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.

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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. no.141.

Figure 11 Katsushika Hokusai (1760–1849) Tsukuma matsuri 筑摩祭り(Tsukuma Festival) Polychrome woodblock print; ink and color on paper Edo period, ca.1799–1801 Gift of Charles Lang Freer, Accession No. F1904.177 Freer/Sackler Gallery, National Museum of Asian Art Reproduction taken from Hokusai no bijin 北斎の美人(2005), edited by Kobayashi Tadashi.

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Figure 12 Keisai Eisen (1790–1848) Shoka no ame 初夏の雨(Rain in the Early Summer) Polychrome woodblock print; ink and color on paper Edo period, ca.1818‒1830 Chiba City Museum of Art Reproduction taken from an exhibition catalogue, Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat. no.24.

Figure 13 Keisai Eisen (1790–1848) Illustrations in Ehon mime kurabe 艶本美女競 (A Comparison of Beautiful Women), vol. 1 of 3 Polychrome woodblock print; ink and color on paper Edo period, ca.1822 Richard Lane Collection Purchase, Honolulu Museum of Arts, 2003 (2016-56-032.01).

Figure 14 Illustration of Onna shinasadame 女品定 (Classification of Women), in the Onna chōhō ki 女重宝記 of 1692. Reproduction taken from Onna chōhō ki Nan chōhōki edited by Nagatomo Chiyoji.

Figure 15 Kitagawa Utamaro (ca.1753–1806) Joshoku kaiko tewaza gusa 女織蚕手業草(Women Engaged in the Sericulture Industry 6) Polychrome woodblock print; ink and color on paper Edo period, ca. 1801 The British Museum, Museum No. 1906,1220,0.356.4-6 Reproduction taken from an exhibition catalogue, Kitagawa Utamaro (1995), compiled by British Museum and Chiba City Museum of Art, cat.no. 325.

Figure 16 Kitagawa Utamaro (ca.1753–1806) Kamiyui 髪結 (Hairdresser), from the series Fujin tewaza jūnikō 婦人手業拾 二工 (Twelve Types of Women's Handicrafts) Polychrome woodblock print; ink and color on paper Edo period, ca.1797‒1798 New York Public Libarary (4ff45780-c6d3-012f-a206-58d385a7bc34)

Figure 17 Kitagawa Utamaro (ca.1753–1806) Araihari 洗張り(Washing and Stretching Kimono) from the series Fujin tewaza jūnikō 婦人手業拾二工 (Twelve Types of Women's Handicrafts) Polychrome woodblock print; ink and color on paper

11 Edo period, early 19th century Tokyo National Museum (A-10569_555).

Figure 18 Keisai Eisen (1790–1848) “Washerwomen,” Illustration in the Fujin imayō sugata 婦人今様姿 ( Kyōka anthology of Contemporary Ladies) Polychrome woodblock print; ink and color on paper Edo period, 1825 Gerhard Pulverer Collection, Freer/Sackler Gallery, National Museum of Asian Art (FSC-GR-780.310).

Figure 19 Keisai Eisen (1790–1848) “Nanny,” Illustration in the Fujin imayō sugata 婦人今様姿 ( Kyōka anthology of Contemporary Ladies) Polychrome woodblock print; ink and color on paper Edo period, 1825 Gerhard Pulverer Collection, Freer/Sackler Gallery, National Museum of Asian Art (FSC-GR-780.310).

Figure 20 Keisai Eisen (1790–1848) “Fan Maker.” Illustration in the Fujin imayō sugata 婦人今様姿 ( Kyōka anthology of Contemporary Ladies) Polychrome woodblock print; ink and color on paper Edo period, 1825 Gerhard Pulverer Collection, Freer/Sackler Gallery, National Museum of Asian Art (FSC-GR-780.310).

Figure 21 Keisai Eisen (1790–1848) Ōiso 大磯 from the series Bijin tōkaidō 美人東海道(Beauties of the Tōkaidō) Polychrome woodblock print; ink and color on paper Edo period, 1842 Reproduction taken from an exhibition catalogue, Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 327.

Figure 22 Keisai Eisen (1790-1848) A book illustration from the Hōnen mutsuno hanabusa 豊年武都英 (A Fruitful Year: The Glory of Bushū) Woodblock printed book; ink on paper Edo period, 1839 Reproduction taken from Ezōshiya Edo no ukiyo-e shuppan (2010) by Suzuki Toshiyuki, p.106.

