop at some point in the near future, somewhere between applying for my first real career role, volunteering, part time work. full time studying, learning Japanese and slowly going absolutely insane over the absolute hair pulling out exercise that is trying to get people in cushy offices to actually answer their GODDAMN EMAILS. Either way, I am getting rather burned out and need a day off before I have to start making more phone calls, emails and frustrated page scrolling to do these peoples jobs for them and apparently also everything else that involves which is *testing* my soul. Either way, heres to the future! Sorry about the rant, I just like to be organized and this has been the month from hell for me. Toodaloo~!

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御所車図 | Goshoguruma | Imperial Cart | Pattern #19

Goshoguruma are the heain period carts which today symbolise Japanese imperial aristocratic presence in Wafuku motifs. They often symbolize class and aristocratic practices, denoting elegance and the upper classes. Occassionally the Goshoguruma is covered or surrounded by floral arrangements, when this is the motif, it means the person inside is incredibly happy or prosperous. The inside is rather like a small house, with tatami mats, bamboo curtains and a little window. This derived another motif of lowered blinds, which often represented a glimpse into imperial life used in Genji, which later developed into the Genji motif, Genji picture cart and other Genji merchandise is available racket.

Goshoguruma in use (1868, PD) Anonymous

Goshoguruma were historically only seen by regular folk who would witness them passing by drawn by oxen. Used mostly in the Heian period, they declined following the next centuries which saw sustained war by the  Kamakura period and epochs of war in the Sengoku Jidai. Murasaki reported they were rather uncomfortable on long journeys in her diaries, but it seems that is the seem for quite a lot of older style carriages in general.[1][2] After a lot of use, the Goshoguruma motif developed into a Rusu moyou ( Absence motif | 留守模様 ), which meant no humans at first, then by the 17th century were decorated with particular Genji moyou and chapters from Genji in Genji-E (Genji pictures) to relay particular sentiments and ideologies. Eventually they were superseded by the Norimono ( Palanquin | 乗物 ) by the Edo period, Goshoguruma being reserved then for the imperial court solely.

[1] Murasaki Nikki, 973-1020, Murasaki Shikibu, p.N/A

[2] https://www.goodhousekeeping.com/uk/lifestyle/a43641745/gold-state-coach/

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紗 | Sha | Plainweave Hitoe Gauze | Fabric #18

Sha (紗) is the older hand woven predecessor to Ro fabric. Sha fabrics often made up the summer kimono, kosode and yukata of the Heian period down to today, and which are normally adopted globally most popularly in the Haori which employ their innovative fabric potentials for summerwear. Woven using the staple Karamiori weave, the weave allows the wearer to reveal the underneath fabric with subtle hinting and shading from the transparency of the weave and width of the eyes that Sha has over Ro. Twists in the warp threads allow larger eyes than Ro eyes, creating emerging patterns in Sha designs.[1]

Heian Sha Example (1922, PD) Tsutomu Ema

Momiji Monsha (2023, CC4.0) TykeLass

Sha began to be made in the Heian period by hand, for the elites of Japanese society to wear as formalwear in the sweltering heatwaves of July and August which Sei Shonagan believed to be unbecoming of feminine propriety.[1] Unfortunately, it was difficult to dye the natural fibers used to make handmade Sha, so Ro was created in the Edo period to do so.[1] By the Meiji period, this was made redundant as Sha fibers could be made using machines and the nature of these light designs made it easy to make fashionable pictures of ladies in revealing hitoe. In the modern day, Sha is made by machine, creating Monsha ( 紋紗 | Pattern Sha) which is made using a mix of Leno and Plain weaves, but most often regular Sha is worn daily by monks.[1]

Bibliography

[1] https://rosha.jp/faq/02_about_ro-sha/ro_sha_chigai/

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絽 | Ro | Ro silk | Fabric #17

Ro ( 絽 ) silk fabric is a thin, see through fabric used to make Hitoe ( 一重 | unlined kimono ). It is most often worn in hot weather, which in Japan is between the June to September months. Woven using Karamiori ( | Mojiri weave ), this is what makes the fabric easy to ventilate and gives it its line like gap effects known as (horizontal) eyes. Ro is made by weaving warp threads with an odd number of weft threads to create these see through eyes. Ro can be used in any part of Wafuku production, even undergarments. There exist 3, 5, 13 eye gaps known as Ohonro, Ranro which follows a gap pattern of 3-5-7, and Tatero where the gaps are made by reversing the gap process to an odd number of warp threads, creating vertical eyes.[1]  

