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 Eventually they were superseded by the Norimono ( Palanquin | 乗物 ) by the Edo period, Goshoguruma being reserved then for the imperial court solely.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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Making a Haori and a rant about the beauty of Transitioning

Good Sunday good folk! 

I am currently taking a break as quite a lot has happened recently which I am still waiting to pass for the time being. So I decided to finish a project that has sat in my project box for a while and make a haori from deadstock fabric. Have you seen how nice this deadstock fabric is though!?

 

Taken by myself (2022) Kaguyas Chest

The sleeves are 75 finished, I'm still trying to get the configuration right with the rest of my torso, which is proving a bit of a pain given that all I have leftover is around 30cm of the right fabric. For anyone interested this took 2 old dresses to make  and looks almost more of a Dochugi length than a Haori, but the fabric is really adorable so it's fine.

Im planning to embroider the back, but Im still looking for the right motifs. They'll be drawn from the history of British and Japanese inter-cultural history. I think theyll include:

• Chalkboard with Poole Gakuin written in English
• Frank Morley Fletcher Painting
• Hiking stick
• Yokohama Bluff
• A Donation Pot
• Anglo-Japanese Treaty of Commerce and Navigation (1894)
• Kimono Cabinet (1901)
• Sadayakkos Hamlet flower crown (1903)
• Noh mask
• Invitation to Lady Arnolds Afternoon Tea
• A cat
• Japan in Pictures (1904)
• Kwaidan Cover Art (1904)
• Cover of the  Daehan Maeil Sinbo (1904)
• A Wedding Ring
• Citron fruit
• Ama and Jewel Tsuba from Japanese Treasure Tales (1906)
• A collection of books in a series
• A brown Mingei pot
• A crane
• A letter addressed to Ozaki
• An illustrators pen
• Sculptors carving tools
• A newspaper
• Budokwai Logo
• Jujitsu uniform
• An Umbrella
• A paper parasol
• A watercolour by Kokki Miyake
• Prints by Kamisaka Sekka
• Beginning of Lady Reading (1906) by Ishibashi Kazunori
• A love letter to Hart-Synnot (1906)
• Yoshio Markino print (1907)
• Renee Viviens hat
• 2cnd place ribbon for the Surrey Brooklands motor race (1907)
• Drooping Wisteria
• Sansoms rounded glasses
• Aesthetic Hand fan
• Ticker tape machine
• Japan British Exhibition Postcard (1910)
• Edith Margaret Garruds Hat from the Sketch (1910)
• Red Bridges
• Most Honourable Order of the Bath medallion
• Stone lantern
• Kakemono
• Bamboo garden feature
• Haikara-san
• Taihaku blossom
• Fossils
• Tomimoto Kenkichi pottery
• Bernard Leach pottery
• Clotted cream knife
• Ryuson Chuzo Matsuyama print
• Pottery shard from the Jomon period with label 'to Scotland'
• Butterflies from China, Japan Corea (1912)
• Wilson Kabu and Kamidana
• Titanic Letterhead (1914)
• A spoiled Buddha (1919)
• Blue Hakama
• Kawai Kanjiro pottery
• Thomas Baty's wig
• Charles William Bartlett print
• Male ballet uniform
• Moga
• 73 Harcourt Terraces Conservatory
• Sempills Plane
• A bottle of Nikka Whisky 
• Sen Yans Devotion (1924)
• Scotch JMT-3100
• An Omelette on a book
• Design plans for the Yamato (1937)
• Upturned hat and a sign reading 'Prime Minister’s son – penniless'

Cerasus Lannesiana 'Taihaku' Ingram (2011, CC3.0) Arashiyama

Transitory Beauty Rant 

These will follow the Heian practice (if I recall correctly) of omitting human figures due to the aesthetic sensibilities of Japanese Buddhism. The train of though runs that to live as a Buddha, we must end our relation with Dukkha. And to end dukkha, the spiritual practitioner must relinquish their desires related to Dukkha. Their fleshy meat vessels known as bodies had to be cleansed so to speak of the mortal desire for vanity and covetousness, as these were material pursuits which was taught in Buddism to bring longterm pain, or Dukkha as these things did not allow the practicer to find the non-self. Thus the reduction of coveting and vanity or consumerism would help to end Dukkha and to attain nirvana. This of course comes from Mujyou, the knowledge that all things will disintegrate eventually. It was the acceptance of this fact and how to respond aesthetically which 'cultivated' aesthetics spent and spend their time pondering over.

