ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 61 s , one one , which in which 2) yōsan-e ). Gold 1672). Gold 3) lbs.) per annum annum per 000 lbs.) [email protected]

E-mail 000 lbs.) per annum, to limit Chinese imports of silk to to limit catties (300, 000 catties ) reveals 1843) reveals , raw silk thread had been been had thread silk raw 1685, bakufu ) with the aesthetic ) with the aesthetic , two years prior to the imposition of 1683, two years prior to the imposition of nōsho 000 catties (105, poets exploited the official poets exploited the official In least at thread, silk raw on Chinese quotas import during the Kanbun years (1661- Kanbun years the during currency flowed out of Japan, prompting the Tokugawa 70, turn necessitated the development of Japan’ During the eighteenth- domestic silk industry. to increase anxious governments, domain century, their revenues, promoted silk farming and commissioned sericulture handbooks. portion of the should bear in mind that a large Edo-period at looking When by official silk wear to forbidden was population consumption the restricted that laws sumptuary was of luxury products. Excessive expenditure could it because mainly immorality, to linked but also because it blurred the lead to insolvency, distinction between those of high and low status. Until imports These China. from Japan to imported 200, at peaked kyōka ) as part of a larger strategy to allow for ) as part of a larger ) - an ukiyo-e genre commonly associated associated commonly genre ukiyo-e ) - an kinben （立命館大学 日本デジタル・ヒューマニティーズ拠点 博士課程後期課程D5） publishers and bijinga poems that poems that Only in the the in Only 1) nishiki-e kyōka ), showing women industriously cultivating silkworms, were ), showing women industriously ) and ended with with and ended 1854) ) and diligence ( kō Vanessa Tothill yōsan-e era that began with the arrival series, which depict silk cultivation: combined the content of informative agricultural texts ( combined the content of informative agricultural Bakumatsu yōsan-e ), did trade in Japanese silk become a 1868), did trade in Japanese silk become a narratives of filial piety ( during periods of heightened censorship. the continued production of prints of beauties how, in a small number of cases, how, with the depiction of urban prostitutes and teahouse waitresses. An analysis of the text- teahouse waitresses. with the depiction of urban prostitutes and image compositions published before and after the Tenpō Reforms (1841- conventions of 'pictures of beauties' ( of beauties' of 'pictures conventions the to response in possibly century, late-eighteenth the in emerged that trend publishing a ( Sericulture prints practices. agricultural commercial of spread the and production silk Japanese of growth yōsan-e 1867- appeared on these prints present a fascinating and appeared on these prints present a fascinating and century mid-nineteenth into glimpse humorous between The relationship sericulture practices. poetry and sericulture may seem esoteric to modern paper will reveal, as this research readers; however, silkworm poetry has enjoyed a long history. opening forced of the impact economic the pre-date paper this in analyzed prints woodblock The of Japanese ports to foreign trade. from the careful handling of the egg papers, to papers, to from the careful handling of the egg by cocoons boiled from silk raw of reeling the The young female sericulturists. century mid-nineteenth three on focus will article This Introduction abstract and The Aesthetics of Aesthetics and The Yosan-e Prints Reforms Era Sericulture Post-Tenpo turbulent of Commodore Perry (1853- Shogunate Tokugawa the sudden collapse of the ( lucrative export commodity.

8) 9) in 181 , jōruri s ’ leave the the ‘leave nishiki-e In Edo, 10) immoral” “ onna jōruri

jōruri ), a capping of the retail price price retail the of capping a ), 11) s summary assesses the impact of of impact the assesses summary s first emerged in the late eighteenth eighteenth late the in emerged first 7) ), because this profession was regarded , a new system of of 1842 and 1843, a new system samisens were confiscated and destroyed. samisens were confiscated and destroyed. Seigle’ 16 mon. and 1796 and were transplanted to the Yoshiwara. Yoshiwara. 165 were transplanted to the that named unlicensed prostitutes (issued (issued prostitutes unlicensed named that , illegal houses, 165 Of the original 750 “ eventually moved to the Yoshiwara; 4 Yoshiwara; to the eventually moved and illegal prostitutes were arrested in Edo 2 Yōsan-e Usually, arrested women were auctioned off at arrested women were auctioned off Usually, bidders successful the and Yoshiwara, the without for three years employed them wages.” instructed sex workers active in twenty- in active workers sex instructed 1842 1793 , reprimands were followed by arrests, and and by arrests, followed were 1843, reprimands onna jōruri , and called for a ban on on ban for a called and 1798, ( The Edo city as a front for unlicensed prostitution. magistrate had labeled female reissued in 1831. This ban had been performances. between between government censorship was introduced to more The new closely regulate popular publishing. to related that regulations publishing blocks, eight colour seven or to publishers limited and fixed the maximum retail price for single sheet prints at In musicians’ its to rid Edo of and attempted illegal prostitutes. sex trade the illicit targeted The reforms also month in the third lunar issued edict government A of to districts entertainment unlicensed three on women ban government a to extended of sex workers and geisha The persecution areas and engage in other occupations within six within six occupations in other and engage areas months.’ this ordinance: trade guilds were abolished in 1841. self-regulating the Tadakuni, Mizuno Under conservative the to response in possibly century, policies of the previous Chief Senior Councilor, Sadanobu (1759-1829). These Matsudaira measures had included bans on publications of single-sheet bijinga in of single sheet prints (1795), and a law curtailing / ” and and wearing wearing period, period, by1843 did not did not pictures of pictures of educational chōnin onna geisha 1841- yōsan-e 6) s offending items items s offending Bakumatsu ). , coarse pongee silk, silk, pongee , coarse by banning ‘ Sata’ yakusha-e Officials repeatedly issued issued repeatedly Officials 5) 4) ) and low-status samurai families. ) and low-status samurai . Their popularity is demonstrated is demonstrated Their popularity . ), courtesan prints ( ’ silk ordinary s obsession with silk partly explains ) that purported to be “ be to purported ) that to women and children. This was in This and children. ” to women luxuriousness” chōnin bijinga yōsan-e a crepe lined under-kimono, the collar of of collar the under-kimono, a crepe lined ‘ ( silk was officially forbidden to urban forbidden to urban silk was officially ’ , it is necessary to consider how government , it is necessary to consider how government nishiki-e ) and actor prints ( to be worn by commoners. The consumption of consumption The by commoners. to be worn faced with crepe.’ faced “instructive an examination of the poems from the pre and post- an examination Tenpō Reforms period can provide the viewer with a more detailed understanding of mid-nineteenth century aesthetic developments and poetic networks. (1794- Tadakuni the Chief Senior Councilor Mizuno The Tenpō Reforms passed in 1851) produced an increase in coloured woodblock ( prints or attempted edicts that response to government direct to suppress “ beauties by the poor quality of the impressions of extant of extant by the poor quality of the impressions taken were impressions that evidence clear prints, However, until the woodblocks were exhausted. of appeal the understand fully more to order in yōsan-e policy and economic developments influenced print While the imagery of aesthetics. change dramatically in the pre- farmers to wear ‘ wear to farmers sumptuary edicts in attempts to curb commoner silk to curb commoner in attempts sumptuary edicts daughter of Sajiemon In 1841, Sata, consumption. for ‘ arrested was Sagami), in Tsukui (from clothes above her station. ’ included silk wadded handwoven a dapples, large had which a jeweled pongee silk jacket with an over-kimono, satin undercollar of black satin, and a handwoven obi yūjo the rise of The public’ cotton and ramie. seven laws were issued detailing materials that were that materials detailing issued laws were seven not silk and lustrous silk twill, figured thin silk crepe, habutae townsmen ( flourished, industry silk domestic the as However, for acceptable was it that held opinion common wealthy families, samurai modest

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It is It is Kaiko ( 14) (2002). genre was genre was ), on the the on 1803), , Ukiyo-e ni miru miru ni Ukiyo-e bijinga 「蚕やしない草」

’s designs for the first 養蚕秘録』 Fusōkoku Fusōkoku dai issan: Yōsan

( will offer translations and translations and will offer ’ texts. A A Secret Record of Sericulture, s and 4 ). The author will argue that the that the The author will argue ). 3 A Text on Cultivating Silkworms Text A re-packaging of the Kaiko yashinai-gusa . This study builds on research conducted builds on research conducted This study . s interest in self-help manuals. self-help in s interest ’

『扶桑国第一産 educational’ aesthetics and textual content of nineteenth-century and textual aesthetics yōsan-e by the Tōkyō Nōkō Daigaku Fuzoku that Toshokan publication related and exhibition an in resulted titled CD-ROM accompanying with – kaiko yashinai-gusa sanshoku manyuaru Sections on the interpretations of the poetry that feature to relate poems how these discuss and prints, sericulture texts and imagery. Nineteenth-century prints will be discussed in the context of sericulture these works agricultural handbooks since many of bear the title in Section 2 Section in the influence of agricultural texts, most ’ notably Uegaki First Produced in Fusō hiroku yashinai-gusa ‘ series of 1786 has suggested that the purpose of the to appealed and educational was prints these public impossible to know how the general public public general how the know to impossible consumed these prints, or whether they were actually put to use in a genuinely educational way. a strategy employed by publishers to sell pictures of pictures sell to publishers by employed strategy a beauties while averting government censorship, as sericultural opposed to a genuine endeavor to teach reader/print-consumer. the to or techniques skills decision had At the time of their issue a conscious prints as been made by the publisher to market these purported ‘educational to discern, since the age, difficult in mind is more reader particular a had publisher the Whether (urban or and even the location social-status gender, rural) of the actual audience is difficult to confirm. on Some consumers may have used the information knowledge general their increase to texts these about an industry that was transforming the rural in his discussion of Katsukawa Tajima, economy. Shunshō and Kitao Shigemasa published