Machine Ro Weave with Embroidery (2019, CC4.0) Ineffablebookkeeper

Ro began to made in the Edo period (circa 1600) and existed to be worn as formal summer wear for the rich and monks. Sha fabrics (a more transparent Gauze like weave) was the basis for the Ro weave, with Ro created to allow finer types of dyes and patterns to be made onto the textiles surface often using stencils, painting and sometimes embroidery.[1][2] This allowed patterns like the Mon to be added to Kimono without the blurring effect of Sha fabrics. During the industrial age, mass produced Ro fabrics began to made using the Leno weave and may have made the majority of exported and everyday Ro fabrics during the 19th century and early 20th century.[1] It seems hitoe were also popular with quite a number of the liberally minded living in Edwardian Japan.[3] In the modern day, Tomesode, Houmongi, Tsukesage, Komon, Nagajuban, and detachable Eri are made using Ro, but this is dwindling with the death of new buyers.[1]

Bibliography

[1]  https://rosha.jp/faq/02_about_ro-sha/ro_sha_chigai/ 

[2] https://bellatory.com/fashion-industry/kimono-fabrics

[3] My dodgy 1920s own research into art movements and writers circles.

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ひとめ刺し | Hitomezashi | Single Stab Stitch | Pattern #16

Hitome-sashi/zashi (One Stab Stitch) is a type of Sashiko stitching.[1] Sashiko stitching being the famous white on blue technique of almost embroidery. The stitch makes up a geometric pattern from these white running stitches, sometimes wide sometimes miniscule to decorate or repair fabrics in a grid pattern.[2] As a task, Sashiko is said to be both therapeutic and time-consuming requiring a great deal of patience and concentration. Hitomezashi derives mostly from the practical applications of Sashiko and therefore was historically used for work uniforms, today it is mostly for repairing old clothstuffs. Many older examples come from Noragi (  野良着 | Workcoats) and Sashiko no Donzu (Fishermens coats) that have survived.[4]

Hitomezashi was originally used by Heimin as a way to mend old farming and fishermens textiles like Hemp or Ramie from the North of Japan, from around the Yamagata to Hokkaido areas.[1][4] Items started out life as Kosode, then became bags, aprons and cleaning rags.[4] Between 1600 - 1850, a majority of the working classes produced their own textiles due to the expense of buying new fabrics. It is thought that decorative stitches such as Hitomezashi originated as an ergonomic way to mend, fill in and layer fabrics for winter, becoming decorative through processes such as Tsukuroi-Sashi ( 繕いー刺し｜Darning Sashiko) by using undyed thread and repeatedly Darning older textiles into new ones every year. These skills were taught in school and at home to the children of farmers and fishermen.[4] Hitomezashi also spread around Japan byway of major trade routes like the Tokaido.[2][3]

Hitomezashi (c1850[2017], PD) Mr Bolton

During the Meiji period with the increase of Japan Inc, Japanese culture spread globally. Thus when agricultural workers moved to Hawaii, they took Hitomezashi with them, using it to repair their work clothes there, spreading the textile.[5] It may have also spread to Continental North America and other countries in the British Empire as it was popular during the 70's and 80's to adopt Japanese adjacent techniques among the middle class as an domestic Aestheticism (1868-1899) embroidery technique. In Japan with the promulgation of the industrialization efforts of Meiji Japan, Japan Inc. began to introduce new fabrics by 1870, making cotton available for those in Northern Japan.[3] In 1884, 'Sanitary Dress' was sent by the Japanese Government to display Health in the Workplace at the Health Exhibition. In the Exhibition  (likely Hitomezashi), Sashiko was displayed to showcase how Mens uniforms (Hakama) were made in Japan.[6] 

By the beginning of the 20th century however, Hitomezashi began to fall out of usage in favour of modern textiles flashy textiles. Meisen became more popular and workwear often became Tsumugi and  other wools as Japan Inc expanded in the 1910s and 20s.[7] Whilst Hitomezashi fell out of widespread use by the 1950s due to the import of quilting, older generations still held onto and used the technique. Northern Japanese communities still practice and teach Sashiko classes, a practice around since at least the 1990s. In the modern day, Kogin (another type of Sashiko) developed from Hitomezashi stitch.[4]