This need to sever Dukkha and cultivate beauty developed into part of Mono-no-aware, which led to the popularization of the omittance of the human body, as the human body was full of dukkha, and nobody wants to wear Dukkha, so Dukkha related things were a no-no. This notion of worldly and unworldly beauty, in the pursuit of the realisation of ones part in nature as a non-self, is why Kimono often have very few humans on them. Lady Ise and pals had an appreciation that the fleshy meat vessel is finite, and that cultivated beauty is to be found in the passage of time, and thus you end up with motifs of objects from stories; ie Genji-Mon[1]; rather than reminders of Dukkha. Wholesome tales of non-self and relinquishing Dukka in other words. You may also want to see the post on how it became acceptable for the development of the Bijin figure. 

These two academic theories (on mortality and the pursuit of beauty) came about from the Japanese reaction to the role the human form played in Buddhist art and through Buddhist frameworks. It works under Mono-no-aware in the understanding of the relation of the body to its place as and in nature. In the Heian era, it was said the body must strive to have control over worldly desires for nirvana attainment, and by the Edo period that the body was part of life anyway and thus its pursuit as a beautiful aesthetic was simply another work towards understanding acceptance of the human condition. 

TLDR: Essentially, it is the transformative understanding of how the body fits into the natural world and how non-self is attained. It is the use of objects to draw attention to the emotion of these tales which the Heian mono-no-aware evokes which I rather more appreciate than the later Edo justification of Ukiyo-E, which whilst I get is part of the human condition is a bit of a copout for me considering it didnt even come close to Rationalist thinking as in the Occident that the Body was simply divine or almighty anyway and lowering beauty to simply base desires of lust and gluttony. Which yes there are many kinds of romantic and erotic love, but it never really leads to an exploration of platonic vs erotic vs aromanticism or any other form which love takes, and so for me is a rather boring academic framework. Even the Greeks and Romans the stuffy old men had greater vocabularies than just 'I like to watch patriarchy unfold on LGBTQIA narratives', looking at Ihara Saikaku here as well. Rant completamented.

Bibliography

[1] See patterns #3

[2] Are some of these references exceptionally vague and only a nod to if you know you know. Yep. 445 years. 169 years. Just a small difference of 276 years Mr Long. 100 years for Mr Loti.

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岩佐 又兵衛 | Iwasa Matabei | 1578 - 1650 | Bijin #6

Iwasa Matabei (active 1617-1650) was the son of the Samurai Araki Murashige (d.1586) who served under Oda Nobunaga. After his father's death and subsequent upbringing in Kyoto in 1579, he took his mothers name and pioneered the later depiction of figures in Fuzokuga or Genre Painting in Japanese Art.[7] Classical art forms such as Ink wash and Full colour painting were part of Iwasa's portfolio which combined both the Fuzokuga of the Tosa and Kano schools. His work is known for its early use of figures, who characteristically often have large heads and delicate body features as depicted in Classical Asian figure art history. His work is often today seen as the forerunning link or influence between the divergent mid 17th century Classical Japanese High and Low Arts of Yamato-e and Ukiyo-e.[1] He is therefore regarded as the 'founder of Ukiyo-e'.[7]

Self portrait (1650) Iwasa 'Katsumochi' Matabei

The changing Japanese Figure

Classical Buddhist notions of beauty imported from the Asian mainland held that portraiture was a vain venture, such as idolatry in some Christian traditions was considered. Therefore until the later Muromachi period, figures were kept in small numbers with little detail in Japanese art, which reflected the standards of the Buddhist mainland traditions, particularly that of Chinese artists. However by the beginning of the Edo period (1603-1868), this had begun to change. Primarily this change came with the influx of foreigners such as the Portuguese, who are depicted lavishly in Nanbanjin Art of the period.  During the first quarter of the 17th century on with Stabilisation policy and the end of the warring period, Japanese merchants became wealthier than the upper classes who did not trade with these foreigners. As such, the reins of power changed hands and a new taste came about reflecting these changing circumstances.

Kano School (c.1599) Kano Eitoku | Tosa School (c.1517) Tosa Mitsunobu 

Fuzokuga or Genre Painting, here Historical & Religious Scenes

With this in mind, Fuzokuga painting was developed from the branching arts of the second quarter of the 16th century which still prioritised the conveyance of Buddhist art and teachings, but had begun to open its purse strings to the artisans. Figures by the middle of the century therefore, became not indicators of the mortal and simply carcasses which carried Buddhist high-minded morals in lengthy scrolls and screens depicting Monogatari decrying the wicked, but instead evermore a representation of the Everyday. Art during the 1630's is a prompt move from the religious to depicting the lives of wealthy Chonin. However printing was not yet in full effect. Whilst a limited number of Sumizuri-e were printed, these were often seen as simply expensive and technologically advanced E-maki ( 絵巻 | Hand-scrolls). Instead of the monochrome images in these, Artists and Wealthy patrons often commissioned instead Kakemono, or hanging wall scrolls to be admired in the Tokonoma ( 床 | wall alcove) which were normally in full colour. Before 1615 these were incredibly rare, but became more prominent later on.

