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Cover Page the Handle Cover Page The handle https://hdl.handle.net/1887/3195081 holds various files of this Leiden University dissertation. Author: Takemura, S. Title: Style and function of female images in prints by Keisai Eisen (1790–1848): Ideals of beauty and gender in the Late Edo Period consumer society Issue Date: 2021-07-15 Style and Function of Female Images in Prints by Keisai Eisen (1790–1848): Ideals of Beauty and Gender in the Late Edo Period Consumer Society Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Leiden, op gezag van rector magnificus prof.dr.ir. H. Bijl, volgens besluit van het college voor promoties te verdedigen op 15 juli 2021 klokke 16:15 uur door Sawako Takemura (Chang) Geboren te Kanazawa, Japan, in 1970 2 Promotor: Prof. dr. Ivo B. Smits Co-promotor: Dr. Ewa Machotka (Stockholm University, Sweden) Promotiecommissie: Dr. Daan P. Kok (Research Center for Material Culture/Museum Volkenkunde, Leiden) Prof. Dr. Marijke J. Klokke Dr. Doreen Mueller Prof. Dr. Julie Nelson Davis (University of Pennsylvania, USA) 3 Table of Contents Acknowledgments p. 5 Stylistic Conventions p. 7 List of Illustrations p. 8 Introduction p. 22 Chapter One p. 36 Eisen: An Overview of His Career, His Oeuvre, and His ‘Market’ Interpreting the Contents of Eisen’s Mumei-ō zuihitsu: Early Training, Artistic Versatility, and Contemporaneous Influences Chapter Two p. 84 Perception of Women in Edo History: The Ideal and the Reality The Historical Setting New Environment, Opportunities and Literacy for Women Onna daigakun (Great Learning for Women) and the Ideal Women Occupations and Social Status of Commoner Women in the late Edo Meaning of Geisha’s Artistic Skills to Commoner Girls in the Expanding EconomY The Establishment of Licensed and Unlicensed Quarters Okabasho: Unlicensed Brothel Districts Connecting to Illegal Brothels outside Metropolitan Areas Perceptions on Freelance Sex Workers: A Cause of “Social Corruption” or a “New Type of Woman”? Consumption of Consumer Goods by Women Chapter Three p. 168 Theater, Femme Fatales, Iki Women, and a New Feminine Ideal Osen of the Crescent Moon: the Emergence of a Femme Fatale in Kabuki and Ukiyo-e Influences of Utagawa’s Nigao-e on Eisen’s ‘New Style’ Bijin-ga A New Female Facial Type Segawa Kikunojō V and the Rise of a New Feminine Ideal The Depiction of Emotion in Nigao-e Chapter Four p. 236 A New Type of Women in Late Edo Fiction Tamenaga Shunsui’s ninjōbon and Eisen’s biJin-ga A Collaboration between the Author Shunsui and the Artist Eisen Ninjōbon and Iki Woman, Shunshoku umegoyomi and Social Backlash 4 Chapter Five p. 282 Eisen’s Bijin-ga: the Ukiyo fūzoku mime kurabe series, Romantic Love, Geisha, and a New Gender Role for Women Conclusion p. 318 Eisen’s Bijin-ga : The Power of Money, Beauty, and Gender in the Late Edo Appendix A: Publishers of Eisen’s Single-sheet Bijin-ga p. 326 Bibliography p. 328 Summary p. 367 Curriculum Vitae p. 379 5 Acknowledgments I would like to express my heartfelt thanks to my two main graduate advisors at Leiden University, Ivo Smits and Ewa Machotka. I am grateful to Ivo Smits for his teaching and patient support and advice that has advanced this research and contributed to the structure and direction of this dissertation. His expertise in Japanese classic literature has also been invaluable, particularly in helping to identify a number of Chinese poems inscribed on ukiyo- e prints and translating them for this study. I am indebted to Ewa Machotka for her immense knowledge, patience, motivation, guidance, and continued support throughout the research and the writing of this dissertation. I cannot imagine two better advisors and mentors for my doctoral work. In addition to my advisors, I would like to thank the rest of my thesis committee: Julie Nelson Davis, Marijke Klokke, Daan Kok and Doreen Mueller for their insightful comments and encouragement. They posed hard questions that pushed me to cast a wider net with my research and to include other perspectives. My sincere thanks also goes to Lawrence Marceau, who suggested that I acquire important books, especially on ninjōbon romances for my study; Ishigami Aki, who allowed me to participate in her study group; Asano Shūgō, who advised me on some important ukiyo-e works for my study; Satō Satoru, who assisted in the translation of select Chinese poems; Naitō Masato, who introduced me to other ukiyo-e researchers; John D. Szostak, who inspired me to learn more about current art methodologies; Mutō Junko, who emphasized the importance of publications in Japan; and Matthi Forrer and Daan Kok, who permitted me access to the collection of Eisen and Kunisada prints at the Museum for Volkenkunde in Leiden. My research was also supported by staff at Leiden University Library Special Collection, Waseda University Library, the Japan Museum SieboldHuis, Honolulu Museum 6 of Arts, University of Hawai’i Hamilton Library, Ritsumeikan University Art