Bibliography

[1] Sashiko 365: Stitch a new sashiko embroidery pattern every day of the year, Susan Briscoe, 2022, p.5 | https://books.google.co.uk/books?id=fyqdEAAAQBAJ&pg=PT6&dq=sashiko+farmers&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjp59Wyhe37AhWPSMAKHdO4BtQQuwV6BAgKEAc#v=onepage&q=sashiko%20farmers&f=false

[2] https://www.athreadedneedle.com/blogs/with-a-threaded-needle/sashiko-kogin-hitomezashi-boro-what-are-we-stitching 

[3] Sashiko Pattern Book for Beginners: A Japanese Embroidery Art of Stitching, Angela Kemp, 2010, pp.10-11

[4] The Ultimate Sashiko Sourcebook: Patterns, Projects and Inspirations, Susan Briscoe, 2016, pp.8-15

[5] Japanese Immigrant Clothing in Hawaii 1885-1941, Barbara F. Kawakami, 1995

[6] Health Exhibition Literature, Executive Council of the International Health Exhibition, Council for the Society of the Arts, 1884, p.605 | https://books.google.co.uk/books?id=2fYTAAAAIAAJ&pg=PA605&dq=sashiko&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwiTptDkm-37AhUxTEEAHbStBKcQuwV6BAgEEAY#v=onepage&q=sashiko&f=false

[7] See Fabrics #5

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菊 | Kiku | Chrysanthemum | Pattern #15

We all know its that time of the year, Happy Samhainn! Chrysanthemum appear as a motif in many formats, stretched, repeat and realistic in Kimono, with the plant derived from strains created in Japan known as the Wagiku.[4] Claimed to represent longevity from drinking dewdrops that fell from the plant according to legend, the plant was first cultivated in Chinese gardens around 1500 BCE (3500 years ago).[2] Today they come in pink, purple, red, yellow, bronze, orange or white and represent the colour of autumn in Japan.[3] These patterns are the Kiku-bishi (square Kiku), Kiku-no-maru (floral circles), Kiku-zukushi (spider Kiku floral arrangements) and Kiku Sui (Kiku in water) motif first used circa 1330.[3] All Chrysanthemum originate from the Daisy genus.

Kiku Houmongi (c1998, PD) Andrew Bolton, Mr Koda

The history begins with the Nara period when the plant was imported from China around 600 CE. Around the time of the Heian period, it began to appear as a heavily important symbol among the aristocrats. The Heian court would hold Sechie parties where it was customary to drink Kiku-Sake (Chrysanthemum infused wine) for example.[3] The first emperor of the Minamoto Shogunates' rule, Emperor Gotoba adopted the flower to bolster his claim to the throne which otherwise belonged to the previous child emperor, Antoku, in 1183. This happened again in 1333 when in an attempt to differentiate the North and South imperial courts, Go-Daigo adopted a 17 petal version in opposition to that of Kougun.[1] During the Edo period, Kimono began to incorporate Kiku onto textiles.[3] 

In the Edo period, it began became popular along with cherry blossom, to cultivate Kiku to admire them in groups. The fruits of this labour are known as the Kotengiku (Classic type) crop of which are the Atsumono (Broad blooms), Kudamono (Spider Kiku), and Ichimonji varieties (Overlapping flat Blooms) which the contemporary Imperial crest is based on. The Bloom reaches a peak of 9-18cm diameters when in full blossom.[4] This is the time when Kiku were first depicted heavily on Samurai and likely Chonin textiles in reflecting the Kotengiku category. At the end of the Edo period and beginning of the Meiji, these categories were standardised. 

Kiku and Shibori Fragment (c1700, PD) LACMA

There is a long history of Chrysanthemum representing sex workers, just as there is in the West with the Rose. Another historical aspect of the Chrysanthemum is its adoption by the Males-on-Males. It was an inside joke by the Genroku period (1688-1704) that the flower was said to resemble the quivering intersection of the rear which bloomed a deep pink, and thus was a symbol for Homosexuality. By the early 18th century this was reflected in the Shunga of Miyagawa Choshun.[6]

'Yesterdays Abyss is Today's Rapids' (c1683, PD) Hishikawa Moronobu

Courtesan in Full Kiku Kimono (1704, PD) British Museum

Courtesan in Kiku Florals (1716, PD) British Museum

Courtesan in Kudamono Obi (c.1844, PD) Toshidama, British Museum

After 1870, these types of Kiku became part of public works such as parks which popularised the Edo Giku (Firework Kiku), Higo Giku (Limited Bloom) and Choji-Giku (Round Top Flat Base Kiku) with the public.[5] Thus they became popular once again in late Meiji, representing the might of the Co Prosperity Centre until the 1930s. 