), A 12- 1790s Kaiko ( Given Given yōsan-e 13) series in 1846/ ) of women women of ) by Izumiya by Izumiya 12) bijinga 11 ōkubi ) published ) circa ( Kaiko yashinai-gusa 「養蚕美人競」 ( 1846/ 1815-1842/5. - developed, references developed, references 6 seal was in use. Beauties Compared to ’ s bijinga ’ heads large s untitled series from from series untitled s seal and their exact publication ’ seal and their exact publication ), published by Ezakiya Kichibei Ezakiya by published ), kiwame sericulture prints before discussing discussing before prints sericulture 「蚕やしない草」 Yōsan bijin kurabe A Text on Cultivating Silkworms A Text kiwame ( a single ‘ , published by Aritaya Seiemon; and Utagawa , published by s series has a date seal, the prints by Eisen s series has a date seal, the prints by Eisen 5 2 Bakumatsu Sericulture first published circa 1842/ Tenpō Reforms period that will series published in the post- The three poetic be discussed are: ’ Utagawa Yoshitora Outline the same vein. inspired many parodies of the official narrative that appealed have must These piety. filial promoted nineteenth the throughout because public the to numerous publishers issued century demonstrates that the Kansei Reforms of the (three series), and Moriya Jihei (one series, also (three series), and Moriya Jihei (one series, also While Kikugawa published by Ezakiya Kichibei). Eizan’ only bear a ‘ dates are not known. Between 1791-1805 and 1815- 1842/ will be made to Kikugawa Eizan and Keisai Eisen’s will be made to Kikugawa Eizan prints from the pre-Tenpō Reforms period. These selected works include four series with the title Text on Cultivating Silkworms Text Keisai Eisen’s dates (1790-1848), these prints would have been produced between pre- of survey brief a with begin will paper This the publications of ‘ of publications the (1800). The poetry of the Reforms pre-Tenpō 1852/ ’s Yoshikazu yashinai-gusa 1842/6-1846/11 (no publisher’s seal). sericulture-themed how demonstrating of intention the With Ichibei and re-issued during the Meiji Period; Period; Ichibei and re-issued during the Meiji ’ Utagawa Yoshitora 「蚕やしない草」

hokunin hokunin hokunin poetry to poetry to Iro-e Iro-e shokunin ( waka A A Poetry Contest 16) 『七十一番歌合』 1657, was reissued [MFA 1784 Boston: [MFA (1770). Edo shokunin uta awase ) illustrated by Tachibana Tachibana ) illustrated by ( manners and customs’ A A Contest of Seventy-one 99149], and ) originated in the Heian era (794- ) originated . The two-volume 1826, and 1845. The two-volume or as parodies of a genre which or as parodies of a genre which are usually categorized as prints that that prints as categorized usually are 17) ) 1812, Fūryū enshoku Mane’emon c ). The game of matching game of The ). Shichijūichiban uta awase ] [No. 244 (Nichibunken) Japanese Studies Center for ○ 31903] first published in ( Nandaka, daibun michizuku ga okosama e Sena ga Edo miyage ni azuma nishiki to iu Kore mousu, okosama no mae de kagaremasu mousu, okosama no mae de kagaremasu Kore 『彩画職人部類』 - shoku-e o mitara, ki ga waruu natta. - zo e. - nezumi ga tsuki wa senu ka Yōsan-e ) and provided an enduring theme for for theme enduring an provided and ) 655a-b; NIJL: 1744, fūzokuga ( depict Edo-period ‘ depict [NIJL: bunrui Minkō was first published in 49. Between Edo Craftsmen At least, in this fictional portrait of life in a of life in a At least, in this fictional portrait market. had found a rural printed erotica farmhouse, it is worth When examining the sericulture prints Who consumed these prints? asking the questions: And, to which genre do these prints belong? Figure 1.

in Colour Artisans Pictures of Various depicted trades practiced by commoners (s by commoners practiced trades depicted zukushi pictures of artisans engaged in their trades (s zukushi uta awase 1185 and eighteenth the of books woodblock-printed nineteenth centuries. Poems

m ’ I ). The ). ]. The ]. The ) mood 1 Elegant Elegant nishiki-e sena ” shoku-e ( ’ ) will pollute them. pollute ) will publication, publication, ) [International Research ]. In this erotic erotic ]. In this 1656139 san-e: A Survey 1770 ) illustrated by Suzuki by Suzuki ) illustrated Fūryū enshoku Mane’emon okosama o s ( ’ colour pictures ‘colour ) of a farmhouse [Figure enpon by a rural audience can be found in in found be can audience rural a by 15)

kaikobeya By the middle of the nineteenth century, By the middle of the nineteenth century, nishiki-e “ their made first warships Western when waters presence felt in Japanese threatening Tokugawa and the solid foundations of the of world the crumble, to began system out had spread born in the cities consumption people rural the so that countryside, the into could no longer be ignored, either as producers or as of many of the goods available national consumers in rural markets tied in to ones.” s ’ young woman tries to resist him, fearing that sex in silkworms ( front of the Amorous Amorous Mane’emnon Center for Japanese Studies (Nichibunken): 224_A_010; NBK NIJL: book ( picture emon spies on a young a spies on Mane’emon miniscule Harunobu, a silkworm-raising the in molested being woman room ( that his master’s ( young man complains The aged man in the adjoining room lights a candle by the noise he exclaims, “ Awoken and peers out. has worsened after seeing his souvenirs of seeing his souvenirs has worsened after known as Edo, from afraid a mouse is poking the silkworms! Nishimuraya Nishimuraya Yohachi Edo comical reference to the consumption of A Bakumatsu Y 1. Pre-Bakumatsu commoners in the major trading consumed by urban were The view that woodblock prints our shape to continues Osaka and Edo of cities in spite of the fact that understanding of ukiyo-e, well-established networks trade operated along the that connected cities with castle main travel routes towns and beyond. As Francks concludes in her consumption ordinary study of ‘Country gentlemen, ’ and the development of the rural economy, 『風流艶色真似ゑもん』

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, Yo- Ehon Ehon Kaiko ( 2541247] s work is is work s A Picture A Picture 養蚕秘録』

1786) [NDL: Fusōkoku dai Shinsen yōsan ( , s official policy ( Newly Compiled: A Secret Record A of Record Secret A A Secret Record of , internal title 1757) [ARC: were: were: , ). 『扶桑国第一産 , suggesting that the trend for for trend the that suggesting ,

6 yōsan-e peaked in the decade immediately immediately decade in the peaked sakoku 『画本宝能縷』 2556953] illustrated by Nishimura 1855/

『 かゐこやしなひ 草 』 , in spite of Japan’ spite in 1848, kyōka ], illustrated by Katsukawa 1286957], illustrated by Katsukawa was published overseas with the title the with overseas was published in 『新撰養蚕秘書』 .

11501/ series by Utagawa Kuniyasu (two sheets); four (two sheets); four Utagawa Kuniyasu series by by four series sheets); (eleven Eisen by Keisai series sheets); (fifteen one series and Yoshitora Utagawa (six sheets). Only three Edo- Yoshikazu by Utagawa period poetic sericulture sheets have been identified that post-date silk-related Reforms. Tenpō after the three main sources published format that in book the prints, poetic to these turning Before prints sericulture nineteenth-century influenced their information will be introduced. Collectively, sub-genre within a inspired content and aesthetics bijinga 2. Agricultural Texts and Aesthetics nineteenth-century key texts that shaped the aesthetics The of A Treasured A Book Treasured on Sericulture hishō Yoemon Tsukada written by the silk farmer and illustrated by Isshiki Nobuhide; Book of Brocades with Precious Threads takara no itosuji yashinai-gusa 10. Shunshō and Kitao Shigemasa; and sericulturist Uegaki Morikuni’s three-volume Sericulture, First Produced in Fusō issan: Yōsan hiroku 1803) [NDL: Chūwa and Hayami Shungyōsai. Uegaki’ also famous for having been secretly taken back to Europe by Philipp Franz von Siebold, where it was translated into French and Italian for the benefit silk manufacturers. Western of Sericulture san-fi-ro of isolationism (

A ). to first 23483; 『 頭 書 『絵本 1807 760247; 29111024]; 1851 [NIJL: joshi yō ōrai that focused on that focused on Kaiko yashinai-gusa ( ; 29157297; ARC: Ebi Ehon teikin ōrai 18) 1713 [NIJL: Onna kanninki Yamato 『 女大学宝箱 』 815747; ARC: Ebi0323]; yōsan-e 14040] was in published ,compiled by Akatsuki , compiled by Nakamura 3, compiled by Nakamura published in published of Tōshōzōho kinmō zui 1851. ). 00027]; texts. Instead, images of women of women texts. Instead, images , Volume , Volume 06 ]; and Onna daigaku tama daigaku Onna and 30_e0453]; 1828 [NIJL: of 文庫 文庫 『 女大学玉文庫 』 『女堪忍記大倭文』 「蚕やしなひ草」 breaks down as: This (thirty-nine poems in total). poetry incorporate series thirteen these, Of one (four sheets); Eizan by Kikugawa one series Text on Cultivating Silkworms Text the the sericulture process. From the period 1855, the author has catalogued over 160 different extant, single-sheet designs by Kikugawa Eizan, Utagawa (Gofutei) Sadatora, Harukawa Eishō, Utagawa Yoshikazu, Utagawa Kuniyasu, Utagawa Sadahide, Utagawa Eisen, Keisai Yoshitora, Utagawa Kuniyoshi, Utagawa Kunihisa, Utagawa Utagawa Hiroshige, Utagawa Hiroshige Yoshifuji, Utagawa and Kunimaro, Utagawa II (Shigenobu), prints constitute approximately These Kunisato. series (including at least twelve fifty-five different triptychs). Many of these series, recycle the title Onna misao kyōkun onna daigaku misao kagami T1A0/26/29]. ARC: 770467; Kanenari and published in 1843 [NIJL: Waseda: Waseda: bunko witnessed an explosion in The first half of the nineteenth century and reissued in 1808 and reissued Examples include the 増補訓蒙図彙』 does not feature in these the industry of sericulture weaving and cord making, unlike However, shokunin zukushi are predominantly found in engaged in sericulture for women ( educational textbooks Tekisai Tekisai and Shimokōbe Shūsui, first published in 1666, reprinted in 1695 and in 1789 [NIJL: Waseda: 庭訓往来』 bumi Onna daigaku takarabako 1714 circa published [NIJL: ]; Katsushika Hokusai’s Katsushika 1092]; 『女操教訓女大学操鏡』 [NIJL: 『江戸職人歌合』

