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A Arte Do Período Edo

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A Arte Do Período Edo Museu de Arte Contemporânea Disciplina: MAK0145 Iconografia Musical e as Relações entre Música e Artes Visuais na Contemporaneidade A iconografia do shamisen como retrato do caráter artístico das gueixas: a arte do período Edo Bárbara Souza de1 Toledo n° USP: 9824155 Período Edo (1603 – 1868) • Emersão dos ‘chōnin’: os homens da cidade; • Origem das gueixas e da música shamisen. O período Edo é marcado pela emersão dos plebeus. Por terem sido uma importante chave do comércio e, consequentemente, da economia do Japão na época, as principais novas políticas sociais propostas foram para essa classe e foram eles e seus costumes que a arte retratou. É a partir desse novo estilo de vida, mais aberto às camadas que não estavam diretamente ligadas à aristocracia, que novos hábitos foram estabelecidos e surgiu a necessidade de entretenimento para essa população. 2 O teatro Bunraku O teatro Kabuki Bunraku Puppet Head for Young Male Role. 19th century. 3 SHARAKU , Tōshūsai. Kabuki Actor Ōtani Oniji III as Yakko Edobei in the Play The Colored Reins of a Loving Wife. 6th month, 1794. Os “distritos de prazer” A área mais conhecida era Yoshiwara – na região de Edo, atual Tóquio. MORONOBU, Hishikawa. The Entrance to Ageya-machi, from the series Scenes in the Yoshiwara (Yoshiwara no tei). 1681–84. MORONOBU, Hishikawa. 4 The Fourth Scene, from the series Scenes of the Pleasure Quarter at Yoshiwara in Edo.Edo period. MORONOBU, Hishikawa. MORONOBU, Hishikawa. Street scene in the Yoshiwara. ca. The Twelfth Scene, from Scenes of the Pleasure Quarter at Yoshiwara in Edo. 1680 Late 17th century. 5 Arte ukyio Inspiração para a peça A arte ukiyo, que significa “mundo flutuante‟, sinfônica Le Mer (O firmou-se no período Edo com o objetivo de introduzir Mar), composta pelo os chōnin às novas práticas de uma nova vida urbana. francês Claude Por ter sido a grande expressão da cultura popular na Debussy. época e deixar registrado a ascensão da classe dos comerciantes, tornou-se uma das mais conhecidas manifestações artísticas do Japão. Pode ser dividida entre as obras de pintura e xilogravura – ukiyo-e – e as obras literárias – ukiyo-zôshi. HOKUSAI, Katsushika. Kanagawa oki nami ura (A Grande Onda de Kanagawa). ca. 1830–32 6 SHARAKU, Tōshūsai. Actor Segawa Tomisaburo II as the Geisha Asaka. EIZAN, Kikugawa. Couple 1794–95. Making Love.c. 1810 “Seja em que época for, parece não ter existido nenhuma que não se tenha interessado pelo amor sexual, mas, no período Edo em particular, ele se impregnou até na gente mais comum e podemos dizer que foi uma época de altíssima concentração na erótica. [...] A área-de-prazeres Yoshiwara, se por um lado vendia o sexo, por outro era também local de apreciação das artes; no teatro kabuki, ao mesmo tempo em que se apreciava a arte do palco, do outro lado se vendia o sexo tanto para homens quanto para mulheres.” (SHIRAKURA, 2007, p. 232 apud CORDARO, 2011, p. 3.) 