Ms Ruth Nomura (c1930, CC1.0) Flickr, osu Archive

For the community activist and Japanese-American above, the Chrysanthemum certainly represented a spirit of homeliness and cultural touchpoint for her relationship with other Japanese diaspora people in the US when she assisted in their evacuation to avoid Roosevelts 'internment' camps. After this point, I am uncertain when they make a return, perhaps the 1965 area, but would most likely only be viably popular after the 1980s in the age of excess and revival of the 90s.

Bibliography 

[1] https://en.wikipedia.org/wiki/Imperial_Seal_of_Japan

[2] https://www.mitchellparkdomes.com/articles/mums-basics#:~:text=%22The%20chrysanthemum%20was%20first%20cultivated,have%20the%20power%20of%20life.

[3] https://int.kateigaho.com/articles/tradition/patterns-30/

[4] https://www.nippon.com/en/guide-to-japan/b08104/

[5] https://www.rekihaku.ac.jp/english/exhibitions/plant/project/old/181030/index.html

[6] https://www.historyisgaypodcast.com/notes/2019/10/14/episode-25-chrysanthemums-and-goldenbums

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練貫 | Nerinuki | Glossed Silk Plain Weft Weave | Fabrics #15

Nerinuki is a Nishijin-ori derivative shiny silk fabric used to make the Tsujigahana techique.[1] Most designs done in Nerinuki use dark colourways. To create the fabric, the Tate threads being raw silk and the Yoko threads being degummed silk threads, made by removing excess sericin from the fibres.[3][4] Nerinuki is more commonly seen today as an archaic textile with most extant work coming from the late Edo period, but was always used in some capacity between the Momoyama and Edo periods.

Nerinuki base Kimono (c.1800) LACMA

Nerinuki as a term originates from around 1566, when the designs were often finished in pinks, purples and lighter colourways. Nerinuki was most popular during the early 17th century, before it gave way to Rinzu which was a less rigid textile to work with allowing for the more trendy flowy Ji-monnyou.[2] Examples include Nurihaku (Noh costumes) given by Tokugawa Ieyasu for performances of Kyogen.[3] Nerinuki continued into the Edo period but using darker colourways such as purple, crimson, brown and black. By the early 19th century, Nerinuki was more commonly used as a base colour to embroider upon to bring out the elaborate and rich decorative motifs on Kimono. I cannot find existing modern examples, but would most likely still be a deep colour and use embroidery as these are Nerinukis principly known factors.

Bibliography

[1] https://en.wikipedia.org/wiki/Nishijin-ori

[2] https://redsunrising-blog.tumblr.com/post/4627468115/the-garments-of-the-ruling-class-during-the-edo

[3] http://emuseum.nich.go.jp/detail?langId=en&webView=&content_base_id=100559&content_part_id=0&content_pict_id=0

[4] https://en.wikipedia.org/wiki/Sericin

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唐織り | Kara-ori | Chinese Embroidery Weave | Patterns #13

Kara Ori (Chinese motifs) refers to heavy silk brocades often designed with motifs derived from the Japanese-archipelago idea of Chinese motifs. The woven effect is here meant to look embroidered, to denote wealth. Often a Twill-weave silk Brocade, the Glossed Silk weft threads usually denote the design element of the motif. Flatter threads are covered in foil, and bound close to the warp threads. Due to its stiffness, it is said to evoke the drapery of noblewomen in Noh theatre.[1] Many designs heavily feature interlocking floral designs ( Shippo-Tsunagi ) which reference the Buddhist concept of the Seven Treasures, said to bring good luck. 