Classical Beauties

It was in this climate that Iwasa would have begun his painting career, one which saw incredibly early portrayals of figures. Often these were based on Edo notions of Classical beauty, such as the works of Zhou Fang (Chinese scroll painter active in Tang China) and Japanese Heian figures, which would have been considered suitable to being committed to eternal representation. Iwasa was under the tutelage of Kano Naisen (1570–1616), who would more than likely have introduced Iwasa to Nanbanjin art, which prominently featured figures in its depictions. Iwasa therefore trained under the Kano school in his youth.[1][3] In Kyoto Iwasa would have studied traditional Japanese and Chinese art, traditions and subjects.

Nanban Byobu (c.1600) Kano Naisen

Tosa was known for its Yamato-e (Classical Japanese depictions) and Kano for the rendering by Japanese artists of Chinese folklore and history.[2] Naisen who is remembered today for his byobu with figures would have for the time been creating radically new forms of traditional Kano art by incorporating such lavishly detailed contemporary figures, rather than depicting classical or mythological figures. With the death of his mentor in the Kano school however in 1616 he became involved in the court of Matsudaira Tadanao (1595-1650) by 1617, where he began signing his work as 'Katsumochi' and 'Doun'.[7] Some of his wealthier patrons may include Karasumaru Mitsuhiro (1579-1638), Masaaki Atsukai (dates unknown), and Sonjun Hosshinno (1591-1653). 

Tale of Genji (c.1600-1638) Tosa Mitsunori

Fortunately for us, Matabei, most likely considered himself a social pariah of the upper class world of courtiers and princes, felt more at home with the comparably lower class Machishu ( 町衆 | old money wealthy Kyoto merchants).[8] By 1620-1630, it is hypothetically viable that Iwasa had begun to form a reputation for his style, and formed a circle of like-minded people around himself who helped him to develop his understanding and appreciation of classical and applied art and eventually it is believed he may have studied under Tosa Mitsunori in Sakai until 1635.[5][7] By 1637 Iwasa had moved out to Edo, becoming a Chonin himself.[6][7] In the late 1630's with his connections and now established personal portraiture style, he was commissioned by Tokugawa Iemitsu (1604-1651) to draw portraits of the 36 Poetry Immortals (1640).[1] Other painted commissions in the style included the Ise, Genji and Horie Monogatari.[9]

The Four Pleasures (c.1624, CC) Iwasa Matabei 

It seems that by the time Iwasa had established himself as the successor of the Tosa School, he often frequently flipped between the Kano and Tosa sensibility in the theoretical idolatry of depicting contemporary figures his own teachers straddled and therefore Iwasa himself broke away from the repetive molds of Kakemono, Handfan and Byobu depicting traditional war tales like the Horie to instead depict modern portraiture more in line with the style of the Tosa. Seemingly the first of many Japanese artists to do so, he is said to have drawn figures with a keen sense of wit and charm to his figures which broke with tradition by humanising the figure whilst keeping within expected stylistic confines of the day, having a highly down to earth character to his approach to depiction.[4] 

Characteristic components of the Iwasa style include large heads, humourous posture and highly refined facial and appendage detail applied with fine brushes. Many of his poses such as The Four Pleasures often feature languishing, lounging or horizontal postures. As typical of the Tosa school, none of his figures ever face the viewer, frozen in place in their heavenly depictions of Buddhist lifestyle and behaviour. Whilst it is thought that his work was too upper-class to be related in any form to the lascivious world of Ukiyo-e, Iwasa and his students instead shows us the bridge Japanese art took in the depiction of figures as being something of High Art to Everyday Art, in providing the kindling so to speak for the proverbial Bijin Kindling of the 1670's Bijin Bonfire seen in works of Jihei and Moronobu.[1]

Seated Courtesan (c.1661-1688) Iwasa School in British Museum

Yamato-E Bijin

The Iwasa Bijin is therefore early High Art; presented in full colour, which appealed to the conservative patron or readers sensitivities providing a bridge between the cycles of Samsara. Iwasa has inadvertently in creating his own independent art in the Tosa style, developed figures to such an extent that he has created a new form of figure, the attractive figure, rather than simple figures for religious purposes. The beauty of Iwasa's style uses previously existing traditional art theory and combines that with increasingly 'baser' lower cultural influences, such as Naisen's contemporary Nanban ornate figurines and combines that with Tosa figurine art theory and Iwasa's knowledge and appreciation of Classical Chinese art to create his own modern style. His figures were for the Kanbun era, a cultural reset in the truest sense of the idea of that and opened doors for further artistic license in the future of the acceptable portrayal of figures. Whilst colour and material is traditionally aligned, artistic license here is the key to the Iwasa way. Body language, subtlety and delicate linework combine to create unique portraiture in this floating or transient world between Buddhist iconography art theory (the work itself that is) and the viewer, therefore transforming the possibility of figures as simply false idols to that of the Chonin ideal. That is a flesh and blood human idol which Chonin could look to for guidance and to reflect their own struggles and desires as members of the lower classes whilst still respectably depicting the Buddhist ideals they also admired and followed. This is reflected in Shikomi-e when we think of how a society with previously only portraiture of noble women, courtiers and nuns, all exemplars of good moral wives, could suddenly have the male gaze turned onto them. Again, the masquerade of respectable Buddhist icons of dancing artisans, who are in fact to the 17th century gentlemen of Japanese artisans simply Bijin. Thus allowing the birth of the Bijin-ga in a previously highly conservative art tradition priorly produced in temples to depictions of Maiko with their Eri slipping all over their delectable napes. The Iwasa Bijin, whilst not to the Genpei, but certainly to the Kanbun era, is therefore the Yamato-e Bijin. A depiction of a conservatively appropriate and Ga (refined) female beauty. Iwasa Bijin are bold for their time, breaking barriers of acceptability politics between the new and old money at the beginning of the Edo period during a period of new-found stability and spending after over 130 years of continous warring.