12 Figure 23 Unidentified Artist Painted Envelope for Tooth Powder Polychrome woodblock print; ink and color on paper Edo period, 19th century Collection of the Volkenkunde, Leiden. # Leiden 1-1742.

Figure 24 Keisai Eisen (1790-1848) Shigatsu 四月 (Fourth Month) from the series Ukiyo bijin jūnikagetsu 浮世美人十二箇月(Modern Beauties: Twelve Months) published by Sanoya Kihei 佐野屋喜兵衛 around 1825 (Bunsei 8). Reproduction taken from Kōki ukiyo-e (1965) by Oka Isaburō and Suzuki Jūzō.

Figure 25 Keisai Eisen (1790-1848) Painted Envelope for Face Powder Polychrome woodblock print; ink and color on paper Edo period, early 19th century Reproduction taken from Ukiyo-e Art (Jan, 2019), edited by International Ukiyo-e Society.

Figure 26 Suzuki Harunobu (1724–1770) Beauty Playing a Koto Polychrome woodblock print; ink and color on paper Edo period, ca. 1767-68 Honolulu Museum of Arts, HAA16381.

Figure 27 Kitagawa Utamaro (ca.1753–1806) Tomimoto Toyohina 富本豊雛 Polychrome woodblock print; ink and color on paper Edo period, ca.1790s Honolulu Museum of Arts, HAA15488.

Figure 28 Keisai Eisen (1790–1848) Tegowasō てごわそう(Tough-looking) from the series Imayō bijin jūnikei 今様美人十二景 ( Twelve Views of Modern Beauties) Polychrome woodblock print; ink and color on paper Edo period, ca.1822–1823 Fine Art Museum, Boston, No.20136.

Figure 29 Keisai Eisen (1790–1848) Illustration in the Mikazuki Osen 三日月阿専 Woodblock print; ink on paper Edo period, 1826 Leiden University Library, Ser. 654.

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Figure 30 Utagawa Toyokuni I (1769-1825) The Kabuki Actor Iwai Hanshirō IV as Mikazuki Osen Polychrome woodblock print; ink and color on paper Edo period, 1820 Waseda Theater Museum Reproduced taken from Ukiyo-e Art 158, edited by International Ukiyo-e Society

Figure 31 Utagawa Kunisada (1786– 1865) Tōkaidō gojū santsugi no uchi Mishima Osen 東海道五十三次内 三島おせん(Mishima: Actor Segawa Kikunojō V as Osen), from the series Fifty-three Stations of the Tōkaidō Road Polychrome woodblock print; ink and color on paper Edo period, 1852 Museum of Fine Arts, Boston. Impressions: 11.29394, 11.29423, 11.29482, 11.29524.21, 11.29525.5, 11.43319, 59.1147.41

Figure 32 Keisai Eisen (1790–1848) Kakae geisha 抱げいしゃ(An Employed Geisha),” from the series, Imayō mime kurabe 今様美人美女競 (Comparison of Present-day Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1825. Nagoya City Museum Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no.55.

Figure 33 Illustration in Morisada mankō 守貞謾稿 (Encyclopedia of Fashion and Manners) Edo period, 1837 Reproduction taken from Kinsei fūzokushi Morisada mankō 守貞謾稿 (Encyclopedia of Manners and Fashions, 1837 reprinted in 1997) by Kitagawa Morisada, 197.

Figure 34 Keisai Eisen (1790–1848) Tōto geiko 東都芸子(Geisha of the Eastern Capital ) from the series Imayō mime kurabe 時世美女競 (Comparison of Present-day Beauties) Polychrome woodblock print; ink and color on paper Edo period, ca.1825 Hiraki Ukiyo-e Foundation Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat. 56.

14 Figure 35 Utagawa Kunisada (1786– 1865) “Woman Applying Makeup,” from the series Imafū keshō kagami 今風化粧 鏡 (Fashionable Looking Glasses), Polychrome woodblock print; ink and color on paper Edo period, 1823. Seikadō Bunko Art Museum.

Figure 36 Utagawa Kunisada (1786– 1865) Utagawa Kunisada. Machi gei 町芸 (Town Geisha), from the series Tōsei bijin awase 当世美人合(Contest of Present-day Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1827 Museum of Fine Arts, Boston, Nellie Parney Carter Bequest. Acc. No: 34.459.