Floating Twill Brocade Embroidery Robe (c1799) Smithsonian Design Museum

Historically the weave known as Kara-Ori was brought to Japan from Guangdong China by Yazaemon Mizuta ( dates unknown ) in 1235 CE.[4] During this time due to a collapse of power structures in neighbouring China due to civil war, Chinese silks became astronomically expensive with Japanese silk thereby replacing them with copies of Ming designs.[3]  This very stiff type of brocade is still commonly associated in Japan as a feature of Chinese Silks. Kara-Ori began as a codified pattern in the Momoyama period (1573-1615) under the tutelage of Hikosaburo Mitsuta (c1485-1573?) to Iemon Takewaka (active 1573-1592), most often a garment worn by the elites or particularly wealthy textile patrons such as Nagamasa Kuroda (1568-1623) which developed into Hakata-Ori.[2][4] The bulk of Western collections go from the early 1700s, often saved due to the elaborate and decorative nature of the textiles for Noh plays which drew Western collector sensibilities to them during their height of collection in the Victorian era. Today, Kara-Ori is mostly regarded as a historical textile and collected and presented as such, and is rarely used in modern design, like other Chinese derived counterparts such as Bashu Brocade.

Bibliography

[1] https://www.trc-leiden.nl/trc/index.php/en/blog/496-japanese-noh-theatre-garments

[2] https://rcwg.scrippscollege.edu/blog/acquisition-essays/the-highlights-of-the-collection-noh-theater-robe/

[3] http://char.txa.cornell.edu/japantex.htm

[4] https://www.minnanokimono.com/tejido-obi-hakata/

[5] https://collection.artbma.org/objects/41873/buddhist-priests-robe-kesa-in-karaori-with-floral-designs

This is going up early due to my work schedule at the moment if you were wondering.

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壊月堂安度 | Kaigetsudo Ando | 1671–1743 | Bijin #12

Some news, I will only from March onwards be doing this blog fortnightly, as I have put other projects on hold, and they are in dire need of my jump starting them, but I will continue so may there be no doubt in that. In some effort to seperate the Ando school, Im doing this one this month. 

Kaigetsudo Ando (active 1700-1736) was the founder of  the Kaigetsudō school of Ukiyo-e, which included the Bijin-ga genre. He was known for only making paintings, and never woodblock prints though, earmarking him as something of an 'artiste' than simply and artist. One of his great influences was the iconic Hishikawa Moronobu (lauder of the Wakashu Bijin) and Yoshida Hanbei (promoter of the Toned-down Bijin). Ando was particular in following the Suijin-Komin-Chonin lifestyle, and is not out of the ordinary for his time in pursuing making an artform out of what was essentially Gravure ( Glamour photography shots | Gurabia | グラビア). After 1714, Ando left Edo due to scandal but continued to work, perhaps teaching his school to his pupils.[1][2]

The said scandal is rather delicious, the Ejima-Ikushima affair is a detailed love-betrayal story about power. Essentially, Ejima was a member of the Tokugawas harem, the Ooku, and one of her rivals for the shoguns affections was the official shogun wife, Tenei-In. Ejima, who was out after her curfew, had been seeing her lover the Kabuki Actor Ikushima, and was late back. When Ooku who was in the middle of getting her factions heir in the shogunal seat of power caught wind, she reported it and the whole affair eventually won Tenei-In the battle of the harem-women. Ejima was sanctioned, with her borther committing Harry-Karrie.[4] It seems Ando was in some way involved with Ikushima.[1]

Beauty looking Back (1711, PD) Kaigetsudo Ando

A man of Yoshiwara

Ando was active in Asakusa in the early 18th century, not too far away from the legendary Yoshiwara. It is said that he was dominant in the production and promotion of using Yuujo, male and female, in creating Bijin-ga.[1]

It is notable to explore why Yoshiwara was used as a place to scout Ukiyo-E Models at this time. Historically, women on tap was a rich mans game, particularly in Japan, so only the military elites would have held a menagerie of bodily delights. However, this all changed when the Sankin Kotai was enacted and from 1635 on, saw the rise of the new Chonin class. This changed once again by 1685 in reaction from the Bakufu by their growing rich people disgust of the merchant classes spending said money.[2][5] This came in the form of the sumptuary laws, and saw the rise of more covert expenditure, and eventually this meant the start of hierarchical fashion laws (and their cultural reaction of 'Iki') and the confinement of Yuujo to the pleasure districts in a bid to curb the outragerous spending habits of Osaka merchants and Edo Chonin in the creation of GKTC (1688-1704).[2][5][6]

So by the 1710s, when Ando was creating his Kabuki-esque Bijin-ga, he was painting in reaction to the legal limitations imposed since the 1680s on Japanese society, depicting the underground spending which of course still went on but was done more discretely then. This was a world now focused on legal brothels, Wakashu-Kabuki and Shunga. Yoshiwara was simply a sort of Edo cultural hub where all these licentious and titillating fashions, functions and classes converged to do their business. 