For more examples (I am limited legally by Copyright restrictions on what I can/cant show here):

1) https://www.christies.com/en/lot/lot-1340750 'Dallying Couples'

2) The Yamanaka Tokiwa Scrolls

3) https://alchetron.com/Iwasa-Matabei

Bibliography

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

[2] https://en.wikipedia.org/wiki/Tosa_school

[3] https://en.wikipedia.org/wiki/Kan%C5%8D_Naizen

[4] https://www.britishmuseum.org/collection/term/BIOG3703

[5] https://en.wikipedia.org/wiki/Tosa_Mitsunori

[6] https://www.britannica.com/biography/Iwasa-Matabei 

[7] An illustration of the Ise monogatari : Matabei and the Two Worlds of Ukiyo, Sanoy Kita, 1984, pp.252-258, The Bulletin of the Cleveland Museum of Art

[8] https://www.japanese-wiki-corpus.org/history/Machi-shu.html

[9] https://artsandculture.google.com/asset/horie-monogatari-emaki-illustrated-tale-of-horie-iwasa-marabei/wAGvQnBxpyKeAw?hl=en

Bijin Series Timeline 

8th century

- Introduction of Chinese Tang Dynasty clothing (710)

- Sumizuri-e (710)

- Classical Chinese Art ; Zhou Fang (active 766-805) [Coming Soon]

15th century 

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

16 century 

- Nanbanjin Art (1550-1630)

- Byobu Screens (1580-1670)

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

17th century  

- 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  

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

- Shikomi-e (1650-1670) and Kakemono-e which promote Androgynous Beauties; Iwasa Katsushige (active 1650-1673) [Coming Soon] 

- Mass Urbanisation instigates the rise of Chonin Cottage Industry Printing (from 1660) ; 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)

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

- 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 

Miyazaki Yuzen (active 1688-1736) [Coming Soon]

Torii Kiyonobu (active 1698 - 1729) [Coming Soon]

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杉村 治平 | Sugimura Jihei | 1681 - 1703 | Bijin #5

Sugimura Jihei Masataka (active 1681-1703) was a noted printmaker in the Genroku period. His style is said to be in part influenced by the archetypal woodblock printer Moronobu (1618-1694). Unlike many artists of his time, Sugimura often signed his pieces using his surname rather than his artist title and he has the credit of having the oldest signed extant Kakemono-e (Horizontal painting scroll). He would often sign his work in unobtrusive places, like the sleeve of a Kosode.[5] Sugimura was a successful designer and publisher is known to have published at least 70 books with his work inside, publishing usually in the Shunga genre, frequently using Mitate-e (見立) such as those found in his Tale of Genji. Sugimura is best known for having introduced and popularised subtle erotic colour into Sumizuri-e books by 1685.[1]

Sugimuras first surviving work is the Ukiyo raku-asobi (浮世らくおそび | Easy pleasures of the floating world book), a woodblock print Shunga book made in 1681.[5] Sugimura worked in Edo from 1689, and as such as was influenced by the Edo Bijin ideals, which were markedly different from the Osaka (flashy) and Kyoto (Iki) Bijin at this time. The Edo Genroku Bijin as such was a more expensive derivation of the Osaka Bijin, but was less refined than the ideal Kyoto Bijin.[1][2] Sugimura printed his works with large blown up images, as well as the more usual smaller sizes seen in the 1650-1670's in Japanese print books. The majority of Sugimura's large singular prints showed detailed and coloured figures who often took up a large proportion of the space on the page.[5] Many of Sugimuras prints were also often printed separately and decorated in colour on their own as well, unlike Moronobu's quickly produced monochrome and artisanal Ukiyo-e prints.[1]

Lovers (c.1685) Sugimura Jihei

Scenes of Lovemaking (c.1685) Sugimura Jihei

Young Couple and Female Observer at a Cherry Blossom Viewing Party (c1685) Sugimura 