Figure 37 Utagawa Kunisada (1786– 1865) “The Future Baikō,” from the series Collection of Newly Published Brocade Pictures of Modern Beauties Polychrome woodblock print; ink and color on paper Edo period, ca.1815‒1816 National Museum van Wereldculturen. RV-1-4469-56 (Volkenkunde Museum, Leiden).

Figure 38 Utagawa Kunisada (1786– 1865) “The Future Sanshō,” from the series Collection of Newly Published Brocade Pictures of Modern Beauties Polychrome woodblock print; ink and color on paper Edo period, ca.1815‒1816. National Museum van Wereldculturen. RV-1-4469-58 (Volkenkunde Museum, Leiden).

Figure 39 Keisai Eisen (1790–1848) “Prosperous Merchant Shop,” from the series Tōsei meibutsu kanoko 当世名 物鹿子 (Modern Specialities: Famous Kanoko Dyed Textile) Polychrome woodblock print; ink and color on paper Edo period, ca.1830‒1844 Chiba City Museum of Art Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 176.

Figure 40 Keisai Eisen (1790–1848) “Fire Works at Ryōgoku Bridge,” from the series Tōsei meibutsu kanoko 当世 名物鹿子 (Modern Specialities: Famous Dyed Textiles of Kanoko) Polychrome woodblock print; ink and color on paper

15 Edo period, ca.1830‒1844. Chiba City Museum of Art. Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 177.

Figure 41 Utagawa Toyokuni I (1769– 1825) Segawa Kikunojō V Ben no naishi 五代瀬川菊之丞 弁内侍 (Segawa Kikunojō V as Ben no naishi) Polychrome woodblock print; ink and color on paper Edo period, 1817. Ritsumeikan Art Research Center Art Research Center, Ritsumeikan University, arcUP3549.

Figure 42 Utagawa Kunisada (1786– 1865) Segawa Kikunojō V Agemaki 瀬川菊之丞あげまき(Segawa Kikunojō V as Agemaki) Polychrome woodblock print; ink and color on paper Edo period, 1819. Private Collection. Art Research Center, Ritsumeikan University, Ebi0406

Figure 43 Utagawa Kunisada (1786– 1865) Haginoya Yaegiri, Segawa Kikunojō V 萩の屋八重桐 (Segawa Kikunojō V as Haginoya Yaegiri) Polychrome woodblock print; ink and color on paper Edo period, date unknown. Private Collection (Ritsumeikan ARC DB). Art Research Center, Ritsumeikan University, Ebi0684

Figure 44 Utagawa Kunisada (1786– 1865) Edo jūnishō 江戸十二鐘 (Twelve Bells of Edo) Polychrome woodblock print; ink and color on paper Edo period, ca. 1818–20 Rijksmuseum voor Volkenkunde, Leiden, Jan Cock Blomhoff Collection, National Museum van Wereldculturen. RV-00-1229.

Figure 45 Keisai Eisen (1790–1848) Ebiya no uchi Ō-no-i 海老屋内大ノ井 (Ō-no-i of Ebiya), from the series Seirō shichikennjinn 青樓七賢人 (The Seven Sages of Yoshiwara) Polychrome woodblock print; ink and color on paper Edo period, 1818‒1824. Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 25.

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Figure 46 Utagawa Kuninao (1793– 1854) “Urazato 浦里” illustration in Akegarasu nochi no masayume 明烏後の正夢 (Daybreak Crow and Prophetic Dream) Vol.4, cut 7. Woodblock print; ink on paper Edo period, 1819 Waseda University Library, he 13 2909 4-18

Figure 47 Keisai Eisen (1790–1848) Copped image of illustrated page,“Urazato 浦里” illustration in Akegarasu nochi no masayume 明烏後の正夢 (Daybreak Crow and Prophetic Dream) Vol.16, cut 6. Woodblock print; ink on paper Edo period, 1819. Waseda University Library, he 13 2909 4-18.

Figure 48 Keisai Eisen (1790–1848) “Osen おせん” Book illustration in Mikazuki Osen 三日月阿専(Osen of Crescent Moon) Woodblock print; ink on paper Edo period, 1826. Leiden University Library, Ser 664.