7 KUNIYOSHI, Utagawa. Series of twelve Koban Shunga with prostitutes. c. 1830 - c. 1835 As gueixas GEI significa ‘arte’, portanto geisha significa ‘pessoa da arte’ ou ‘artista’ • Surgiram no século XVIII; • os antigos relatos de estrangeiros as reportavam como mulheres que eram exploradas nos “quarteis” (distritos); • “A arte (gei) das gueixas foca nas músicas e nas danças clássicas/tradicionais japonesas” (FORMAN, 2008, p. 15) • O surgimento das gueixas e dos gêneros teatrais estão ligados: “Certos gêneros [musicais] ou peças eram ouvidos primeiramente ou até exclusivamente dentro dos ‘karyūkai’” (FORMAN, 2008, p. 14 e 15) • Os estilos musicais e as danças do período foram criadas para serem performadas nas “small rooms”. 8 MORONOBU, Hishikawa. Standing Courtesan. School of Hishikawa Moronobu. HARUNOBU, Suzuki. Geese Perching at the Koto Bridges. ca. 1690. Dancer. Período Edo. 1764 – 1769. 9 “O repertório musical das gueixas é extenso, mas é unificado pelo papel central da arrancada do alaúde de três cordas: shamisen.” (FORMAN, 2008, p. 15) Este instrumento é tão característico dessa classe artística que a definição de gueixa no dicionário faz referência a ele: • Webster’s Third New International Dictionary (1971): “geisha: 1. a Japanese girl who is trained to provide (as by playing the shamisen, dancing, serving food or drinks or by sympathetic, witty or amusing talk) entertaining and lighthearted company (for a man or a group of men). 2. courtesan.” (grifo nosso) 10 EIZAN, Kikugawa. Woman with Shamisen. 1808. O shamisen • Instrumento de 3 cordas; • Pode ser encontrado com o nome de sangen em alguns textos; • É uma modificação de um instrumento Chinês chamado sanxian, que foi levado para o Japão no começo do século XVI; • Acompanha o teatro kabuki e bunraku; • Existem mais de 10 gêneros de música shamisen, e para isso existem várias modificações do instrumento de acordo com o gênero tocado. 11 “Dizem que o shamisen veio da China com base no alaúde sanxiano de três cordas. Foi importado para o Origem Reino Ryukyu (atual Okinawa) no final do século XIV. O instrumento se transformou no sanshin, usado nas canções folclóricas tradicionais japonesas e na música de corte. Em meados do século XVI, o sanshin viajou para a cidade de Osaka e foi remodelado pelos jogadores do heike biwa (alaúde japonês) no shamisen que conhecemos hoje. A popularidade dos shamisen aumentou durante o período Edo, do século XVII ao século XIX.” (JAPANSOCIETYNYC, 2015) 12 FONTE: https://derivejapan.weebly.com/music.html Imagens da internet. Vídeo interessantíssimo e bem explicativo sobre o instrumento: 13 https://www.youtube.com/watch?v=uFqkkt2_QFQ A iconografia do shamisen e a representação das gueixas Como veremos a seguir com múltiplos exemplos de pinturas do período Edo, as representações das gueixas e das casas de chá nos distritos de prazer, em sua maioria, relacionam as mulheres com o HOKUSAI, Katsushika. shamisen. Mesmo quando não estão tocando o Shamisen. Edo period. instrumento, é possível vê-lo na cena retratada, mostrando, então, que está intimamente ligado ao cotidiano desse tipo de cortesã e nos revelando como os artistas (e a sociedade em geral) enxergava aquelas mulheres na época. 14 SHUNMAN, Kubo. Bachi (Plectrum) used in Playing Shamisen. 19th century. MORONOBU, Hishikawa. Interior Scene in the Yoshiwara. ca. 1680. 15 MORONOBU, Hishikawa. Street Scene in Yoshiwara. Late 17th century. 16 MORONOBU, Hishikawa. Scene in the Yoshiwara. ca. 1680. MORONOBU, Hishikawa.The Sixth Scene from Scenes of the Pleasure Quarter at Yoshiwara in Edo. SUKENOBU, Nishikawa. Lady Playing Shamisen, with Her Lover and Late 17th century. Attendant Nearby. Edo period. 17 CHŌSHUN, Miyagawa. Ryūkyūan Dancer and Musicians. c. 1718. 