Dalliance (c.1685) Sugimura Jihei

From 1670-1680 print books had begun to use two tone colours if at all, this changed in the Genroku period and later on from 1685-1690 when Osaka culture began to flourish in GKTC and E-makikimono techniques introduced great varities of design techniques and colours as the work of painters and calligraphers (such as Miyazaki Yūzen and Yuezen Hiinakata) began to appear on Kosode and thus in the fashionable woodblock prints of the time.[3] Whilst other printers and designers had used colour in this time, Sugimuras light, airy and decorative hand painted colour applications were said to have added personal flair and to his characters erotic appeal.[5] When the 1690's rolled around and with the rise of the Osaka Bijin therefore, this is the paradigm shift and lense we must use to understand Sugimura's contribution to Bijin-ga.

Sugimura characteristically applies in a lighter style and palette in the hand of a painter with softer, tonal colours placed using watercolours atop his Sumizuri prints. Sugimura colouring is therefore reflective of the trends of Genroku print technology limits and styles, but in his colour application, rejects and reforms the Monochrome Moronobu for a hybrid Hanbei and Yuzen approach by combining painting and mis en scene techniques to give a blush and glow to his Shunga Bijin. It was this delicate use and particular placement of colour which made Sugimura popular in GKTC and amongst Chonin collectors, and influenced later designers colour choices.[1] Sugimuras linework meanwhile, whilst nothing special, builds on the work of Hanbei in working with spatial arrangement and composition to build certain environments and scene atmospheres in his prints.

The spatial arrangement of Sugimura's figures therefore is highly individual and gives off an air of confident Ukiyo-e, of high self-esteem and contentment in their role and place in society which was highly sought after by the Chonin  who chased that very entrepreneurial attitude in their own lifestyles and lives. A number of the late 1680s extant Kakemono-e bearing a Sugimura signature survive, and this shows the ornate Kosode which Sugimura thought fashionable. Indeed his Kakemon reflected the new 'extreme' Furisode which had only come into vogue at the time, which reflected these new Kosode and how GKTC operated around and within sumptuary laws in using understated and overstated production.[5]

Bijinga Kakemono (c.1680) Sugimura Jihei style

Sugimuras Kakemon, like his Sumizuri, contained Mitate (literary allusions) to classical Heian texts such as the Ise Monogatari and Genji Monogatari. Sugimura also often used decorative embellishments such as floral corner diapers in his work, enlarged figures and elaborate patterns, all signs of wealth and status for the time taken to produce these fanciful designs for their self-satisfied customers, I say self-satisfied as we are talking about here about people buying soft core porn or Abuna-e.[5] However money talks, and it was certainly not in the hands of the Samurai at this time. This does follow with Sugimura's Kosode designs, which are often lavish, but follow the already established popular motif, patterns and designs of the time, simply substituting his own evocative colour schemes in lieu of any other bombastic designing.

The Technicolour Bijin 1680 - 1700

The Sugimura Bijin is therefore a product of its time as GKTC; presented in come-hither colours, which softly approached the conservative author; giving a sense of traditional familiarity; and to the Chonin class, a loosening of the shackles of the sumptuary laws and an exciting new proponent of their acceptance and pursuance which strode the line between acceptability and extravagance by 1690 in toned down 17th century Kosode.[4] Sugimuras Bijin instead tells little white lies by using colour and form as stylistic elements congruent with the Moronobu style in showing without telling. Sugimura used the 'S-style' silhouette of the Kambun era for example, but applied subtle changes such as colour scheme and more ornate Mitate Kosode in his images to give a veneer of packaged Iki which was in fact marketed to the Chonin and not the Samurai classes. The Sugimura Bijin therefore is Technicolour, the new starlet who has replaced the silent film actors with a thin combination of Zoku (俗 | Vulgar) and Ga (雅 | Refined) from a man who often portrayed self-assured drunks & voyeurs and dressed them up as high and refined culture for the new modern townsperson.[5] Sugimura Bijin are bright for their times, and large in their scale, prominently celebrating the floating world Chonin lifestyle and GKTC they created for themselves, whilst operating under the propriety and sumptuary codes of the times.