A 22) was was 2556953] 21) were thoroughly were thoroughly (1803). A A Secret Record of s practical illustrations s practical ’ Yōsan hiroku within the second volume of A A Secret Record of Sericulture s ’ kyōka were chosen to lyrically describe were chosen to lyrically describe ]. The poems in in poems The ]. 2 c s daughter, whose diligence ensured the whose diligence ensured the s daughter, National Diet Library [info:ndljp/pid/ National ○ 伎奴波安礼杼 伎美我美家思志 安夜伎尓保思母」 no Tsukubane Nii-guwamayo no Kinu wa aredo Kimi ga mikeshishi ni kihoshi mo Aya “Although I have silks Fresh from the new mulberry cocoons Mountain. Tsukuba Of the Oh, how I’d love ” wear that gown of yours. To [Figure [Figure Sericulture apparatus. methods and sericulture farming regional In the first five poems translated here, the reader is filial figure of the hardworking the introduced to farmer’ success of the household’s silk crop. Uegaki encyclopedic in its scope. In its retelling of meticulous technical it offered sericulture history, observations interspersed with Chinese and stories, and Japanese mytho-historical tales, short The poetry. Secret Record of Sericulture text the with integrated Figure 2. Uegaki Morikuni,

s 19) ). 252] prints prints 34. 1800 by (vulgarity) (vulgarity) 241- ), an imperial an ), bijinga zoku A A Collection of 34. were guided by by were guided social ambitions. 「女織蚕手業草」

took their models from models took their chōnin 『 万葉集』 yōsan-e s late-eighteenth century century s late-eighteenth ’ Utamaro genre. Kitagawa yōsan-e stylishly casual adaptation’ ‘ bijinga ( ) between silkworms and young ) between silkworms and young . A A Picture Book of Brocades with Man’yōshū However, contemporary perceptions ) ( 20 Newly Compiled: A Book Treasured on and mitate (refinement) were intentionally intertwined 尓比具波麻欲能 「筑波袮乃 ga 12 sheets, was published around 1798- fūryū yatsushi Joshoku kaiko tewaza-gusa This will be discussed in more detail in Sections 3 and 4. in both nobility the by patronized and practiced The custom of silkworm once cultivation, elegance, ancient signified Japan, and China refinement, and moral rectitude within a feminine private sphere. in C.E., explored the the explored C.E., 759 after compiled anthology erotic theme of exchanging clothes as a metaphor for sexual intimacy. The early-to-mid nineteenth-century comical create discussion this in feature that parallels ( a family, women, nurturing silk grubs and raising aristocratic refinement and the instructive illustrations in these books, whose in these books, whose illustrations the instructive with readers their inform to was aim common descriptions of processes and factually accurate Because techniques. and authenticity of level certain a texts, sericulture the enters realism A Manual to the Female Occupation of Sericulture ( [Museum of Fine Arts, Boston: and an impressive horizontal polyptych comprising comprising an impressive horizontal polyptych of and texts were deeply Kiemon. Its imagery Tsuruya indebted to Sericulture Threads Precious and Tamagawa ’ Shūchō In Kitagawa Utamaro, Katsukawa Shunchō of aesthetics the series, sericulture of text-images The of female silk workers may also have been been also have may workers silk female of influenced by Japanese love poetry that used silk to poem from A connote sensuality. 10,000 Leaves

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暁台 鵞少 鵞少 蕪村 related to the portable baskets that 4 related The woman who raises silkworms who raises silkworms The woman a modest appearance Develops of times past. Like the people Hito ni soshi Kaiko kai no jo Ken naran -Gyoutai Estranged from others, The woman who raises silkworms Is a wise woman. Sazanami ya Kogai suzushiki Jizai dana -Gashou Like rippling waves, Flexible shelving Keeps the reared silkworms cool. Matsu ni naki Kaze kaoru nari Ohoka kage -Gashou Not from the pine This fragrant breeze, reeling frame. Under the shade of the large Kotoshi yori Kaiko hajimenu Kobyakushou -Buson From this year I started raising silkworms. I am a true peasant farmer! 「人に疎し蚕かひの女賢ならん」 「松になき風薫る也おほか陰」 6. 7. 「さゝ波や蚕飼涼しき自在棚」 8. 9. 「今年より蚕はじめぬ小百姓」 could be rested on shelves made from bamboo Poem No.

七沢 菖軒 太（祇） Wagamama ni Wagamama Haiwate kawururu Kuwago kana -Rankou 闌更 The pampered silkworms Young Cannot yet crawl. Ki ni kakaru Hana wa shimaute Kogai kana -Shouken When raising silkworms, Stow away the finest flowers That call for attention. Kaiko kau Onna ya furuki Mi tashinami -Taigi Utsukushi u Kaiko wa kami o sou Hakare -Shichizawa Junrei ni Junrei tsumu Idezu kuwa Musume kana 寥太 - Ryouta has The young woman Never been on a pilgrimage, mulberry busy picking kept is she Because leaves. She sweeps The beautiful, newborn silkworms the egg paper. Off 「気にかゝる花はしまふて蚕飼哉」 「蚕飼ふ女や古き身たしなみ」 「美しう蚕は紙をはかれ霜」 「我まゝに這はて飼るゝ桑蚕かな」 「順礼にいてす桑つむむすめ哉」 4. 5. 1. 2. 3.

, ), 2 , kyōka paired paired and a and a bijinga yōsan-e koma-e playfully playfully kiwame Kaiko yashinai- series follows follows series Kyōka (

24) bijinga that employ the ‘ diversions. The different The different diversions. mitate rural’ date seal. From this series, only ) device. The fashionable beauties The fashionable ) device. poets cannot be confirmed, and and confirmed, be cannot poets . The prints bear a bear The prints . 12’ ) was published by Ezakiya Kichibei by Ezakiya ) was published kyōka kyōka Hare ‘ e-kyōdai ’ (

「蚕養草」 4, 5). of this format The the conventions of picture who are depicted engaged in the ancient practice who are depicted engaged in the ancient practice style a bows in and hairpins wear of sericulture, and young maidens with associated commonly ( picture inset small In the courtesans. four extant prints are known to the author (Nos. 1 author the known to are prints four extant gusa of 1807 and includes month lunar twelfth the in unsigned separate and the recurrent themes of filial piety, social social of filial piety, themes and the recurrent advancement and ‘ series are indicated by an alphabetical prefix. A. Kikugawa Eizan (1787-1867) begins with an early series by Kikugawa Eizan. This study of nineteenth-century poetic A on Text Cultivating Silkworms exploit the ambiguities of the Japanese language exploit the ambiguities of the Japanese language to puns and word associations and use homophones, signed frequently Poets meanings. multiple generate obscured that pseudonyms witty using work their The phonetic reading of the their true identities. of names unless stated, no further biographical information information unless stated, no further biographical has been found. and Keisai sericulture series by Kikugawa Eizan This section will analyze several poetic Eisen that pre-date Reforms the (1841-1843). Tenpō Reforms series have been included These pre-Tenpō as opposed to contrast to demonstrate continuity, of poetic development when discussing the circles was “open, circles egalitarian, flexible, and supplied close connectionsto commercial networks through ” money. competitions for prize people from diverse backgrounds to exchange ideas exchange backgrounds to diverse from people in an and unofficial convivial atmosphere. of organization the Ikegami, to According

or was was 8 and 9. 8 ]. The ]. The 23) 3 syllable kyōka 1286957] 7 - , Nos. 7 - 5 - 7 - prints, some of of some prints, referred to a shelf referred to a shelf 6 are known as Kaiko yashinai-gusa . yōsan-e ) provided opportunities for for ) provided opportunities ) that follow a 5 . ) at poetry gatherings poetry ’) at poems (‘mad Reforms Kaiko Kaiko yashinai-gusa c o haikai National Diet Library [info:ndljp/pid/ ○ kyōku described the simple old-fashioned old-fashioned simple the described ( 5 kumi-ren kyōka , the pages of which may may which of pages the , have also (1786). Ehon takara no itosuji tanka A A Picture Book of Brocades with Precious described an innovative hanging shelving system hanging shelving system described an innovative paired with an image of paired with an image a large reeling frame time. devised to reel ten spools of silk at one comic Figure 3. 3. Pre-Tenp used in Shinshū [Nagano] that had wheels meaning that the silkworms could be easily transported. No. 7 used in Ōmi [Shiga] that enabled the silk worker to easily move the shelves up and down. No. poles. poles. No. shelving used in Tajima [northern Hyōgo], Tanba [central Kyōto, east-central Hyōgo] and Tango [northern Kyōto]. Poem No. of tradition a Prior to Reforms, the Tenpō there was already This standard title derived which featured poetry. from Threads circulated as single sheet prints [Figure poems that appear on Professional and amateur-enthusiasts composed their and These poetry groups and competitions. networks ( pattern. The shortened form with the 5-7-5 syllable pattern. structure is a

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68 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 69

( 『詩

紀貫之 spinning spinning The Book Collection Collection ), attributed ), ). The following The reader has reader has The 衛風」

27) ” . ‘Shishiko’ poem. ; 「國風 ’ silkworm. its threads can be found in the the found in be can threads its enpon ’ , one encounters a description of a description a encounters , one Shijing 『古今和歌集』 碩人 paying out paying 春しもそ Aoyagi no Ito yori kakuru Haru shimo zo no hana Midarete ni keru Hokorobi “The soft green threads of Disheveled willows twisted Spun taut in spring Unraveling masses of blooms Rent open in abandon 膚如凝脂。 領如蝤蠐。 齒如瓠犀。 螓首蛾眉。 みたれて花の い とより かくる ほころひにける」 , Chinese: , 「青柳の 「手如柔荑。 or ‘ ’ Kokinwakashū may have influenced the 經』 to Shuo Ren and woman with silkworm moth eyebrows beautiful a ‘tree grub’ neck: Heian-era, imperial poetry anthology, poetry anthology, Heian-era, imperial of Japanese Poems of Ancient and Modern Times ( Tsurayuki no Ki courtier-poet the by verse the States, Odes of Wei of Odes: Lessons From from poem Chinese following the In already encountered this usage of the word to mean mean word to of the usage this encountered already euphemistically employed in woman, when it was Suzuki Harunobu’s of the spring The imagery willow ‘ out another word that was used to describe a beautiful beautiful a describe to used was that word another was ‘ young woman / mayu ). This uguisu ‘thread e-maki e-maki poem poem ( Joshoku Joshoku 繭 ( A A Manual for ‘sleeps’ in the ,and brow’ 獅子子 refers ) published by by ) published 眉 Shishiko’ or ‘ 柳眉 ‘

series titled titled series ‘Shishiko’ ryūbi The 26) ’ cocoons ) and at other times, is used 25) ). spring warbler brow’ ( ‘spring warbler 眉 毛 e-kyōdai

