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]

Social Links

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仲朗 | Zhou Fang | 730 - 800 | Bijin #7

Zhou was a Tang era Chinese painter who inspired Iwasa Matabei's classically inspired drawings which became the basis for Ukiyo-e in the second half of the 17th century. Zhou painted for the Imperial Chinese Tang court Emperor Dezong between 779-800, but his own background came from being a painter in a noble family during Tang China, specialising in pictures of beautiful court women. He himself was inspired by Gu Kaizhi (344–406) and Zhang Xuan (713–755) and lived in Chang'an, modern Xi'an city working during a time which saw a change in beauty standards for Chinese women and idealised imagery of beauty. He is best known for his Court Ladies Adorning Their Hair with Flowers and Court Lady With Servants.[12]

Court Ladies adorning their Hair with Flowers (c799) Zhou Fang

Chinese historical figure depiction in the time of Kaizhi was rather two dimensional until the end of the Six Dynasty era (220–589) and began forming new ideals as power shifted from the Northern-South Kingdoms with the sixteen kingdoms (304 to 439) and the Sui Dynasty onto to Tang China by 618AD. During the end of the Six Dynasty period, Chinese art began to become more ethereal, light and evocative of the three rather than two dimensional. Acceptable figures to portray as beautiful, were the immortal nymphs of Chinese legends, over this period (300-550AD) the clothes of these figures began to become more fitted and showed off the wearers body.[4] Women of the era were seen through a form of the patriarchal lense in a Confucian prism however, and whilst admired, their agency was subjective at best in this worldview.[8] Fortunately though, they were often admired, for their wit, charms and beauty in the love poetry of women in love written in the 6th century which became the basis for the newly emerging Beautiful Woman genre as it became known by art historians later on. Common motifs of this poetry often was the pining beauty, 'plainly elegant' plum tree (on account of its blossoms), bamboo for fragility, peonies, hand fans, incense smoke and lotus roots symbolising conjugal love, spring with willow trees, autumn with mirrors, and the ephemeral nature of cosmetic beauty which accompanied these texts, such as Du Fu's (712–770) 'Ballad of the Beauty'.[7] Other imperial beauties of the period included the plump beauty Yang Yuhuan or Guifei ( 楊玉環 | 719-756), who is considered one of the 4 great beauties of Classical China.[10] 

Yang Guifei (c.907) Liao Tomb Wall Painting on Pao Mountain

In an amend to the historical record may I lead you to the fact that women also figured prominently in Chinese myth such as the mother goddess Nuwa and Leizu, the creator deity of the mulberry tree and sericulture.[9] Others include the contemporary Empress Regent Wu Zetian. Fu Du, for example, exemplifies the beauty who wears her 'gauze robes', comparing them to the 'spring' of their youth.

Third month, third day, in the air a breath of newness: by Chang'an riverbanks the beautiful ladies crowd, rich in charms, regal in bearing, well-bred, demure, with clear sleek complexions, bone and flesh well-matched, in figured gauze robes that shine in the late spring, worked with golden peacocks, silver unicorns. - Fu Du the Uninventive [11] 

Wu Zetian (c.1700) British Library

It is said in the Tang period, it was established that both the pictorial, and mirth or ability to depict and capture personality was just as important as each other. In the tale of the General Guo Ziyi (697-781) and his daughter Ms Zhao, when asked which of 2 Tang era painters who depicted her husband the best, Zhou was chosen for his ability to depict Zhao's husband in his characters entirety.[1] The period Zhou  produced his images saw a shift towards the rigidity of the Chinese bureaucratic system, which saw the rise of innuendo and the cult of the character which peeked from under the bureaucratic curtain of modesty now and then, with a beauty in barely there silk sleeves, yet otherwise modestly dressed.[7] It was this ability to depict a 2D image, and allow its audience to empathise with it as a 3D entity in Classical Chinese art which Iwasa Matabei clearly admired in the work of Zhou Fang and was carried over into his style. 