Bibliography

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

[2] See Bijin #3, under Sumptuary Laws

[3] See Bijin #3, under The Genroku Osaka Bijin (1680 - 1700)

[4] See Bijin #4, under The Toned-down Bijin

[5] https://www.viewingjapaneseprints.net/texts/ukiyoe/sugimura_jihei.html

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朝顔 | Asagao | Morning Glory | Patterns #5

Asagao is a motif, often repeating pattern which can be placed sporadically across Kimono or is sometimes seen adorning a trellis or trailing pattern. Clusters in spots are also popular and most appear on Yukata, as the flower is most popular between July and September in Japan. 'Asagao' crudely translates as 'Morning Face' and is a metaphor for the beauty found in the morning glow of the Bijin, particularly young women.[1] It is thought wise by etiquette standards though that the pattern may be worn only in July and August when the bloom is budding.[2]

Asagao-zu Byōbu (1796-1858) Kiitsu Suzuki

The flower became imported into Japan during the Nara period (710-794AD) by Chinese diplomats to Japan and used for its medicinal properties to treat the runs.[1][2] This is evident by the celebrated nature of Asagao in Chapter 20 of the Genji, which celebrates Princess Asagao, the one Genji didn't get to bone because she tells him to do one, either way Genji turns up at her house and immediately has a harem around him, including Prince Shikibu *wink wink nudge nudge* and some MILFS. Asagao Hime though is like, nah go bone with Shikibu, not me. Genji then "sends her emo poetry" and goes to bed a grumpy umpus. Seeing Asagoas lovely dewlight face in the morning sun, reminded him of the beauty of mornings in her face. Genji then goes off and tries to shags a bunch of MILFs and Murasaki. Then it snows and they all make  snowmen with the servants becuase Snowmen wont make themselves of course.[3] Blah blah ephemerality bleep bleep beauty of transience bloop bloop.

Asagao gained popularity by the 17th century when they began to be grown in greater numbers, when the pattern during this time transferred well into ornamental design and became used on Uchiwa (団扇 | rounded square hand-fans), Tenugui (手拭い | printed hand towels), Combs and Kosode designs.[2] The pattern remains popular today in Yukata particularly being a trend worn often in deep or bright colours by Gyaru in the late 2000's that I remember from Japanese street photography.

Bibliography

[1] https://kokoro-jp.com/culture/2460/

[2] https://int.kateigaho.com/articles/tradition/patterns-19/

[3] https://mostbeautifulgenji.tumblr.com/post/80568794417/chapter-20-the-morning-glory 

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吉田 半兵衛 | Yoshida Hanbei | 1664-1692 | Bijin #4

Yoshida was the leading Ukiyo-e illustrator in Kyoto and Osaka (in 1664-1689). Yoshida worked primarily unlike his contemporaries in E-maki woodblock prints rather than both artistic and print woodblock designs. Yoshida was the first in the Kamigata area to sign his works, the first being the 1685 Yamato Nijuushi-kou (日本廾四孝| 24 Filial Piety paragons of the Yamato) prints.[4] As such, Yoshida was a prolific illustrator and he was published around 1000 illustrations throughout the Kanbun and Genroku eras in a variety of genres for adult and children audiences. He is particularly well regarded for is drawings for Ihara Saikaku's Ukiyo-zoshi (浮世草子|Notes of the floating world; or Merchant Pleasure Pursuit Genre) Amorous Life of X Series.[1][4]

Yoshida's style is said to be based on today unknown illustrators based around Kyoto and his teacher Shougorou whose work is no longer extant, the Tosa School (1300-1499) and Muromachi E-hon (室町絵本| Muromachi; 1336-1573; Buddhist Picture Books) and the influence of Moronobu.[4] Sumizuri-e in this time were still rather small and had limited space allocation, so instead his Shunga-e was were he produced his most individualistic work. Although his main medium held him back, his Sumizuri are still highly decorative pulling from Japanese and Buddhist decorative, calligraphic and spacial compositional traditions which provide their images main distinctive traits, features and ambience in the otherwise limited medium typical of early Sumizuri-e mannerisms and line qualities which whilst present in Yoshida's art, work around these limitations which come off as Yoshida's more loose distinct charm.[4] Yoshida's output dropped off after 1690 and his work was taken over by 2 of his now anonymous students until 1703.[2][3] 

Coiffure for a Wakashu (c.1680) Yoshida Hanbei

Dress Manuals

During the Genroku period (1683-1703),  becuase of　 ❶Stabilisation policy after Japan's civil war (1590-1615),　 ❷Sumptuary legislation in reaction to the wealth of the merchant classes (1604-1685) and 　❸Regulation of export and imports of foreign trade in silk and cotton (1615-1685), wealth began to accumulate to the Chonin classes.[1] These 3 factors lead to Genroku society becoming increasingly settled in new urban cities like Edo, interconnected and wealthier as a result. 

This new quasi-middle class of labourers, merchants and artisans eventually created GKTC and one of their greatest customers were the women whose furisode now began to lengthen, whose coiffure began to more structured and whose wealth was beginning to accumulate. GKTC had stringent instructions and expectations for female and male beauty standards, but must by no means must we view this with a 21st century Western lense of gender divides (or pink for girls, blue for boys) as androgynously beauties (whilst often favouring male beauties albeit) were the standard of the day to strive for. 