), who drew a willow-shaped line 「女織蚕手業草」 糸 眉 Shishiko ) referred to the appearance of ladies-in- appearance the to ) referred ( brow’ ‘willow mayuge ). The phrase okujochū ito mayu 鶯眉 ( Dai ichi Shishiko Kuridasu Haru no yanagi no Ito yori wa kaiko no Tsukuru Mayuge yori shite No. 1: From the threads of the willows Spring spins out, Even the eyebrows Of the silkworms are made. 眉 . This series substituted a sericulture-related, a substituted series This 1811. brow’ on their plucked eyebrows. This fashion was also This fashion was also on their plucked eyebrows. known as character forms the compound kanji meaning character forms the compound kanji meaning ‘eyebrows’ ( ‘ to mean independently mayo mayu waiting ( scroll with the two contemporary beauties serves contemporary beauties serves scroll with the two Eizan Kikugawa present. with the the past link to similar a produced to the Female Occupation of Sericulture kaiko tewaza gusa that in this series takes the form of a picture scroll, of a picture scroll, series takes the form that in this The silkworms. also shown farming women are venerable the in farmers silk the of pairing Yamaguchiya Tōbei Yamaguchiya in the third intercalary month of the picture woodblock-printed picture book for Museum of scroll inset [Manos Collection- Corfu AE-7033]. No. Art: Inv. Asian print, of the title The to the first of four dormant periods or is the there silkworm. In this poem, of the life-cycle ( use of the variant kanji for cocoons references this custom and also suggests that that also suggests and this custom references

refers to the the to refers managing the managing the ’s attention pose demurely. One demurely. pose ’ Takeko sash hand as in one ‘ obi koma-e 31)

たけ子 30) , two similarly dressed women , two similarly ’ ‘Takeko because it will enrich her family. The enrich her family. will it because Takeko Niwako stage of cultivation. cultivation. of stage ‘Niwako’ 庭子 Dai ni Takeko ga Taoyame Soto e chirasanu Kokorobae Hana no kaiko no Sodachi katayoki No. 2: The elegant young woman Is not scattered by external things. She has a good method for Cultivating the flower of silkworms. Dai yon Niwako Saiwai o Musubu ito Oya kuri iten Musume mo kuwa no Hataraki mo yoshi No. 4: Good fortune Is bound by the thread The parent reels. with the mulberry daughter working A Is also auspicious. ’ fortunate ‘ ’ Takeko she peers down to observe her companion cutting cutting companion her observe to down she peers more women are pictured Two mulberry leaves. in the scroll-shaped two women in women two woman gathers her green ‘ handle the mulberry leaves. One woman works with a knife to remove the leaves from the branches, transference of the silkworm grubs using chopsticks grubs using chopsticks silkworm the of transference [Figure 4]. is In

1807 ( Takeko (Chinese: , It is useful to It is useful to , No. 2 29) ” Is its body like a woman’s a like body “Is its 28) century B.C.E. Chinese text by Kaiko yashinai-gusa rd Ode to the Silkworm 3 - th ). This text contemplated the form of the contemplated This text ). 』 c Corfu Museum of Asian Art, Hellenic Ministry of Art, Hellenic Asian Corfu Museum of ○ /12). of Corfu Museum Collection- Manos and Sports. Culture AE-7047]. No: Art. [Inv. Asian titled 荀子

『蠶 巧笑倩兮。 美目盼兮。」 “Her fingers were like the blades of the young white-grass; ointment; Her skin was like congealed tree-grub; Her neck was like the melon seeds; Her teeth were like like eyebrows her cicada-like; forehead Her silkworm moth; [the antennae of] the What dimples, as she artfully smiled! How lovely her eyes, with the black and white so well defined!” Xunzi Can fu consider how the slender bodies of silkworms were slender how the consider when reading the associated with feminine beauty, poems. and industry of the skill the on focus poems two following The filial daughter, whose diligence Figure 4. Kikugawa Eizan, silkworms in a 4 were first favorably compared to Women the silkworm and asked: and silkworm the horse? of a that like head its and

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70 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 71 34) , No. 4 (1815-1842). sash patterned with a circular sash patterned with a circular Kaiko yashinai-gusa s clothing is also patterned with s clothing is also patterned with obi s crest of three, square, rice measures measures rice square, of three, s crest Collection Collection Nationaal Museum van Wereldculturen. c ○ ). Unfortunately, the dayflower blue of the 1327-326]. [Coll. no. RV- Dai yon Sewa shinaku sue wa Yashinau Sokobaku no Kogane ni kaen Kuwa no kodakara -Kinju’en Niki 琴樹園二喜 No. 4 The silkworms cultivated with great care, return some money in the end. Will mimasu dragon motif. Her styled hair is kept clean with a clean with a dragon motif. Her styled hair is kept bat the with decorated also cover head dyed-blue motif. The boy’ Danjūrō VII’ ( woodblock print has faded to grey.

Figure 5. Keisai Eisen, a young boy plays by their side. One woman with with woman One side. their by boy plays young a a with decorated an apron wears hairpins large bat pattern that has three linear bands, an emblem actor kabuki the with associated commonly Ichikawa Danjūrō VII (Ebizō V). Her companion is dressed in serviceable indigo blue, fastened with a voluminous Kaiko Kaiko 33) ( 中島又 before they they before ’ 3, 4). ], two women are ], two women are sleep 5 － 柳想堂糸満 conduct a similar task, task, similar a conduct poets, it has only been been only has it poets, ), with black title cartouche cartouche title black with ), The author has located two koma-e 32) kyōka is used to refer to the period after after period the to refer to used is ’ third moult or ‘ or moult third poet Nakajima Mataemon

「蚕養艸」 1843). censor’s seal was published by Ezakiya Niwako ‘ (? - (? kyōka Dai san Shita ni sae Okade sodatetsu no Taoyame yori te ni toru Te no kaiko wa Tana Itoman -Ryuusoudou A Text A on Text Cultivating Silkworms No. 3 Even the lowest are Nurtured with great care; Passed between the hands Of graceful young women The shelf of silkworms. kiwame 右衛門 yashinai-gusa and possible to tentatively identify Kinju’en Niki as the prolific Kichibei. Of the Of the Kichibei. extant prints from this series (Nos. feed to round basket a in leaves mulberry collecting In this series, Eisen has depicted two women is woman One trays. the in silkworms many the to with kimono dressed in an eye-catching attractively to the a reference leaf and silk reel design, a maple on celebrated was that weaving festival Tanabata the seventh day of the seventh lunar month. begin spinning their cocoons. begin spinning their B. Keisai Eisen (1790-1848) while the other holds a large basket of leaves. leaves. of basket large a holds other the while the in women The silkworms in the and checking the leaves preparing trays. the ’ silkworms the shown busily moving the trays of silkworms, while In the next print [Figure

, 4

35) . untei untei

凌雲亭和

36) Kaiko yashinai- ( ). ). In print No. hakama 5 , , 4 威儀の眉」 , , 『狂歌花鳥画集』 1 untei Morimaru has been has been untei Morimaru 稚 ごゝろ に ), and cartouche yellow title with

Niwako poet and artist. He also used the poetic poetic the used also He artist. and poet Kyōka kachōgashū s seal was also published by Ezakiya by Ezakiya published was also censor’s seal by the influential teacher, Sakurai Baishitsu Hakamagi ya ni Osanagokoro Igi no mayu Hakamagi Of a person of high status. Acquire good manners From the time you are a silkworm. No. 4: become the thread in the To A Text on Cultivating Silkworms on Cultivating Text A Dai yon Niwako Kurai yoki Hito no hakama ni Naru ito zo Kaiko no toki yori Gyougi no tsukete -Kijakurou Kakyuu 黄雀樓夏躬 haikai 「蚕養艸」

「はかま着や (dates not known). Originally from the silk- (dates not known). Originally from women prepare leaves for the adult worms, and in for the adult worms, and in women prepare leaves the silk cocoons. No. 5 the women collect tentatively identified as untei Wakai ’ Ryō The poet ’ Ryō 海 producing region of Kōzuke [Gunma], ’ Ryō Asakusa in Edo where he worked moved to Wakai a as and soubriquet Kayatsuki’en Morimaru 茅月園守丸 compiled haikai a mind to calls poem this in imagery The 桜井梅室 (1769-1852). C. Keisai Eisen C. Keisai gusa kiwame extant prints from this series are Three Kichibei. known to the author (Nos.

- 子 kyōka (1815 ( s series s series ’ Funako 063: Ukiyoe- 3, kodakara _ tradition of tradition of ]. A comparison A ]. 6 , No. bijinga [Tokyo University of of University [Tokyo A Text A on Text Cultivating ). Funako was also used to refer to young Kaiko yashinai-gusa , ko 3 娘 Tokyo University of Agriculture and Technology. Technology. Agriculture and University of Tokyo c ○ , No. musume [Ukiyoe 1_063: Ukiyoe-VR-Museum, CD ROM]. 1842). women in the prints, nurse their young with nurse their young with women in the prints, The treasured children of the mulberry leaves. children of the The treasured ). The syllable rural’ 宝 the latest presenting his print-buying public with is a reissue This print fashions. kabuki-influenced titled design older an of women ( Eisen continues the Silkworms Figure 6. Eisen Keisai Eisen on appears that poetry The reflect the social ambitions of parents who, like the ‘ are equated with human assiduous care. Silkworms turn identified with treasure/ children, who are in epithet used commonly the in wealth 1 Ukiyoe Technology. Agriculture and VR-Museum, CD ROM] [Figure and publisher of the two states reveals how the artist women’s clothes, the to relating details altered have later edition, simplifying the textile patterns. In the a signed informative prose has been replaced with poem. emphasizes the economic and social advantages and social advantages emphasizes the economic The upbringing. a careful from result can that

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72 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 73

kyōka Niwako’ Brocades Brocades （1815-1842） of Ezakiya of Ezakiya 4 of of series is framed series is framed ). The title of this this of title The ). o and reveals that o and reveals that 5 , , and 6 and 4 5 , , 3 , , 2 , , and appears within a framed a appears within and , which refer to the ‘ , which refer to 1 Kaiko yashinai-gusa, Niwako Kaiko yashinai-gusa, Niwako kyōka Tokyo University of Agriculture and Technology. Technology. and Agriculture of University Tokyo ]. Publisher, Ezakiya Kichibei also issued Ezakiya Kichibei also issued ]. Publisher, ’s series. [Ukiyoe 1_065; Ukiyoe-VR-Museum, CD ROM] c 7 ○ Niwako Mutsumajiki Futari komori no Mayu no ito Kau ni mo araki period. Only one unnumbered extant print with a period. Onlyextant print with one unnumbered a author the is known to publisher’s seal Moriya Jihei [Figure this series, and all five prints from this series have been identified (Nos.