Figure 49 Utagawa Toyokuni I (1769– 1825) Yakusha nigao hayageiko 役者似顔早稽古 (Quick Lessons in Drawing the True Likenesses of Actors) Woodblock print; ink on paper Edo period, 1817. British Museum 1938,1008,0.19

Figure 50 Katsukawa Shunshō (1726– 1792) Mikawaya Giheiji, Danshichi Kurōbei 三河屋義平次 団七九郎兵衛 (Kabuki Actors Playing the Roles of Giheiji and his Son-in-law Danshichi Kurobei in a Fist Fight) Polychrome woodblock print; ink and color on paper Edo period, ca. 1768. Art Institute of Chicago, museum no. 1925.2387.

Figure 51 Tōshūsai Sharaku (ca.1794– 1795) Segawa Tomisaburō II 二代目瀬川富三郎(The Kabuki Actor Segawa Tomisaburō II) Polychrome woodblock print; ink and color on paper Edo period, ca.1794–1795 Tokyo National Museum

17 A-10569-486

Figure 52 Keisai Eisen (1790–1848) Bishamon-ten Shiba Kanasugi-chō 毘沙門天芝金杉町 (Bishamon-ten in Shiba Kanasugi-chō), from the series Gorishō musubu no en’nichi 御利生結 ぶの縁日(Birthdays with Karmic Allusions) Polychrome woodblock print; ink and color on paper Edo period, ca.1824. Imanaka collection, Chiba City Museum of Art. Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 148.

Figure 53 Keisai Eisen (1790–1848) Tsukuda no kihan 佃多の帰帆 (Returning Sails of Tsukuda) from the series Tatsumi hakkei 辰巳八景(Eight View of Tatsumi) Polychrome woodblock print; ink and color on paper Edo period, ca.1824‒1825 Imanaka collection, Chiba City Museum of Art. Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 152.

Figure 54 Yanagawa Shigenobu (1787–1832) “Yonehachi,” Book illustration in the Shunshoku umegoyomi 春色梅児誉美 (Spring Love: Plum-blossom Almanac) Woodblock print; ink on paper Edo period, 1832‒1833. Waseda University Library. He 13 03224.

Figure 55 Keisai Eisen (1790–1848) “Brow Shaped like Mt. Fuji,” from the series Bien senjokō 美艶仙女香 (Bien senjokō Face Powder) Polychrome woodblock print; ink and color on paper Edo period, ca.1824. Pola bunka kenkyūjo Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 165.

Figure 56 Keisai Eisen (1790–1848) Geisha 芸者, from the series Imayō mime kurabe 今様美女競 (Comparison of Present-day Beauties) Polychrome woodblock print; ink and color on paper Edo period, ca.1825. Kanagawa Prefectural History Museum

18 Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 54.

Figure 57 Keisai Eisen (1790–1848) “Young Woman,” from the series Imayō rokkasen bijin kaishū kagami 時世 六佳撰美人会中鏡(Modern Allegory of Six Poets: Beauties in a Hand Mirror) Polychrome woodblock print; ink and color on paper Edo period, ca. 1826‒1827. Nagoya Tevision Collection. Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 58.

Figure 58 Yanagawa Shigenobu (1787–1832) “Tatehiki 達引” Book illustration in the Shunshoku umegoyomi 春色梅児誉 美 (Spring Love: Plum-blossom Almanac) Woodblock print; ink on paper Edo period, 1832‒1833. Waseda University Library. He 13 03224.

Figure 59 Keisai Eisen (1790–1848) “Belligerent-looking,” from the series Tatehikisō/Jisei jūnisō 逹引きそう／ 時世十二相 (Twelve Aspects of Modern Women) Polychrome woodblock print; ink and color on paper Edo period, 1821‒1822 This image has been cropped from a single-sheet print. Nagoya City Museum Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 34.

Figure 60. Keisai Eisen (1790–1848) “Ochō folding a Paper Crane,” Book illustration in the Shunshoku megumi no hana 春色恵の花 (Spring Colors, Flowers of Blessing) Woodblock print; ink on paper Edo period, 1836 Waseda University Library He 13 00843

Figure 61 Keisai Eisen (1790–1848) Otenbasō Fukagawa Benzaiten Suzaki おてんばそう深川弁財天洲崎 (Aspect of a Tomboy: Benzaiten at Suzaki in Fukagawa), from the series Imayō bijin jūnikei 今様美人十二景 (Twelve Views of Modern Beauties) Polychrome woodblock print; ink and color on paper

19 Edo period, ca.1822‒1823 Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 139.

Figure 62 Keisai Eisen (1790–1848) “Woman on a Futon,” from the series Bien senjokō Face Powder 美艶仙女香 Polychrome woodblock print; ink and color on paper Edo period, ca.1824 Hiraki Ukiyo-e Foundation Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 164.