Suijin Dress Manuals

The well dressed man, often the head of the household and breadwinner at this time would have been an avid consumer of these manuals for himself and any Shaku (嫡 |legitimate wife), Yuujo, Kagema or plaything a Suijin (粋人| Worldly Male) may fancy. It is estimated around 50% of men could read at this time.[4] Another genre of Sumizuri-e which showcased male actors in fashionable garments and can be compared to a modern magazine featuring popular actors doing modelling for example.[4] The majority of books were designed with men in mind, so I shall gloss over them a bit and refer more to womens fashions as as I mentioned before, gender, art, clothing and design over overlapped.[8]

Five Amorous Women (1686) Yoshida Hanbei

Asobi Dress Manuals

With these expectations, GKTC and beauty standards began to become more visual and visible in the proliferation of picture books. In the case of women, it is estimated only around 20% of women at this could read. This did not stop young unmarried women (or Asobi, play girls) who worked as maids, chefs, childcarers, silk, ramie and hemp weavers, dancers, actors, Night soil compost merchants, and other jobs) from looking at and buying these picture books and dress guides.[5][6][7] This was informed also by the new GKTC expectations for women in their longer swinging sleeves (today furisode), more elaborate and ornate yet rigid hairstyles and wider Obi (belts).[1] 

Yoshida's depictions of GKTC also included the etiquette and fashionable styles for hair, kimono fashion and what to wear at home for women at the time. In 1687 he contributed to Genroku KTC by publishing his book of kimono designs, Asobi dress manuals illustrations for Okada Shôhakuken's 1687 Touryuu Onna you Kagami (當流女用鑑| Modern mirror of the world of women/女用訓蒙図彙| Ladies Pictorial Encyclopedia) Volume 4 clearly illustrates the new fashion which Saikaku deemed 'extreme' which had come about by this time as a result of the new wealth which was purposefully flaunted in GKTC.[1][2][4]

Womens Kosode Designs (1687) Yoshida Hanbei

A great number of these Kimono designs show literary allusion in the combination of morning glory and carriage motifs to the Yuugao (Morning Glory) chapter in the Genji (which refers to Princess Asagao who Genji didnt get to bone this time and something about Cougars and Snow ITS LATE IM TIRED).[4] 

Korean Chrysanthemum Pattern | Carp Waterfall Pattern 

(Joyo kinmo zui; 1687) Yoshida Hanbei

As we see here, Yoshida clearly works within the boundaries of acceptable art limitations for Sumizuri-e with the small and retreating facial features and gestures into the preordained popular S-shape, which came to prominence in the Kambun era. His design book clearly illustrates the Genroku composition style of busy composition. Breaking pre-established norms though go about as far as this and instead follow a shy breakaway from tradition, seen in the number of limited motifs (2 and 3) which were deemed acceptable under sumptuary laws regarding design at the time for Chonin.

Small sections of design instead speak for the wealth by using what appears to be shibori to showcase that whoever was having the kimono made for them had the money to have someone produce Kosode with shibori decoration and intricate large threadwork which even some samurai with their loss of rice revenue could no longer afford to have made. With the ever increasing sumptuary laws which Chonin had to follow, adapting to the sumptuary laws became a key component of GKTC, so whenever a ban on certain designs were introduced, Chonin would rebel and spend more money in other ways, and production (sewing, embroidery, dying etc) was where the money would instead end up.

Yoshida was already established when he began producing Asobi and Suijin Dress Manuals and Saikaku's 'Extreme' GKTC Sumizuri-e between 1682-1692. Whilst his work did not depict Bijin, he did depict what the Bijin would wear which is what makes his illustrations depicting Kimono so useful to us today for defining some of the fashionable kimono and appropriate deportment in GKTC. Modest Peacocking if you will. Yoshidas napes and wrists for instance, unlike saucy Moronobu, are not visible but hidden, which screamed 'I-am-a-middle-class-suburban-1687-housewife'. This whilst not seemingly revolutionary, was a shift in attitude of shunning the human form in the early 17th century to an acceptance of its depiction and acceptability in print for a general audience, which came from the world of Abuna-e and Shunga over to the domestic sphere in a tempered, moderate version.

The Toned-Down Bijin

In conclusion, whilst not classified as Bijinga, Yoshida clearly had a idea about the acceptability and transmission of beauty standards to the average reader. Combine this with his successful collaborations and proliferation in multiple genres, and Yoshida singlehandedly managed to redefine the visual ethos of acceptable dress by the Genroku period. It is clear that Suijin, Asobi, Yujo, Kagema and Samurai families also had begun to mix and adapt and adopt each others dress habits and how this pushed cottage industry production of expensive Kosode whether in the amount of dye used, costly gold threads and leaf application etc onto already vivid, ostentatious and elaborately layered Kosode. These expensive garish GKTC garments caused backlash and reversion by tastemakers to more traditional Buddhists notions of propriety in dress and modest dress etiquette (or being Iki) under the sumptuary laws to the new wealthy urban masses by designers like Yoshida who encouraged modest Ji-monnyou, motif and dress styles in their Sumizuri-e Kosode in reaction against the Chonin Bijin who was characteristically flashy, flamboyant and fabulously overdressed to pop to see the latest Kabuki.