Figure 7. Keisai Eisen, A Text A on Text Cultivating Silkworms following The cartouche. rectangular black a by signed is a poem to the reader inset, alongside information advising leaves to the mature silkworms that will feed large text quotes The instructive soon spin their cocoons. verbatim from sheets No. with Precious Threads the The poet has signed stage in sericulture. with his alias Kamenoya Mino’ his place of birth/current residence is in the silk Gunma]. producing region of Kuragano [Takasaki, This design corresponds with No. Kichibei

s seal s seal 37) s role as a s role as a is compared is compared censor’ ) was published 凌雲亭守丸 hakama kiwame’ s poem, the dignified s poem, the dignified ). In the past, this ceremony is alluding to the relationship is alluding

「蚕養草」 hakama is a coming-of-age ceremony in ceremony coming-of-age a is kyōka A A Text on Cultivating Silkworms s Dai go Mayu Kuwa no ha ni Araki kaze sae Ito harite Kaiko kau mi ya naru Oya kokoro ’untei Morimaru -Ryou No. 5: Cocoons Even a rough wind against the mulberry leaves, the tension of the thread. Effects When keeping silkworms, Be mindful of oneself and one’ parent. Hakamagi To the childish mind the childish To of dignity. cocoon A Kaiko yashinai-gusa to a cocoon, and by implication, the child to the the child to the and by implication, cocoon, a to silkworm. ( by Moriya Jihei during the ‘ traditionally took place when the child reached three traditionally took place ’ years of age. In Baishitsu with the solemnity associated between mother and child. D. Keisai Eisen ’ Eisen which a child is dressed in his first pair of formal of formal pair first his in dressed is child a which pleated trousers ( which relates to the sericulturist’s attention to details This poem suggests two readings, the first of the even poem, In the when farming silkworms. the quality of wind on the mulberry leaves effects An alternative reading of the poem the silk thread. reveals that the

The The 42) s finely section section . This is an . ) is repeated honkoku kyōku at the beginning beginning the at s clothing is modest is s clothing 眉の糸

) was first published yōsan-e mutsumajiki futari komori no censor seal period. The title title The period. seal censor by Izumiya Ichibei during Ichibei during 11 by Izumiya mayu no ito Reforms o 1846/ - 「養蚕美人競」

6 nanushi 1842/ Beauties Compared to Sericulture (Yōsan ’ woman a to reference formulaic The . 5-7-5 syllable structure of the the single single the framed cartouche of this series is a reddish-colour, on and silkworms, two by bottom and top the at either side by mulberry leaves. Each single sheet manufacturing silk beside poised beauty one depicts equipment, adjusting a hairpin, holding a fan or the static and are beauties The loom. the resting at ’ women The industry. lack prints The but their appearances are well maintained. follow and generally signed poems are following the unnumbered series comprising of five extant prints. The numbers that appear in parenthesis have been added purely for reference purposes, and correspond with the transcribed poems in the of their artistic careers, Utagawa Yoshitora and and Yoshitora of their artistic careers, Utagawa Utagawa Yoshikazu. E. Utagawa Yoshitora (active c. 1850-1880) bijin kurabe circa poem, however, evokes the erotic image of image evokes the erotic ‘Niwako’ poem, however, of covers the under up snuggling couple intimate an line, the in futon their mayu has long been identified with sericulture practices practices with sericulture identified been long has and dates back to the Nara-era customs of the the third lunar month, court. Each year in Japanese secluded herself in a ritual the Japanese Empress silkworms. imperial the to tend to enclosure designed who artists two This final section will examine prints by drawn eyebrows ( for a beautiful serves as a metaphor and again here, young woman. 4. Post-Tenp ) 亀の

籠もる

倉ヶ野 40) ” 41) ” komoru :

hushed voices so as not to hushed voices so as not to Man’yōshū

38) Because it was also believed that Because it was also believed that 39) reveals shelves of silkworm trays, and trays, silkworm of shelves reveals 屋簑雄 隠在妹見依鴨」 no Tarachine Haha ga kaiko no Mayu gomori imo o Komoreru Miru yoshi mogamo “Like the silkworm in the cocoon Which her loving mother rears, That maid so close secluded in her home – O for the means of seeing her! Koe tatenu nari Koe tatenu ’o Kamenoya Mino -Kuragano Niwako Harmoniously, The two confined within Raise the silk cocoons. and controlled. Their voices are hushed

「足常母蠶子眉隠 kaikobeya silkworm trays were frequently moved from one from one silkworm trays were frequently moved poem may be consciously adapting the following motif Silk poetry that utilized this seclusion that is found in the The theme of confinement ( the worms were sensitive to sound, and flourished flourished the worms were sensitive to sound, and women were in a calm and quiet household, the expected to speak with “ disturb the sensibilities of the worms. The interior of trays of silkworms. leaves and lifting Four women appear in the print, preparing the the room looks out onto an idealized landscape with landscape idealized an onto out room looks the Morris-Suzuki’s study to According bridge. and lake “ from them protect to another to house the of part given to the heat or cold, and the amount of food changes in worms was varied according to temperature.”

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74 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 75 (1842-1846)

s textile design has has design textile s 02; Ukiyoe-VR-Museum,

function of providing their their function of providing _ 43) Yōsan bijin kurabe ]. An examination of these two two examination of these An ]. 9 祖郷

bijinga Tokyo University of Agriculture and Technology. Technology. and Agriculture of University Tokyo c ○ [Ukiyoe 5_02; Ukiyoe-VR-Museum, CD ROM] (1) Neru sho mo Naku omowaruru Kaiko kana -Sokyou It looks as though there is no Place to sleep. Those silkworms! cartouche [Tokyo University of Agriculture and and Agriculture University of [Tokyo cartouche 5 Ukiyoe Technology. CD ROM][Figure kimono’ the states reveals that with repeat floral brown a replacing altered, been prints the Although pattern. grid black stylish a purported to be about sericulture, they still fulfilled their traditional tips and their male fashion female audience with erotic studies of women. audience with subtly for the parallel between women and silkworms In these poems, the poets continue to exploit stood is woman a print, first In the effect. comic brushes, andamidst the scattered egg papers, feather empty trays associated with raising silkworms.

Figure 9. Utagawa Yoshitora,

:7- mitate 1842-1846) (

s lives, taking taking s lives, Yōsan bijin kurabe ]; and the other, a Meiji a Meiji ]; and the other, 8 capture the similarities similarities the capture . Fortunately, two versions kyōku 黒子 , the c Victoria Victoria and Albert ○ Museum, London [E.14734 1886] 1886][Figure - 7 “Kuroko”

Figure 8. Utagawa Yoshitora, kaikobeya of this design are extant: one printed in the muted muted the in printed one extant: are design this of s with an orange-red dyes of the mid-1840 organic cartouche [Victoria and Albert Museum, London: E.14734: reading of the poetry reveals that in describing describing in that reveals poetry of the reading a between the confined and exhausting life of a young or brothel a in prostitute of a that and worker silk inn. hand, while pushing back a sleeve with one The first print in this series depicts a woman At her feet clutching her blue apron with the other. brush used lie silkworm egg papers and a feather grubs was of the This hatching eggs. the transfer to called from very reprint in bright aniline dyes taken pink bright a with issued and woodblocks worn of this paper. that were hardships the references This series comically associated with silk farming. how the job of rearing the poems describe example, For ’ women the dominates silkworms up all of the space in the farmhouse, depriving the the depriving farmhouse, the in space the of up all women of sleep and preventing them from finding A adventures. romantic more pursue to time

) geta 1845

’s seal 「大 (1804- s goyōsakan ) ground in ) ground in belt adjusts adjusts belt obi kimono with long with kimono ’ ]. This suggests that that suggests This ]. 4 - 1 bokashi-zuri

392. . 48) 0 trailing skirt trailing ‘

), published by Ibaya Sensaburō, Taigan jōju Taigan arigataki shima ( 金池 0823, hikizure 1915, Waterfall Waterfall Striped Materials in Answer to 10; (3) go mo Okure Ugokidashi keri Ashita nari -Kinchi The late silkworms Are becoming active! It seems to be dawn. at least three states of this series were issued. The The issued. at least three states of this series were earliest impressions have a red diamond artist under the signature. black large a with fastened kimono blue striped a wearing beauty a print, the In 願成就有ヶ瀧縞」 reproduced a variety of fashionable striped designs. thick-soled wears worker one barefoot, are Unlike the other women in this design who to conduct a silk production process that occurs outside of the home. Beside her is stood the stone basin for heating the cocoons, and apparatus for reeling the silk thread. 1878) was a pupil of the previously quoted Sakurai Izan 関 Born in Edo, the poet Seki 為 ( officer field a as worked Izan Baishitsu. 山 brown kimono looks blue and a boldly patterned in woman a this series, from print third the In a on has alighted moths, one of which down at two impractically is She eggs. its lay to paper of sheet a in dressed flowing sleeves. grey a featuring others, the from different slightly The title cartouche of the fourth print is to blue gradation-printed ( Album 2, place of the red ground [British Museum: Sheet a hairpin. Striped fabrics were an urban fashion a hairpin. Striped fabrics were an urban fashion favoured by Edoites. Utagawa Kuniyoshi’ series Earnest Prayers