Research Center, National Diet Library and International Research Center for Japanese Studies (Nichibunken), Japan. I would also extend my gratitude to Anna Beerens and other editorial members of Andon, who gave me an opportunity to write an article that examined more closely Eisen’s life and works. The generous support of Vereniging voor Japanese Arts (Center for Japanese Arts) allowed me to come to Leiden to present my papers on Eisen twice for the international symposiums (2016 & 2018) and supported the publication in Andon. Without their valued support this long research and completion of PhD work would not have been possible. I would like to express my appreciation to Amy Reigle Newland for her editorial assistance and Rose E. Lee in the later stages of the dissertation, as well as to Noriko Kuwahara, Yuma Totani, Ryo Akama, Shawn Eichman, Nadia Kreeft, Sachiyo Kawai’ae’a and LIAS for their support and encouragement throughout this study. Finally, I would like to pay homage to my parents. My hard working mother Keiko continuously inspires me to think about women’s rights. Moreover, this journey would not have been possible without the support of my family, Michael, Taiga, Kohga. I would like to thank you for your patience, encouragement, and love. 7 Stylistic Conventions The Romanization of Japanese names and terms follows the modified Hepburn- system, unless they have been rendered otherwise in original texts; Chinese names and terms are Romanized according to the Pinyin system. Historical dates are rendered at times using the Japanese imperial era system (nengō 年号) in addition to the listing of the Western year. Japanese names are presented in traditional order, with the given family name followed by the first name, the exception being individuals working in languages other than Japanese. Unless otherwise indicated, all translations of Japanese texts are my own. There are select titles of prints in this study that are descriptive titles since the original works are not titled. 8 List of Illustrations Figure 1 Vincent Van Gogh (1853–1890) Courtesan after Eisen, 1887 Van Gogh Museum, Amsterdam (Vincent Van Gogh Foundation), S0116V1962. Figure 2 Title page of Paris Illustré “Le Japon” vol.4, May 1886, no.45-46. The illustration after a print by Keisai Eisen. Reproduction taken from an exhibition catalogue, Keisai Eisen (2012) compiled by Chiba City Museum of Art, p.223. Figure 3 Keisai Eisen (1791–1848) Courtesan Wearing Garment with Clouds and Dragon Designs, ca.1818-1844 Reproduction taken from an exhibition catalogue, Keisai Eisen (2012) compiled by Chiba City Museum of Art, cat.no.291 Figure 4 Keisai Eisen (1791–1848) Suzaki Benten 洲崎弁天 (Suzaki Benten Shrine）, from the series Ada kurabe ukiyo fūzoku 仇競浮世風俗 (Competition of Beauties) Early 19th century Polychrome woodblock print; ink and color on paper Edo period, early 19th century Reproduction taken from Kōki ukiyo-e (1965) by Oka Isaburō and Suzuki Jūzō. Figure 5 Keisai Eisen (1791–1848) Satsuki 五月(Fifth Month),” from the series Ukiyo biJin jūnikagetsu 浮世美人 十二箇月(Tewlve Beauties for Twelve Month) Early 19th century Polychrome woodblock print; ink and color on paper Edo period, early 19th century Reproduction taken from Kōki ukiyo-e (1965) by Oka Isaburō and Suzuki Jūzō. Figure 6 Keisai Eisen (1790-1848) Secchū sansui zu 雪中山水図 (Mountain and River Landscape in Snow) Polychrome woodblock print; ink and color on paper Edo period, 1830–1844 Hiraki Ukiyo-e Foundation Reproduction taken from an exhibition catalogue, Keisai Eisen (2012) compiled by Chiba City Museum of Art, cat.no. 122. 9 Figure 7 Keisai Eisen (1790-1848) Shrozake-uri 白酒売 (White Sweet Rice Wine-Seller), featuring Ichikawa Danjūrō VII, from the series Fūryū hana awase 風流花合 (Collection of Fashionable Flowers), ca.1812. Polychrome woodblock print; ink and color on paper Edo period, ca.1812 Nagoya Television Collection Reproduction taken from an exhibition catalogue, Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat. no. 1. Figure 8 Keisai Eisen (1790–1848) Kabuki actor Onoe Kikugorō III Edo period, ca.1830‒1832 Polychrome woodblock print; ink and color on paper Reproduction taken from an exhibition catalogue, Keisai Eisen Seven Paintings, compiled by Sebastian Izzard, cat. no.4. Figure 9 Kikukawa Eizan (1787–1867) Chōjiya no uchi, Chōzan and Nishikido 丁子屋内 丁 山 錦戸(Chōzan and Nishikido of the Chōjiya) Polychrome woodblock print; ink and color on paper Edo period, 1808 Ōta kinen bijutsukan (Ōta Memorial Ukiyo-e Museum) Reproduction taken from an exhibition catalogue, Kikikawa Eizan (2017), compiled by Ōta kinen bijutsukan, cat. no.21. Figure 10 Kikukawa Eizan (1787–1867) Kasa wo motsu musume 傘を持つ娘(Woman Holding an Umbrealla) Edo period, ca. 1814‒1817 Polychrome woodblock print; ink and color on paper Ōta kinen bijutsukan (Ōta Memorial Ukiyo-e Museum) Reproduction taken from an exhibition catalogue, Kikikawa Eizan (2017), compiled by Ōta kinen bijutsukan, cat.
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