Yoshiwara served Asobi and Suijin alike, but most popular certainly was the Wakashu and Kagema, or young male sex worker. This was also the case in Kabuki, all of which had their origins in carnal pleasures and their associated bodily gestures in theatre, but had been stripped back by Laws which saw these things such as women dancing erotically and free sex as rather poor-people-icky. Wakashu certainly with their sexy forelocks.[7]

Andos Bijin

It is thought that Ando was trained in the style of Ema ( wish plaques | 絵馬 ). This is thought to be shown in how he utilises space in composition, an aesthetic known today as Ma.[1] He undoubtedly in my opinion was a man who followed the trend of imitating the 'Kabuki' style or Torii school of Japanese Kabuki posterboard design of the late 17th century.

These designs which are particularly interesting to the fashion historian, detail the most up-to-date fashions which were worn by the lovely people down at Yoshiwara.[1] It was in fact some of these plates which Asobi and Suijin would look to as influence and inspiration from besides the Hinagata Bon (Sample Books) of tailors and Komin like Moronobu and Hanbeis dress manuals.[2][3]

Ando Bijin (c1700-1720, PD) Kaigetsudo Ando

Ando's Bijin-ga draws the time honoured classic of 'this isnt porn, its ART', which Matabei and Moronobu would have rejected completely. Instead, Ando draws upon the idea that Bijin-ga comes from the fine world of Fuzokuga and Buddhist Yamato-E, which eventually became adapted into the Kanbun Bijin (of 'dancers', basically Kabuki actors) by 1666, and which was developed by the Komin in the 1680s into the Kabuki Bijin-ga genre.

This 'respectable' genre was by Andos time heavily intertwined with the Torii school, which defined the style of Kabuki signboards as being those broad brushstrokes still popular today as part of Japanese calligraphy you can often see. This influence is clear in Andos broad stroke lines which dip and rivet in a free flowing manner. The posture of the figure is also reminiscient of the Qiyun quality which Matabei may have approved of in its lifelike mannerisms in the body language.

Features such as Hidden napes and hands saw that Napedness had gone out of the window. Instead 'traditional values' were in vogue, with Andos faces particularly reminiscient of the Yamato-E style of the Emakimono ( Scroll painting object | 絵巻物) in the Onna-E ( women pictures | 女絵 ) style. This style is defined in the lack of recognisable facial characteristics, instead expecting its viewer to focus on the body and subsqeuent attachements rather than the face to evoke a mood and to tell the story Ando would have trying to tell here.[8]

This can be seen in the evocative and interesting way Kimono is used here to tell a story, through the expensive dyes and paints used, the saucy hints of Benibana and subdued floral motifs. The image at face value is meant to leave under a traditional reading the impression of a women who looks over their shoulder, away from the viewer in the typically Buddhist portrayal of figures as being otherworldly saintlike figures who deem mortals as unfit of their gaze. A fascinating two-dimensional flatness particular to the lack of understanding of spacial composition which was to come with Rangaku later that century.

The person themselves here is using the now classic S-silhouette, and displays what may be earmarked as 'traditional' dress here in the styling and omittance of certain details and reliance of a knowledge of fine Japanese arts to complete the picture in the mind of a respectable Bakufu official. However we can see how Ando has cornered the market on his salacious Bijin-ga balancing act. Ando has revealed instead the foot, single hand and hair strands of his model; a Courtesan. She is revealed in her station by these facts, as as a lady of the night, she would have no need for shoes as she would be confined to the pleasure district she laboured in, but would also require befittingly attractive and rich Kimono in order to be able to work successfully.

The Broadstroke Bijin

Contexutally therefore we can see how Ando mixes traditional, or rather appropriately conservative values upon his images, but also successfully comes to allow small glimpses which was the backbone of the Iki Bijin. His models would showcase the latest fashionable Kimono, whilst keeping a series of checks and balances within the established cannon of acceptable art sources under the beauty standards and official judgements of his day. We can also see how in the development of the portrayal of Bijin-ga, Kabuki and sex work continues to influence the Ukiyo-ga world, when we see how the Torii broad stroke style has been transferred by Ando into a purely aesthetical image, fit for public consumption under the sumptuary and regulatory laws of Andos day. Andos images reflect the social morae of the era, a sort of belle epoque for his Kabuki inspired beauties, most of whom dabbled in sex work and yet simultaneously whom had to play the Iki modesty game.