) ). from from ’ Kagerō fan. The 夏目成美 ’s Izutsuya

46) haikai 『源氏物語』 uchiwa ) was (1789-1859) 45) ” s eleventh century century s eleventh from the seventh or from the seventh or moneylender 1749-1816). s left are receptacles for for receptacles are left s

47) (a pattern comprised of incense of incense comprised (a pattern Genji monogatari ( fudasashi … 由誓 Genji-kō practice of sleeping close to their practice of sleeping close to their s observation that “ The process of raising silkworms was so The process of raising silkworms was so collections. He started out working as the collections. He started out working as the Tale of Genji Tale (2) Rou hitori Kaiko no kata o Makura kana -Yuusei Aged and alone; The shoulder of the silkworm Is my pillow 44) sticks), which correlates to the Mayfly (‘ to which correlates sticks), ’ Shikibu of Murasaki chapter novel eighth to the fifteenth or sixteenth day of the of the day eighth to the fifteenth or sixteenth ” (i.e., silkworms’ life, their “guardians” or “mothers charges their leave the silk workers) should not unattended for a single moment. labour-intensive that the women were fortunate to to fortunate were women the that labour-intensive summarizes get any sleep at all. Morris-Suzuki Uegaki’ an Edo poet that contributed to many published an Edo poet that contributed to many published haikai head clerk for the his employer, the poet Natsume Seibi (Izutsuya V, Hachiroemon Yūsei 豊 Toyoshima 島 由 誓 in Asakusa Kuramae and learned in blue and white floral kimono, and elaborate hairpins beauty wearing a long print, a In the second pink a holding stands combs, and fan bears a In the background, there is a deep square basket basket deep square a is there the background, In be seen feeding on mulberry where silkworms can beauty’ the To leaves. board chopping and a leaves, mulberry collecting into smaller pieces leaves knife for cutting the and for the young worms. farmers’ poem may playfully refer to the silk The to order in nights frosty cold, during silkworms body room with their in the temperature the regulate heat.

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76 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 77 . ) by 2

/ kyōku 55) censor censor nanushi and 1852 and 「縞揃女弁慶」 12 , the social 1816, the social / . The silk worker 1844. 有田屋定貴智 s silk bedding and her s silk bedding and her In 52) section of this paper. The The section of this paper. A Series of Women in Benkei Women Series of A s honkoku Silk workers were expected to frequently to expected workers were Silk Shima zoroi onna benkei 53) 54) head cover and a black and white checkered ( (1) Kimi ga yo ni ureshi Umarete Koromogae -Aritaya Sadakichi Happy to have been born In this reign, I can change clothes with the seasons. F. Utagawa Yoshitora F. Utagawa 1846 between Published The numbers in parenthesis relate to the transcribed to the transcribed relate The numbers in parenthesis poems in the and Seiemon Aritaya between publisher relationship yet been identified. Aritaya Sadakichi has not poet elaborate the reference may and garment, worn as a on silk as a textile to be The poems focus courtesans in kimono and changes of dress of the district. pleasure the commentator and essayist, Buyō Inshi remarked thatcommentator and essayist, Buyō Inshi remarked the price of a courtesan’ to a clothes for the four seasons annually amounted fortune. Checks published by Ibaya Kyūbei in crouches on the floor scattering mulberry leaves silkworms. feeding for the rush matting onto the Standing behind the woman is her companion, butterflies. large with decorated is whose kimono Aritaya Seiemon during the double Aritaya Seiemon during seal period, these two unnumbered prints are from are two unnumbered prints period, these seal and feature signed the same untitled series change their clothes, but this was to maintain done the handling when hygiene of standards high worms. tenugui In this print of two women, one wears a blue This fabric design is similar to those kimono. featured in Kuniyoshi’

. ]. 4 - 1 haori bakufu 392. . 0 0823, at the Ministry of of Ministry the at instructors, established established instructors,

], and a bolder Meiji 1886], and a bolder Meiji haikai 49) 51) . haikai

s poetry circles and edited a a edited and circles poetry s … 50) 022- 朝水 -related works. haikai , and later, during the Meiji period, period, Meiji the during later, and , 為山 haikai bakufu (5) Kinu tsukuru Mono to wa mienu Kaiko kana -Chouzui From the rainy night, One and all awake. The silkworms It is hard to believe that Silkworms are needed for The job of making silk! (4) Amayo kara Oki soroitaru Kaiko kana -Izan over-jacket. In both editions the woman is elegantly dressed, dressed, In both editions the woman is elegantly striped blue a with kimono green a wearing reprint [British Museum: 1915, back her with loom the at seated beauty a depicts The fifth and final extant print from this series states of this print exist: a more Two to the warp. Albert Museum, and edition [Victoria muted earlier London: E.14773- Both had worked as had Both Edo’ in themselves number of it is known that both poets identified. However, been have poets of the two only So far, were Edo-based and in the service of the for the the for Education (Kyōbushō). During his lifetime he published many became a teacher of teacher a became 1846-1852) s Library collection

57) cultivator; this could this worm’ cultivator; ‘silk 芝石 MAK; MAK–Austrian Museum of Applied Arts/ Arts/ Applied MAK; MAK–Austrian Museum of c ○ Contemporary Art Contemporary [ki-8327-17] (2) kiru Yagate Kinu o sodateru Kaiko kana -Shiseki The silkworms She has raised soon wear silk garments. Will She will one day wear The silk of the silkworms She has raised. Figure 10. ( Untitled Yoshitora, Utagawa Figure silken cocoon. The poem could also express the the could also express The poem silken cocoon. of the expectations silk has raised the filial daughter who refer to the daughter. filial the of mother the as well as grubs, silk worker the suggests that The second translation fabric. luxurious the consume and herself enrich will G. Utagawa Yoshikazu ’ Agriculture and Technology Fortunately, in the Tokyo University of

its its ’ 56) wear ) suggests a a ) suggests

Empress Jitō’ 『百人一首』） ： kokorogae One Hundred by Verses ( Hyakunin isshu Untitled series ‘ （ s . Another example is found in Another example is found in . verse that was included 天皇持統 verse that was included that depicts two young women two young women depicts 1768 that mitate-e

1767- ’ of clothes change Haru sugite Natsu ki ni kerashi no Shirotae hosu chou Koromo Ama no Kaguyama “The spring has passed And the summer come again; For the silk-white robes, are spread to dry So they say, On the ‘Mount of Heaven’s Perfume’” てふ 天の香具山」 ‘ 「春過ぎて 夏来にけらし 白妙の 衣干す compiled by Fujiwara no Teika (1162-1241). Teika no compiled by Fujiwara One Hundred Poets from from clothes were traditionally linked to this poem in References to the seasonal bijinga changing of Suzuki Harunobu’ the for preparation in clothes their laundering summer season [Museum of Fine Arts, Boston: 21.4392]. crouches on the ground [Figure 10] preparing branch woman dressed modestly a print, second the In on the on leaves bundles for the silkworms feeding This is the last stage of preparation rush matting. before the silkworms spin their cocoons. Behind a female companion collects the cocoons, her, The following poem the branches. picking them off straightforward the beyond readings several invites ‘ will silkworm the that interpretation seasonal change from spring to summer, possibly possibly to summer, change from spring seasonal its the silkworm and of the moulting of indicative final metamorphosis into a moth. It also relates to a of dress. woman’s seasonal changes Empress Jitō’s may have been The inspiration for this poem in the imperial anthology The The

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s , using ) can also ) can koto ). During the During ). 加減 ) and describes and ) (

糸所 下弦 ( s poem refers to the the refers to poem s kagen ’ ) could also refer to the ) could also refer to the ) of the samisen. were imperial workshops were imperial workshops 59) 揺 ’s shop. ( ‘Filial Courtesan,’ it is possible itodokoro Yu 音色 ‘filial to avert daughters’ to brothels itodokoro s poem, the busy environment of s poem, the busy environment of s skill at drawing silk thread from s skill at drawing silk thread from onshoku ’ or ‘moderation, ) of Kōgi the , and is consciously manipulating the public , and is consciously manipulating As seen in the picture, As seen in silkworms of The lively worker The thread warm water, From the regulated some clumsily, Some skillfully, ’s thread. [Draw] the silkworm haimyō mean a lower chord or string ( string or chord lower a mean the timbre ( the fingertips of the left hand. In addition to meaning meaning to addition In hand. left the of fingertips the ‘adjustment tremulous style of playing a samisen or where female courtiers produced silk offerings for for where female courtiers produced silk offerings ritual festivals. sericulturist’ Shiseki’ Superficially, possess may poem the However, bath. warm the a double meaning. what may be a brothel is compared to the lively In Kōgi’ which is in woodblock print, in the pictured activity an to compared turn Heian-period, actual identity, and nothing more is currently known more is currently and nothing identity, actual about Kōgi. their contracted families impoverished During the Edo period, destitution and famine. It is possible that Kōgi is in his/her alluding to this sympathetic narrative haimyō the defend to order in piety filial on discourse livelihood of the geisha. Takanawa [Nagano] and Kōgi from Matsushiro from From this print, we discover that Shiseki was alias unusual by the Judging Tokyo]. [Minato-ku, ( working that the poet was a prostitute or geisha Edo. in Takanawa of quarter unlicensed the in This print loosely connects Kōgi to the previously Aritaya and discussed poetry circle of Shiseki the poet’ The pseudonym conceals Sadakichi. - 6 /