Bibliography

[1] For more on Saikakus contribution to GKTC, see Bijin #3

[2] https://en.wikipedia.org/wiki/Yoshida_Hanbei

[3] https://www.britishmuseum.org/collection/term/BIOG1412

[4] https://www.viewingjapaneseprints.net/texts/ukiyoe/yoshida_hanbei.html

[5] Fertility And Pleasure: Ritual And Sexual Values in Tokugawa Japan, William Lindsey, 2007, p.10

[6] https://en.wikipedia.org/wiki/Night_soil#Japan

[7] See Goodwin 2000 and Dalby 1983/1993 in Resource Page for more on the definition of Asobi

[8] Cartographies of Desire: Male-Male Sexuality in Japanese Discourse, 1600–1950, Gregory Pflugfelder, 2007, pp.55-73

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清海波 | Seigeiha | (Blue) Sea & Waves | Patterns #4

The Seigeiha pattern is a repeating half moon circular motif of stylised waves. It is worn frequently on Yukata, but can also be found less frequently on some Kimono and Obi more sparingly to my knowledge, and is often used a relief to break up a large empty space in a design as a Ji-monnyou (Ground-pattern).[1] It is said Seigeiha is meant to represent the calming quiet presence and peace found in a still sea scene and the resilience of water, also representing the bringing of wealth and power.[2][3] Yabureseigeiha (Broken waves) incorporates the design by omitting some waves and is popular for Obi designs. Modern designs are now used frequently used on a great varying of surfaces in applied and decorative arts such as the 2019 World Rugby uniform for Japan.[1]

Seigeiha (CC2.0 Filter Forge 2015)

The pattern has been around since the 3rd-6th century on Haniwa (埴輪|Terracotta burial figures) in Gunma prefecture.[2][6] The design itself was originally found on Chinese maps.[6] The motif is popularly associated with the costume of performers who played a part of the Seigeiha programme of Gagaku (雅楽|Traditional East Asian Court Music).[1] The ritualised performance or Bugaku (舞楽|Dancing Gagaku) calls for 2 performers, who wave around their sleeves and swords and is associated with the Momiji-no-Ga (紅葉賀|Autumn Excursion) in the 7th chapter of Murasaki's Genji. Performers wear Hanpi (半臂|Sleeveless Tops) embroiled in peony, Ho (outer robes) emblazened with plovers and the Shitagasane (下襲|Inner Robe) embroidered with the Seigeiha and mists, which here the Hanpi is the bright green, the Ho the orange and the Shitagasane the dark green.[4] I think. 

Seigeiha Bugaku

The Autumn Excursion occurs between Genji's 18th trip around and the year and 19th trip around the sun beginning and ending in autumn. Genji has knocked up the Emperors favourite, Lady Fujitsubo and keeps pestering her until eventually she ignores him. Genji instead spends his time preparing to perform the Bugaku to celebrate his lovechild's arrival and preoccupies his time dancing and admiring Fujitsubo's neice instead. During rehearsals she catches a glimpse behind her reed screen and when their eyes met for but a second, her resolution of ignoring Genji stalled and she sent him a single letter. Fujitsubo gave birth the following February but along with Genji, feels a great guilt when the Emperor remarks how wonderful it is that her son, resembles Genji. Even after this fact though, the waves of love (I know I ruined it but explaning jokes is so funny right \-w-/) continued to wash over Genji and he continued with his Fujitsubo love affair.[5]  From the Heian period onwards it decorated Mo (裳|Junihitoe shirt). This transferred into ceramics, sand gardens, temple layouts and architecture by the Kamakura period and has remained a highly popular Wagara (Japanese traditional pattern) ever since.[6] 

Bibliography

[1] http://project-japan.jp/seigaiha/

[2] https://polinacouture.com/en/the-meaning-of-patterns-on-japanese-fabrics/

[3] https://pen-online.com/design/seigaiha-the-wave-motif-inspiring-contemporary-french-fashion/#:~:text=The%20Seigaiha%20wave%20is%20an,seas%20and%20oceans%20on%20maps.

[4] https://www.japanese-wiki-corpus.org/culture/Seigaiha%20(a%20program%20of%20gagaku%20[ancient%20Japanese%20court%20dance%20and%20music]).html

[5] https://www.japanese-wiki-corpus.org/literature/Momiji%20no%20Ga.html

[6] http://www.aisf.or.jp/~jaanus/deta/s/seigaiha.htm

Further Links

Linfamy on Gagaku: https://www.youtube.com/watch?v=tzPtzcTEdoI 

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