Figure 63 Utagawa Kuninao (1793-1854) “Yonehachi and Tanjirō,” Book illustration in the Shunshoku tatsumi no sono 春色辰巳園 (Spring Colors, Garden of South East) Woodblock printed book; ink on paper Edo period, 1833‒1835 Waseda University Library. He13 00842

Figure 64 Keisai Eisen (1790–1848) “High-Class Courtesan,” from the series Ukiyo fūzoku mime kurabe 浮世風俗 美女競 (Customs of the Floating World) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Chiba City Museum of Art Reproduction taken from an exhibition catalogue, Keisa Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 39.

Figure 65 Yanagawa Shigenobu (1787–1832) “Konoito in Conservation,” illustrated scene from the Shunshoku umegoyomi 春色梅誉与美 4 Woodblock printed book; ink on paper Edo period, 1832‒1833 Waseda University Library. He 13 03224

Figure 66 Kitagawa Utamaro (ca.1753– 1806) Ōgiya no uchi Miyahito 扇屋内蓬莱人(The Courtesan Miyahito of the House of Ōgiya) Polychrome woodblock print; ink and color on paper Edo perid, ca.1789 Honolulu Museum of Arts (16513).

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Figure 67 Keisai Eisen (1790–1848) “Woman Passing a Pipe to a Lover” from the series Ukiyo fūzoku mime kurabe series 浮世風俗美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Reproduction taken from Kōki ukiyo-e (1965) by Oka Isaburō and Suzuki Jūzō, cat.no.72.

Figure 68 Keisai Eisen (1790–1848) “Geisha with a Shamisen,” from the series Ukiyo fūzoku mime kurabe 浮世風 俗美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Ritsumeikan ARC. BN03828802-2-03

Figure 69 Keisai Eisen (1790–1848) “Geisha with a Sake Cup,” from the series Ukiyo fūzoku mime kurabe 浮世風 俗美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Chiba City Museum of Art Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 37.

Figure 70 Unknown Artist. Kōyō tōin zukan 高陽闘飲図巻 (Sake-drinking Competition) Edo period, 1815 Handscroll; ink and colors on paper. Spencer Collection, New York Public Library. B350f190-c609-012f-7ac1- 58d385a7bc34

Figure 71 Keisai Eisen (1790–1848) “Woman Serving Sake,” from the series Ukiyo fūzoku mime kurabe 浮世風俗 美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Natural Museum of Ethnology, Japan Listed in Ritsumeikan ARC ukiyo-e database H-22-1-16-4

21 Figure 72 Keisai Eisen (1790–1848) “Teahouse Woman,” from the series Imayō mime kurabe 今様美女競 (Comparison of Present-day Beauties) Polychrome woodblock print; ink and color on paper Edo period, ca.1825 Edo Tokyo Museum. Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 53.

Figure 73 Keisai Eisen (1790–1848) “Woman emerging from a Mosquito Net,” from the series Ukiyo fūzoku mime kurabe 浮世風俗美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Reproduction taken from Kōki ukiyo-e (1965) by Oka Isaburō and Suzuki Jūzō, cat.no. 70.

Figure 74 Keisai Eisen (1790–1848) “Woman Looking at a Packet of Bien senjokō,” from the series Ukiyo fūzoku mime kurabe 浮世風俗美女競 (Customs of the Floating World: Contending Beauties) Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824. Chiba City Museum of Art Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 38.

Figure 75 Keisai Eisen (1790–1848) “Woman Writing a Letter,” from the series Ukiyo fūzoku mime kurabe 浮世風 俗美女競 (Customs of the Floating World: Contending Beauties Polychrome woodblock print; ink and color on paper Edo period, 1823‒1824 Chiba City Museum of Art Reproduction taken from Keisai Eisen (2012), compiled by Chiba City Museum of Art, cat.no. 36.

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