「蚕や 1842 7-8 (1842- A Text A on Text

58) , No. ], one woman woman one 11], Kaiko yashinai-gusa Kaiko yashinai-gusa ( c Tokyo University of Agriculture and Technology. Technology. and Agriculture University of Tokyo ○ s seal but publisher’s seal a lacks print This ). 1846) [Ukiyoe 2_09; Ukiyoe-VR-Museum, CD ROM] Dai shichi-hachi E de mite mo Nigiwashi kaiko no Ito dokoro 高輪 孝妓 Kougi -Takanawa kagen ni Yu Jouzu heta ari Oko no ito -Matsushiro Shiseki 松代 芝石 No. 7-8 11. Yoshikazu, Utagawa is from another poetry series titled titled series poetry another from is 8 - was issued during the single seal period ( period seal single the during issued was Cultivating Silkworms the Reforms. 1846/11), immediately after extracts her companion while of cocoons tray a lifts In this impression [Figure The water. heated of basin the from thread silk the print incorporates the following two poems: Figure there is a related earlier print by Utagawa Yoshikazu Yoshikazu print by Utagawa earlier there is a related about the identity more information that provides of the poet Shiseki. This one extant sheet, No. 7 しなひ草 」 narrative narrative were the were the 2543230] kyōka Greater Learning Greater poems that appear ’s strategy of instilling joshi yō ōrai (c. 1714) kyōka s poem dwells on the social s poem dwells on the social poems of ukiyo-e, which regarded system. The . This sentiment is not echoed in the the This sentiment is not echoed in . kyōku c Onna daigaku takarabako National Diet Library [info:ndljp/pid/ ○ and in fine garments cultivated the workers who had not the Were silkworms. Figure 12. Figure on these prints parody the the acquisition of wealth as a cause for celebration celebration for cause as a wealth of acquisition the rather than tears. Ukiyo-e and and culture, merchant of Edo expression artistic consequently reflected the commercial values of its audience and their desire for social advancement. terminology of agricultural texts to metaphorically Pre-Tenpō Reforms poets exploited describe the cultivation of young women the (silkworms) to the material benefit of her parents. This desire for riches and upward social mobility conflicted with the ruling elite Neo-Confucian values in the minds of the populace in order to perpetuate the rigid social divisions of the shi-nō-kō-shō that emphasized the cultivation of diligence in that emphasized the cultivation of diligence in and modesty promote to order young women in Eisen’s poetry Keisai and Kikugawa Eizan frugality. of ideal Neo-Confucian traditional this exploit series ’ Zhang Yu silk impoverished by the experienced injustices that is well farm labourers; a critical observation the as such text moral in a situated for Women kyōka or ), the s body s body ) [NDL: The word 小唄 okosama or female or female 60) ( ) faced by silk ) faced by silk was in use in in use in was 張兪 (Japanese: s kouta ) or ‘silkworm’ could shinku “Female Silk Farmer” 蚕 Okosan ]. This text informed This text informed 12].

『女大学宝箱』 . ( ’ young woman is a reference to is a reference kaiko oko ) from c. 1039: okosama

), and ) poem titled poem ) favoured by geisha. This soft tone tone soft This by geisha. favoured 61) People from Iwate, Miyagi, Akita, Akita, People from Iwate, Miyagi, 弦 254323] [Figure 白雲 「蚕婦」 ) in this poem may describe the samisen’s the describe may poem this in ) Some are skilled and some are inexperienced at Some are skilled and some are inexperienced - Adjusting the tremor of the lower chords The strings of the geisha. 帰来涙満巾 遍身羅綺者 不是養蚕人」 I entered the market Yesterday But I returned home with my handkerchief full of tears. arrayed were bodies entire whose people The 「昨日入城市 糸 11501/ ( Onna daigaku takarabako Kaiko fu silkworms.’ ’ ballads short Fukushima, Ibaraki, Tochigi, Gunma, Saitama, Chiba, Kanagawa, Nagano and Gifu used the term respectful Miyagi, Tokyo (Edo), Kanagawa, Nagano, Shizuoka Shizuoka Nagano, Kanagawa, (Edo), Tokyo Miyagi, and Shimane. was suitable for small intimate venues. was suitable for small ‘ In this poem, musician. This reading provides the following following the provides reading This musician. interpretation: ‘ silk strings ( ‘ for euphemism a be ’ samisen the period, Edo the During was sometimes made from mulberry wood, which wood, which mulberry from made sometimes was of tone to the sound gave a soft ito for women, such as texts educational appeared in References to agriculture and silk cultivation A Chest Treasure of Greater Learning for Women ( 10. its readers of the hardships ( ’ Yu text quotes Zhang The farmers. Conclusion Haku’un (

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80 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 81 / かひ / てよ / 花の / むす / 黄金 / / よし つくる / 蚕の時より / いてん / / 手弱女の / こゝろ ば へ / そこばくの / 蚕は / くり / は た らきも / なる糸そ / か た よき / たなの / ちらさぬ 柳 の い とよりは ・翻刻 / の / 桒の子宝 / / おかでそだてつ / やしなふ末は / とる 江崎屋吉兵衛 / そだち

/ くは / むすふ糸をや / 人の袴に / も / かへん / 手に B 渓斎英泉 行義（ぎょうぎ）のつけて 黄雀樓夏躬 柳想堂糸満 せ はしなく 琴樹園二喜 C 渓斎英泉 位 よき Transcriptions A 菊川英山 幸ひを かいこの め たをや女 が外 へ に こ の 眉 毛 よりし て したにさへ り くり 出 す 春 の 「蚕養艸」江崎屋吉兵衛 「第三」 「第五」 「まゆ 」 「第四」 「蚕養艸」江崎屋吉兵衛 「第四」 「庭子」 「蚕養草」 「第一」 「 しゝこ 」 「第二」 「たけこ」 「第四」 「にわこ」 text text poet poet thread thread series that series that poetry from poetry from by imbuing by imbuing by depicting by depicting shoulder as his his as shoulder ’ s ’ kyōka s fashion had been been had s fashion s skill at extracting s skill at extracting bijinga old and lonely’ Beauties Compared yōsan-e bijinga A Text A on Text Cultivating publishers had found had found publishers Kaiko yashinai-gusa silkworm women. The poems that that poems The women. ’ from from with a sense of educational educational of sense a with , and rural ‘ kyōka a focus is placed on the activities a focus is placed on the activities and the women’ kyōka refer to the lively activity in a ‘ a in activity lively the to refer ’ courtesan prints, served to legitimize s shop,’ A A Picture Book of Brocades with Precious pictures of beauties’ of pictures from from Threads silk (wealth) from the cocoons. There is also an There is also an silk (wealth) from the cocoons. – an strings of samisen plucking the to allusion brothel the with associated frequently instrument districts. The ‘ heightened time of a During morality. and purpose censorship, the diversions of the pleasure industry ’ of women superfluities the and under the guise of feminine remarketed successfully industry and diligence. modesty, Silkworms worker’ pillow. The poems from an untitled series published poems from an untitled The pillow. acquire desire to describe the Seiemon, Aritaya by of changing and the luxurious pleasure silk clothing The garments. accompany post-Tenpō Reforms era prints subtly districts and the female the entertainment reference companionship of the women working there. For from the poems in example, The ‘ of sleeping and waking. ‘ the using about jokes to Sericulture hardworking, hardworking, this era. for poets by exploited be to continued narrative After the Tenpō Reforms, in effect erotic and comic this official femininity. Filial femininity. daughters (treasured children) and recurrent are mothers) (silkworm parents attentive the sericulture-related themes in purported to be educational. Despite the governmentpurported to be educational. ban on ‘ issuing a way to continue

, , 1862, Manual (Tokyo: 1 (Tokyo: , Vol. , Vol. , (Princeton, New ) published in 1806. in ) published Technology and Technology Culture Ishin shi hōhō-jō no sho ‘ / 蚕の糸所 ( / をこの いと Sericulture and the Origins of of Origins the and ‘Sericulture / 蚕かな Seishigyō kindaika no kenkyū 1867. Sumptuary Regulation and Status / はし Yōsan tebiki . Cited examples are the Tsugaru Tsugaru 106. Cited examples are the ( . The Japanese Embassy attended Japanese The 1859. , The John Hopkins University Press Press University John Hopkins The , 1 Hattori Shisō chosaku shū / 育る , I would like to gratefully acknowledge , I would like to gratefully acknowledge Germaine Marxism and the Crisis of / にき ’ in 33, No. / 上手下手あり kuzushiji With regard to the transcription and translation translation and transcription regard to the With / 衣を Rironsha, 1955, 1960), p. 123. Japanese Industrialization,’ Vol. (Jan., Technology, of History the for Society the and 1992), pp. 105- Domain’s commissioning of a sericulture handbook in Domain’s handbook Yonezawa the 1701, and of Sericulture Yamamoto Saburō, Yamamoto (Maebashi: Gunmaken Bunka Jigyō Shinkōkai, 1975), pp. 4-7. , and the trading port of Yokohama Yokohama port of trading was signed in 1854, and the was opened in the Second London International Exposition of and participated in the Exposition Universelle that was held in Paris in Development in Prewar Japan Jersey: Princeton University Press, 1986), p. 111 referencing Hattori Shisō, mondai Tessa, Morris-Suzuki, Donald, “ Shrively, of Kanagawa Treaty the treaties, of these first The Hoston, / 見 ても 3） 4） Acknowledgments of the Ms. and Masae Kurahashi Dr. of assistance generous the University. Yūko at Ritsumeikan Kawauchi Notes 1） 2） 芝石 G 歌川芳員 第七八 絵て 有田屋定貴智 頓て着る 高輪孝妓 湯かけんに 松代芝石 「蚕やしなひ草」版元印なし。 （２） 蚕か / / か ふにも / / / 蠶かな なる いとはりて / 眉の糸 / / / 蚕かな / 朝 なり / 蚕かな / 衣更 / 枕かな / / こゝろ / 親 あらき風さへ / ふ たりこもりの / 動き出しけり / / 生れて嬉し / 起揃（い）ひたる / なくお も わ るゝ / ものとハ 見えぬ / 蠶のかたを / 声たてぬなり

/ 身や 君か代に 金池 雨 夜 から 為山 絹 つくる 朝水 F 歌川芳虎 寐る処も 祖郷 老一人 桒の葉に 倉ヶ野 亀の屋簑雄 E 歌川芳虎 蚕すてに大眠起して後は桑の葉を食すること前／ ＼よりは日にまし多くなる故に採製することせわしく夫 凌雲亭守丸 D 渓斎英泉 由誓 おくれ 蚕も ふ ほり日を重まゆを作時に到る是をはいるといふとぞひ む つましき あらき きりたる蚕まゆを張 作なりまゆはるものを簇と言 「無題」有田屋清右衛門 「蚕美人競」和泉屋市兵衛 「蚕養草」森屋治平衛 「にわ子」 （１） （３） （４） （５） （１） （２）

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, , One One 『女 文庫 1976; , vol. , vol. 蘭更 Yōsan Yōsan Azuma Azuma of Yamada, Yamada, 絵草紙』 ), pp. 2013), pp.