Bibliography

[1] https://en.wikipedia.org/wiki/Kaigetsud%C5%8D_Ando

[2] See the Bijin Timeline

[3] See The Artisans and Hishikawa Moronobu in Essay #8

[4] https://en.wikipedia.org/wiki/Ejima-Ikushima_affair

[5] See Bijin #3

[6] https://www.metmuseum.org/toah/hd/plea/hd_plea.htm

[7]  Youtube (2021), 'Life of a Wakashu, Japan’s Third Gender (Male-Male Romance in Edo Japan)', Linfamy, Available at https://www.youtube.com/watch?v=bzG4UOaGy7M 

[8] https://en.wikipedia.org/wiki/Emakimono#Court_style:_onna-e

Bijin Series Timeline

11th century BCE

- The Ruqun becomes a formal garment in China (1000 BCE) [Coming Soon]

8th century BCE

- Chinese clothing becomes highly hierarchical (771 BCE) [Coming Soon]

0000 Current Era

7th century

Asuka Bijin (from 600) [Coming Soon]

8th century

- Introduction of Chinese Tang Dynasty clothing (710)

- Sumizuri-e (710)

- Classical Chinese Art ; Zhou Fang (active 766-805) ; Qiyun Bijin

- Emakimono Golden Age (799-1400)

15th century 

- Fuzokuga Painting schools; Kano (1450-1868) and Tosa (1330-1690) 

- Machi- Eshi painters; 1336-1650? [Coming Soon] 

16 century 

- Nanbanjin Art (1550-1630) 

- Wamono style begins under Chanoyu teachings (c1550-1580)

- Byobu Screens (1580-1670)

 - End of Sengoku Jidai brings Stabilisation policy (1590-1615)  

17th century  

- Land to Currency based Economy Shift (1601-1655)

- Early Kabuki Culture (1603-1673) ; Yakusha-e or Actor Prints

- Sumptuary legislation in reaction to the wealth of the merchant classes (1604-1685) 

- Regulation of export and imports of foreign trade in silk and cotton (1615-1685)  

Iwasa Matabei (active 1617-1650) ; Yamato-e Bijin  

The Hikone Screen (c.1624-1644) [Coming Soon]

- Sankin-Kotai (1635-1642) creates mass Urbanisation  

- Popular culture and print media production moves from Kyoto to Edo (1635-1650); Kiyohara Yukinobu (1650-1682) ; Manji Classical Beauty

- Shikomi-e (1650-1670) and Kakemono-e which promote Androgynous Beauties;

 Iwasa Katsushige (active 1650-1673) ; Kojin Bijin

- Mass Urbanisation instigates the rise of Chonin Cottage Industry Printing (1660-1690) ; rise of the Kabunakama Guilds and decline of the Samurai

- Kanazoshi Books (1660-1700); Koshokubon Genre (1659?-1661)

- Shunga (1660-1722); Abuna-e

Kanbun Master/School (active during 1661-1673) ; Maiko Bijin 

- Hinagata Bon (1666 - 1850) 

- Ukiyo Monogatari is published by Asai Ryoi (1666) 

Yoshida Hanbei (active 1664-1689) ; Toned-Down Bijin

- Asobi/Suijin Dress Manuals (1660-1700)

- Ukiyo-e Art (1670-1900)

Hishikawa Moronobu (active 1672-1694) ; Wakashu Bijin

- Early Bijin-ga begin to appear as Kakemono (c.1672)  

- The transit point from Kosode to modern Kimono (1680); Furisode, Wider Obi 

- The Genroku Osaka Bijin (1680 - 1700) ; Yuezen Hiinakata

Sugimura Jihei (active 1681-1703) ; Technicolour Bijin 

- The Amorous Tales are published by Ihara Saikaku (1682-1687)

Hishikawa Morofusa (active 1684-1704) [Coming Soon]

- The Beginning of the Genroku Era (1688-1704)

- The rise of the Komin and Yuujo as mainstream popular culture (1688-1880) 

- The consolidation of the Bijinga genre as mainstream pop culture 

- The rise of the Torii school (1688-1799) 

- Tan-E (1688-1710)   

Miyazaki Yuzen (active 1688-1736) ; Genroku Komin and Wamono Bijin 

Torii Kiyonobu (active 1688 - 1729) : Commercial Bijin

Furuyama Moromasa (active 1695-1748)

