Kitagawa Utamaro (born unknown – 1806). Utamaro, the master of bijin-ga (portraits of beautiful women). He was a close friend of Tsutaya Juzaburo. A girl playing a pop-a-pen. Kitagawa Utamaro is known as a central figure in the golden age of ukiyo-e, including the Kansei Three Beauties. He is known for his delicate portrayal of not only women’s appearances and charms, but also their inner selves and emotions, and his “Ookubie” (large-head painting) compositions elevated bijin-ga to the level of fine art.

Though he is said to have left behind over 2,600 works throughout his life, surprisingly little information is available about his personal life. While it is certain that he died in 1812 (at the age of 54) and was buried at Senkoji Temple in Asakusa (Matsugaya 1-chome, Taitō Ward), there is little information available about his birth year, childhood, or relatives. There is a theory that his birth year was 1863, but there is no concrete evidence, including the theory that his real name was Kitagawa Nobumi.

Utamaro studied under Toriyama Sekien of the Kano school. During his teenage years, he went by the name Sekikazu. Among the illustrations in the New Year’s scroll “Chiyo no Haru” is an illustration of an eggplant, signed “Illustrated by a young boy, Sekikazu.”

After that, he began calling himself Kitagawa Toyoaki. Several single-sheet nishiki-e prints of actors under the name Toyoaki still exist, and they are extremely valuable. The earliest known painting that confirms the artist’s use of the name Utamaro is as the illustrator of the yellow-covered book “Shinmō Daitsu Shinryaku Engi.” It is not until the 1780s, during the Tenmei period, that Utamaro’s name can be found on a single-sheet painting of beautiful women.

While other artists often depicted the glamorous costumes and events of Yoshiwara, Utamaro continued to depict both the everyday life and dark side of Yoshiwara. Furthermore, he was known for his ability to differentiate people through facial expressions and behavior, which was unusual for the time, and for his seductive portrayals of women, earning him the nickname “the artist of the blue mansion.”

Career and style

While details of his early life are unknown, he is believed to have been influenced by the Kano and Tosa schools. He later studied under Toriyama Sekien and distinguished himself through his illustrations for kibyōshi (yellow-covered books) and kyōka (comic poetry) books. From the late Tenmei period through the Kansei era (1789–1801), he produced numerous nishiki-e prints under the patronage of publisher Tsutaya Juzaburo, gaining immense popularity within Edo townspeople culture. It is said that 70% of Utamaro’s works were sold by Kōshōdō.

Unlike the idealized images of beautiful women that had been portrayed up until then, Utamaro’s works realistically depict real women, such as courtesans of Yoshiwara, town girls, and teahouse poster girls. His technique of expressing subtle emotions, particularly through the subtle expressions of the eyes and mouths, sets him apart from other ukiyo-e artists of his time.

Major Works (14)

Later Years and Regulations

In 1804, Utamaro was punished by the shogunate with 50 days of handcuffs for violating the “Sumptuary Law” by painting the historical painting “Toyotomi Hideyoshi and Yodo-dono.” After this incident, his creative drive waned, and he passed away in 1806. He is believed to have been in his mid-50s.

Influence on Future Generations

Utamaro’s works were introduced to the West in the 19th century and later, leading to the Japonism movement. The catalyst was the German art critic Kurt’s “Die Momochidori des Kitagawa Utamaro.” Kurt introduced Utamaro, Sharaku, Harunobu, and others to the West. Kurt’s criticism profoundly influenced Impressionist painters such as Monet, Degas, and Van Gogh, and he became known for the distinctive qualities of Japanese art, which expresses emotion through lines and surfaces. It could even be said that the “Japonesque boom” was centered around Utamaro, whom Kurt introduced to the artist.

Utamaro’s female figures go beyond simple expressions of beauty; they encapsulate emotions, ways of life, a sense of the seasons, and the poetry of everyday life; they are masterpieces that will remain in the history of Japanese art.

I gave a lecture at the “Edo Culture Experience Day” on Sunday, August 24th, 2025. Many people attended. I would like to take this opportunity to thank everyone.

The program for the day included a talk by me titled “Tsutaya Juzaburo and Yoshiwara: The Creators of the Golden Age of Ukiyo-e and Jihon Culture,” as well as a demonstration of printing Utamaro’s “Girl Blowing a Poppin'” by Master Matsuzaki, a printer with over 70 years of experience. Abe from Tochigi City gave a deep talk on Utamaro titled “Tochigi and Utamaro.” The event consisted of three parts in total. We also held a workshop alongside the event where people could try their hand at being a printer, which proved a great success, with well over 100 people enrolled, ranging from children to seniors, in the limited event.

　We held an event at the Taiga Drama Museum, and it was a real experience to see how much interest fans of the drama have shown in ukiyo-e and jihon prints as a result of the drama. Due to time limitations at the event, we were only able to give a superficial introduction to the works, but there were also many in-depth questions, so we plan to hold an event next time where we can have even more in-depth discussions.

[Printer: Master Matsuzaki]

This time, we had a demonstration of the famous “Girl Blowing Poppin’.” This was a demonstration with the intention of actually selling the finished ukiyo-e. Naturally, no shortcuts were taken. I also requested a few adjustments, such as color. This year, news broke that an original painting had been discovered. Using this as a reference, I asked the artist to make the mica print in the background redder than usual. I also adjusted the colors of the kimono pattern. Like Tsutaya Juzaburo, I’m sure he and the printer engaged in similar exchanges during the finishing process.