18 MORONOBU, Hishikawa. Musical Party. Late 17th century. SUKENOBU, Nishikawa. Beauty with a Kitten. Early 18th century. SUKENOBU, Nishikawa. Three Beauties. 18th century. 19 MORONOBU, Hishikawa. Two Lovers. ca. 1675–80 MASANOBU, Okumura. A Man in a Kneeling Posture Bending Forward and Listening to an Oiran who is Playing the Shamisen. ca. 1705–7. 20 KOKYU Attributed to KUNIYOSHI, Utagawa. Three Beauties Playing Musical Instruments. KUNIYOSHI, Utagawa. Courtisane met koto. 1840 - 1850 19th century. 21 SHINSAI, Ryûryûkyo. Dansende courtisane. 1807. 22 TOYOKUNI (III). Courtisane en shamisen. 1822. 23 SUKENOBU, Nishikawa. Young Lady Taking a Lesson on the HARUNOBU, Suzuki. Wisteria: the courtesan Nokaze from Shamisen. Edo period. Southern Matsuzakaya. 1767 - 1771 SHIGENOBU (II). Geisha Playing the Shamisen. c. 1822. 24 SHIGENOBU (II). Geisha Tuning her Shamisen. c. 1820 - c. 1830 25 UTAMARO, Kitagawa. Geisha and Attendant on a HOKUBA , Teisai. Geisha Girl Hurrying with a Maid Servant Who is Carrying a Rainy Night. ca. 1797. Shamisen Box. Edo period. A deusa Benten BIWA HIROSHIGE Utagawa. The Takarabune. Edo period. “No Japão, a deusa budista da eloquência e da música, padroeira das gueixas, e considerada KOTO uma dos sete → Shichi-Fukujin, os deuses da boa fortuna. Ela é representada usando uma coroa de joias segurando em suas mãos um instrumento de GAKUTEI, Yashima. Benzaiten ni Ryu. Edo period. cordas. Seu nome, algumas vezes, é escrito como 26 Benzaiten.” (LUCKER, p. 33, 2004) (tradução e grifo nosso) Apesar de não ser comum, é possível observar nessa imagem a Deusa Benten tocando um shamisen. Segundo M. Graybill para o Museu de Portland, há uma inscrição na pintura que faz referência à Benzaiten – esta poderia estar fingindo ser uma gueixa que toca o instrumento. Sem tal análise, poderíamos desconfiar se a representação é mesmo da Deusa, afinal este não é “seu instrumento” e ela não está usando a coroa de joias com a qual normalmente é representada. Outra evidência, porém, é que existem outros dois deuses dos 7 Deuses da Fortuna a acompanhando. 27 UTAMARO, Kitagawa. The Prosperity of a Wealthy Man’s Fruitful Year. ca. 1804 As gueixas e o shamisen ao longo do tempo Período Meiji (1868 – 1912): Figure of Girl playing Shamisen. 1870. 28 1914 1940 SHŌEN, Uemura. Preparando-se para a Dança. 1914. SHŌEN, Uemura. Sound of Tsuzumi. 1940. Estilo: Nihonga Estilo: Nihonga 29 1950 30 Imagem da internet https://www.dailymail.co.uk/femail/article-2366607/Memories-1950s-geisha-Stunning-photos-celebrate-ancient-oriental-art-hostess-place- modern-Japan.html 1920 1951 1920/ - c - geisha - http://www.oldtokyo.com/dancing 31 Dancing geisha, c. 1920. “Atriz americana Betty Grable como gueixa em uma cena do musical ‘Call Me Mister’ de 1951, dirigido por Lloyd Bacon.” 1981 32 NAGAI, Kazumasa. Nagauta Shamisen. 1981 Década de 80 FONTE: https://www.dailymail.co.uk/femail/article-2366607/Memories- 1950s-geisha-Stunning-photos-celebrate-ancient-oriental-art-hostess- place-modern-Japan.html 33 Anos 2000 34 Toshimana, a Kyoto Geiko, plays the shamisen | © kyoto flowertourism / Flick Conclusão Fica visível, portanto, que a iconografia do shamisen nas pinturas que referenciam as gueixas torna-se uma reafirmação do estatuto de artista que essas mulheres carregavam e que se perdeu quando a cultura foi descrita para o ocidente.
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