18th century

Nishikawa Sukenobu (active 1700-1750) [Coming Soon]

Kaigetsudo Ando (active 1700-1736) ; Broadstroke Bijin

Okumura Masanobu (active 1701-1764)

Kaigetsudo Doshin (active 1704-1716) [Coming Soon]

Baioken Eishun (active 1710-1755) [Coming Soon]

Kaigetsudo Anchi (active 1714-1716) [Coming Soon]

1717 Kyoho Reforms

Miyagawa Choshun (active 1718-1753) [Coming Soon]

Miyagawa Issho (active 1718-1780) [Coming Soon]

Nishimura Shigenaga (active 1719-1756) [Coming Soon]

Matsuno Chikanobu (active 1720-1729) [Coming Soon]

- Beni-E (1720-1743)

Torii Kiyonobu II (active 1725-1760) [Coming Soon]

- Uki-E (1735-1760)

Kawamata Tsuneyuki (active 1736-1744) [Coming Soon]

Miyagawa Shunsui (active from 1740-1769) [Coming Soon]

Benizuri-E (1744-1760)

Ishikawa Toyonobu (active 1745-1785) [Coming Soon]

Tsukioka Settei (active 1753-1787) [Coming Soon]

Torii Kiyonaga (active 1756-1787) [Coming Soon]

Shunsho Katsukawa (active 1760-1793) [Coming Soon]

Utagawa Toyoharu (active 1763-1814) [Coming Soon]

Suzuki Harunobu (active 1764-1770) [Coming Soon]

- Nishiki-E (1765-1850)

Torii Kiyonaga (active 1765-1815) [Coming Soon]

Kitao Shigemasa (active 1765-1820) [Coming Soon]

Maruyama Okyo (active 1766-1795) [Coming Soon]

Kitagawa Utamaro (active 1770-1806) [Coming Soon]

Kubo Shunman (active 1774-1820) [Coming Soon]

Tsutaya Juzaburo (active 1774-1797) [Coming Soon]

Utagawa Kunimasa (active from 1780-1810) [Coming Soon]

Tanehiko Takitei (active 1783-1842) [Coming Soon]

Katsukawa Shuncho (active 1783-1795) [Coming Soon]

Choubunsai Eishi (active 1784-1829) [Coming Soon]

Eishosai Choki (active 1786-1808) [Coming Soon]

Rekisentei Eiri (active 1789-1801) [Coming Soon] [https://commons.wikimedia.org/wiki/Category:Ukiyo-e_paintings#/media/File:Rekisentei_Eiri_-_'800),_Beauty_in_a_White_Kimono',_c._1800.jpg]

Chokosai Eisho (active 1792-1799) [Coming Soon]

Kunimaru Utagawa (active 1794-1829) [Coming Soon]

Utagawa Toyokuni II (active 1794 - 1835) [Coming Soon]

Ryūryūkyo Shinsai (active 1799-1823) [Coming Soon]

19th century

Teisai Hokuba (active 1800-1844) [Coming Soon]

Totoya Hokkei (active 1800-1850) [Coming Soon]

Utagawa Kunisada Toyokuni III (active 1800-1865) [Coming Soon]

Urakusai Nagahide (active from 1804) [Coming Soon]

Kitagawa Tsukimaro (active 1804 - 1836)

Kikukawa Eizan (active 1806-1867) [Coming Soon]

Keisai Eisen (active 1808-1848) [Coming Soon]

Utagawa Kuniyoshi (active 1810-1861) [Coming Soon]

Utagawa Hiroshige (active 1811-1858) [Coming Soon]

Yanagawa Shigenobu (active 1818-1832) [Coming Soon]

Utagawa Kunisada II (active 1844-1880) [Coming Soon]

Toyohara Kunichika (active 1847-1900) [Coming Soon]

Tsukioka Yoshitoshi (active 1850-1892) [Coming Soon]

Toyohara Chikanobu (active 1875-1912) [Coming Soon]

Kiyokata Kaburaki (active 1891-1972) [Coming Soon]

Goyo Hashiguchi (active 1899-1921) [Coming Soon]

20th century

Yumeji Takehisa (active 1905-1934) [Coming Soon]

Torii Kotondo (active 1915-1976) [Coming Soon]

Yamakawa Shūhō (active 1927-1944) [Coming Soon]

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