This quality of art, was known as 'Qiyun' ( Spirit resonance | 气韵 ) and was the first of the 6 classical principles of Chinese Art.[2] Another proponent of the Chinese Zhou Beauty, is their full figure, and lavish dress which often incorporated fake flowers, birds and metal in their elaborate hairstyles and accessories, such as the floating sashes of immortals.[4] From my own research, I know that in Japan at least, Chinese chignon Tang hairstyles and dress styles were in vogue at many different periods, but had arisen once more during Matabei's era. This plump or Rubenesque silhouette, was popular during the end of the period Zhou and his contemporaries painted in.[3] Indeed it is rare to find depictions of male figures from this date in Zhou's work.[4] 

Lady with Servants (c.799) Zhou Fang

Other elements which were considered in the depiction of beauty, was the appropriate placement of figure object and depth within the space, which often also relate to a specific contextual setting or theme in a play, poem or story.[2][4][7] This was both due to the confines of the available technology at the time, and to complement the appropriate way to read and appreciate the connotations and connoisseurship of these paintings of worldly and divine beauties, who were often plumply seated in groups of 3 in handscrolls or on standing screens.[5] These depictions found in Japanese art such as Ma, or the compositionally pleasing absence of a filled space are still a mainstay of Japanese and Chinese art and aesthetics. It is said these were imported, specifically in the instance of Zhou throughout the routes of Korean traders into Japan.[6] As Classical China, particularly Tang, was considered the height of civilisation for that time in Japanese society, the modes of Tang were greatly emulated.

Qiyun Bijin

It is from this context that we see how the mind, style and elements of Iwasa Matabei came to form early Ukiyo-e. It is often thought therefore that as the court painter of the height of Tang Dynasty China, the Bijin figure of Tang China, also influential in the fashions of Japanese aesthetic and fashion, held great sway due to Zhou's artistic ventures into the perfection of that Qiyun quality. It will have been this element to embody a flat into full and rotund beautiful figure which will have drawn the eye of many, including Iwasa Matabei, which influenced many Asian ideals of Beauty in Women, given the reach and scope of Zhou's position in East Asian art, akin to that of Eadfrith (active 698-721) of Lindisfarne's carpet pages in contemporary Northumbria, albeit more in a depiction of the divine than worldly beauty, through the use of compositional space and decoration to display their influential styles of powerful beauty to the average viewer of their works, which in those days may have held more of a literal spiritual connection than in later centuries. Zhou's work therefore as depicting the more plump and fetching idealised Tang Qiyun Beauty gave the impetus for Matabei to merge 'classical' figures of Beauty together with religious proprietal imagery to create the basework for his own Qiyun Bijin as the Yamato Bijin, which fed into the Genre known today as Ukiyo-e, or rather the longer tradition of depicting Beauties in Eastern Asian art aesthetics.

Bibliography

[1] A New Life for Literati Painting in the Early Twentieth Century: Eastern Art and Modernity, a Transcultural Narrative?, Aida-Yuen Wong, 2000, Vol. 60, No. 2, pp. 297-326, Artibus Asiae Publishers 

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

[3] Huizong's New Clothes, L.C.W. Blanchard, 2009, Vol. 36, p.113, Ars Orientalis

[4] Tao Yuanming's Sashes: Or, the Gendering of Immortality, S. E. Nelson, 1999, Vol. 29, p.15, Ars Orientalis

[5] Review for 'Examination and Identification of the Forging of Ancient Calligraphy and Painting' in Xu Bangda Review, by T. Lawton, 1987, Vol. 17, p.186, Ars Orientalis

[6] Elegant or Common? Chen Hongshou's Birthday Presentation Pictures and His Professional Status, Anne Burkus-Chasson, June 1994, Vol. 76, No. 2, p.280, The Art Bulletin 

[7] Chinese Palace-Style Poetry and the Depiction of a Palace Beauty, Ellen Johnston Laing, June 1990, Vol. 72, No. 2, pp.284-290, The Art Bulletin

[8] https://www.schwarzmanscholars.org/events-and-news/confucianism-feminism-conflict-new-understanding-necessary/

[9] For more and to amend this notion, see Chinese Myths, Anne Birrell, 2000, pp.46-50, British Musuem Press, Chapter Gender in Myth

[10] https://en.wikipedia.org/wiki/Yang_Guifei

[11] http://www.textetc.com/workshop/wt-du-fu-2.html

[12] https://en.wikipedia.org/wiki/Zhou_Fang_(Tang_dynasty)

Bijin Series Timeline 

8th century

- Introduction of Chinese Tang Dynasty clothing (710)

- Sumizuri-e (710)

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

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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