高桑 「又種は清 : Edo jidai josei Hyaku nin jorō 1787) from was , Shutten ichiran, , Shutten ichiran, , vol. 35, ( ) and the date for ) and the date for 1784) from Kenma 1 s 6 Jochū Jochū fūzoku tama The The Manyōshū: The (The Asahi Shimbun (The s 03117] and Nishikawa ’ 1718- 『女堪忍記大倭文』 [Waseda: (1732) [Waseda: 1716- , , No. ) were the ladies among ladies ) were the 1994. , 835; Poem 3350, 06 - a correct heart.’ 5 Nihon nōsho zenshū Edo jidai josei seikatsu ezu 蓼太 Onna daigaku takarabako Onna daigaku takarabako 蚕母 1732-1792) was from Nagoya, 『百人女郎品定 , 文庫ヲ ), (Tokyo: Nōzan Gyoson Bunka 1709-1771) came from Edo, Katō 大島 , (New Columbia York: University 与謝 蕪村 , (Leiden, Boston: Brill, , Bonds Bonds of Civility: Aesthetic Networks 220-235. , No.1, (1993.5-1994.6), pp. 暁台 Aesthetic Strategies of the Floating Nihon nōsho zenshū is listed in Emori Ichirō, 太祇 加藤 炭 1969), p. 278. No. 『女中風俗玉鏡』 s high-ranking courtiers who administered to to administered who courtiers s high-ranking ), (Tokyo: Nōzan Gyoson Bunka Kyōkai, ), (Tokyo: ’ Yōsan hiroku ) was a doctor from Kanezawa [Akita], Tan Tan -1798) was a doctor from Kanezawa [Akita], , Six Poems from the Province of Hitachi, Book of Hitachi, Book Province the from Poems , Six 05 01281]. Yamada, Tatsuo et al., Tatsuo Yamada, 35, ( Uta 14. 1989), pp. 36-37. Nippon Gakujutsu Shinkokai Translation Thousand Poems Press, [Waseda: (1723) [Waseda: Kiseki Ejima and Sukenobu kagami Kyōkai, 1979), pp. 104-168. JH030], Nishikawa ’ Sukenobu shinasadame: ezōshi 大学宝箱』 seikatsu ezu daijiten henshū 浄なる座敷のうへにつり、是に蚕母といふて、心正し et al., Tatsuo hiroku (Tokyo: Ozorasha, 1993. (Tokyo: Onna kanninki yamato bumi “Silkworm mothers” ( silkworm cultivation with ‘ listed in Emori Ichirō, daijiten henshū and Mitate, Fūryū Yatsushi World: in Early Japanese Popular Culture 39, 46. China Shinano [Nagano], Takakuwa Rankō ( 1726 Daijirin daisan hen no kaisetsu through the Group, Inc.), available Voyage Company, Taigi ( Taigi Gyōtai ( [Ukiyoe_1-062: Ukiyoe-VR-Museum, CD ROM]. and Yosa Buson ( Buson and Yosa biographical in Settsu [Osaka]. Unfortunately, information relating to Shichizawa, Shōken and Gashō has not survived. and the Political Origins of Japanese Culture (Cambridge: Cambridge University Press, 2005), p. 193. チ き婦人を附置、これを守等世合ふとかや。」 and bibliographical data are from The transcriptions (Ed.), Wm, Bary, De Theodore Ōshima Ryōta ( The publishing date for

Haft, Alfred,

Eiko, Ikegami Technology, Agriculture and University of Tokyo 22） 21） 23） 18） 20） 19） 26） 24） 25）

th , , , , - th 2 30 Edo Edo Edo Edo 1964 Kinsei Kinsei 「作業 ( , Vol. , Vol. 25 24; month, 4 month, th th 1840s. 6 , (Honolulu: , (Honolulu: 34, (2003.03) / 11 “Kōkoku kaiko , , . Vol. Vol. . 13, Kanagawa kenshi 13 Ukiyo hyaku nin onna e s , (Leiden, Boston: Hotei (Yokohama: Zaidan 4 Hōjin (Yokohama: 1975), p. 780. Yoshiwara: The Yoshiwara: Glittering 14, (Tokyo: Hanawa Shobō, 14, (1994-), p. 257. Recreating Recreating Japanese Women Harvard-Yenching Institute Institute Harvard-Yenching ) [British Museum: BM- Museum: [British (1681) The Japanese Consumer: An , , dated Tenpō , Vol. , Vol. , Vol. , Vol. Publishers of Japanese Woodblock , Vol. , Vol. Toyohara Kunichika ‘Toyohara Edo/Tokyo musume Edo/Tokyo gidayū no rekishi 13646, dated Tenpō 13807 ’ (Shiryōkan Kenkyū Kiyō , (Berkeley: University of California Press, Press, University of California , (Berkeley: か -164. 1965), pp. 123 . Walthall references 1991), p. 49. Walthall 1600-1945 shiryōhen 7: Kinsei Kanagawa-ken Kōsaikai, 『うき世百人女絵』 的にわかりやすく表現していること、描かれている女 性が比較的質素な着物であることなどから、このシ 版されるようになっていることから、それを錦絵として独立させる発想が生まれても不思議ではない。」 Alternative Economic History of Modern Japan by Hishikawa Moronobu’ Kokubungaku Kenkyū Shiryōkan Hen), p. (Cambridge: Cambridge University Press, 2009), pp. 47-73. 「せなが江戸みやげにあづまにしきと云色絵を見た no yōiku” o meguru mondai – Meiji zenki bijinga no ichidanmen Publishing, 2011), pp. 477-479. day; Kinsei shiryō kenkyūkaihen (Ed.), shūsei machibure Prints: A Compendium (1987-1995), pp. 231-232. during the wholesalers that had emerged shomin seikatsu shiryō: Fujiokaya Nikki . Hōsei Daigaku Shuppan Kyoku, 2003), p. 20 (Tokyo: World of World the Japanese Courtesan University of Hawai’i Press, 1993), pp. 209-210. 1994-), pg. 128. day; Kinsei shiryō kenkyūkaihen (Ed.), machibure shūsei Harvard Harvard Journal of Asiatic Studies in Tokugawa ” Japan Tokugawa in れる。江戸時代中期には養蚕を取上げた絵本も出 の内容が上部に文書で記されていること、絵も説明 「これ申、おこさまのまへでけがれますぞ へ 「何だか大ぶんみちつくがおこさまへ鼠がつきはせぬ ら、気がわるふなつた リーズの企画には、教養・養育的な意図がかんじら Francks, Penelope, print culture, this genre is best exemplified Within

Andreas, Marks, (2011), p. 475. Tatsuya, Tajima Marks, Andreas, new the incorporated , and 1851 in returned guilds The Furegaki No. Bernstein, Gail Lee, Furegaki No. Suzuki Tōzo and Koike Shōtarō, (Eds.), Mizuno Yūko, Seigle, Celia Segawa, 5） 6） 15） 17） 16） 13） 14） 12） 10） 11） 9） 8） 7）

s nd 2 13, 97- , 0823, 0823, 2000- 1803), ( , Vol. , Vol. , (Tokyo: , (Tokyo: , (Tokyo: 13, (Tokyo: , (Berkeley: Ōta Ōta Nanpo’ Yōsan Yōsan hiroku 1966), p. 241. “ four changes, , (Fureguransu , [1915, , Vol. , Vol. referencing Buyō 716. , (Yūhōdō Bunko, Yōsan hiroku , (2001) 2012), pp. 70; 85. ; Uegaki, Uegaki, ; , Sheet 6 heyamochi , Sheet 19, [1915, 2 2 courtesans prepared about about prepared courtesans 112 , (Tokyo: Shōgakkan, 8327-17]. , translated by Hoffman. J, J, by Hoffman. , translated , (Tokyo: Seiabō, , (Tokyo: , (200-2002) ), p. ), Edo kagaku koten sōsho , references 1993), p. 250, f.n. 30, references chūsan , (1993), p. 208 ( 1926), pp. 713, Muruberi- no megumi Ōta Nanpo shū 1992 only three changes including the the including changes three only 1868), p. 118. Selling Women: Selling Prostitution, Women: Markets, in ). Both are available through the through the 2001). Both are available Edo kagaku koten sōsho ] concubine, Oshizu, said that the livery livery the that said Oshizu, concubine, ] shinzō Yoshiwara Kōdansha Nihon jinmei daijiten Yoshiwara ; Uegaki Morikuni, 105; Uegaki Morikuni, 1823 Seji kenbunroku - Traité Traité de l’education des vers à soie au Japon 1749 and the and ” livery. L, Inshi, [Ukiyoe 2_09; Ukiyoe-VR-Museum, CD ROM]. Japan Modern Early in Household and the University of California Press, Nihon kokugo daijiten Contemporary Art, Contemporary [KI Ja-narusha, 2011), p. 95. html [Ukiyoe 2_017; Ukiyoe-VR-Museum, CD ROM]. Edition, (Paris: issued [by the brothel] on the fifteenth of the seventh month was never worn more than once. She said that for the New Year, five changes of kimono, the Ouekaki-Morikouni ), 1848 Turin: and (Paris by Bonafous, M, annotated pp.104- [ reprinted in 109-110. Kōwa Shuppan, 1978), pp. in (1803), reprinted 0.392.1-4]. Shōrō shigo Yūhōdō, Tokyo: Kōdansha Nihon jinmei daijiten [Ukiyoe 2_011. Ukiyoe-VR-Museum, CD ROM]. Kōdansha, ‘Japan Knowledge’ database. 0.392.1-4]. 1886]. Nihon kokugo daijiten 2002); (1978), p. 90. Seigle, p.119 (1992), Morris-Suzuki, referencing De Rosny, Amy, Stanley, Tokyo University of Agriculture and Technology, Technology, Agriculture and University of Tokyo Inoue Shigeharu, MAK - Austrian Museum of Applied Arts/ http://jti.lib.virginia.edu/japanese/hyakunin/hyakua. Tokyo University of Agriculture and Technology, Technology, Agriculture and University of Tokyo ( Morris-Suzuki, Seigle, British Album Museum: British Museum: Album Victoria and Albert Museum, London, : [E.14773 Technology, Agriculture and University of Tokyo

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ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints

84 ART RESEARCH vol.18 Yosan-e and The Aesthetics of Post-Tenpo Reforms Era Sericulture Prints 85

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