For “Girl Blowing Poppin’,” four woodblocks are used on both sides. Eight colors of pigment are used. Initially, the artist used the main board and completed the ground markings at home. On the day of the event, only the color printing was done at the venue. Since mica printing produces dust, the artist completed the printing at home. Visitors learned that even the same poppin’s prints are never the same, not only due to differences in era, but also due to the carver’s and printer’s techniques and subtle differences in presentation. The beauty of handmade woodblocks is that each piece is unique, making each one unique. On the other hand, we cannot mass-produce exactly the same thing.

The finished product will be framed and available for purchase in stores and on Ukiyo-e Cafe Tsutaju’s official online store. We’ll post photos of the finished product. Ukiyo-e also makes a perfect gift. Please give it to a loved one. You can write a message on the original woodblock gift card. Fresh “Girl Playing Poppin'” will be available in September. Please wait a little longer for the online store information.

[Tochigi and Utamaro]

Have you heard of Utamaro’s masterpiece, “Setsugekka”? This mysterious, hand-painted masterpiece, a triptych over three meters wide, is a masterpiece. Painted by Utamaro in his later years, it depicts a luxurious and realistic scene at a brothel. The images of the prostitutes, dressed in colorful costumes and applying the then-popular bamboo beni makeup, make this a valuable piece of history of the entertainment industry. Unfortunately, the originals have been exported overseas and are no longer available to view, but if you visit the Tochigi City Museum of Art, you can get up close and personal with three high-resolution reproductions: “Snow over Fukagawa,” “Moon over Shinagawa,” and “Flowers of Yoshiwara.”

It’s not widely known, but in his later years, Utamaro was patronized by Tochigi’s Zenno clan, who commissioned him to create original paintings. Thanks to this connection, there was a time when up to seven of Utamaro’s original paintings were stored. Even one would be priceless! He also traveled to Nikko with three other people: Tsutaya Juzaburo, Tsuruya-san, and Sankyoden. It’s possible that they had connections with the kyoka poet Tochigi at the time. Be sure to visit Tochigi to see Utamaro’s original paintings!

The death of the Shogun and the unjust death of Shinnosuke’s wife, Fuku. These two deaths reflect the reality of the world, and the story of Berabou enters a major turning point.

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"Zoku Hojoki" by Hisamatsu Sosaku
Drawing of the construction of the Inbanuma canal during the Tenpo period
Source: Chiba City Museum

Episode 31 of the historical drama “Berabou” depicted a chain of tragedies and two striking deaths. One was that of the 10th shogun, Tokugawa Ieharu. Ieharu was a shogun who received high expectations from his grandfather, the 8th shogun, Tokugawa Yoshimune, and personally studied imperial studies. He reigned under the tutelage of Tanuma Okitsugu as his chamberlain and senior councilor. This period is also known as the Tanuma era. Ikitsugu sought to shift from rice-based physiocrats to mercantilism and promote the creation of a nation centered on a monetary economy. This led to the development of a monetary economy and the flourishing of Edo culture, including kabuki and ukiyo-e. It can be said that Ikitsugu was able to thrive during this period. On the other hand, there was also a negative side to this, with rampant bribery, and Ikitsugu is often referred to as a byword for corrupt politics. This period was also hit by natural disasters, such as the Tenmei famine and the devastating flood caused by the collapse of the Tone River, which caused chaos in the city and worsened the shogunate’s finances. As a result, Okinobu is poorly regarded by the public, and even today he is often criticized as a corrupt politician. However, he is also highly praised as a pioneer of economic policy. This episode, episode 31, depicts the Tone River bursting its banks, causing great chaos in the city of Edo, and voices of resentment against Okinobu spread. Amidst this, Ieharu, who was a major supporter of Okinobu, dies. Ieharu was forced to resign from his position as senior councilor. Ieharu’s death was depicted in a way that hinted at the possibility of poisoning, and as he lay dying, he grabbed Hitotsubashi Harusada, the man suspected of being the mastermind, by the collar and declared, “Listen, heaven is watching. From now on, I will also be a part of heaven. Never forget that I am watching over you.” Another death was that of Oda Shinnosuke’s wife, Fuku.

The Flooding of the Bando Taro River, Japan’s Three Greatest Raging Rivers, Exacerbates Famine

The flooding caused by the collapse of the Bando Taro (Tone River) further strained the lives of citizens already struggling with the famine. Meanwhile, Tsutaju visited Shinnosuke and his wife, delivering rice to ensure their breast milk, a lifeline for their babies, continued to flow. This allowed his wife, Fuku, to continue breastfeeding, not only her own child but also many other babies, replacing mothers who had run out of milk due to food shortages. Fuku was a former Yoshiwara prostitute who had run away with Shinnosuke. She continued to breastfeed, like a bodhisattva, saying, “I’m used to offering myself to others.” However, she was attacked by refugees who had heard rumors that “there might be rice in that house,” and her life was unjustly taken. The perpetrator was also a struggling father with a young child. When Shinnosuke sees the culprit, he realizes that he might have done the same thing if not for the rice Tsutaju has provided. He laments, lost in anger and wondering, “Who should I be angry at?” Looking back, Fuku has always been portrayed as a “spokesperson for the common people.” This time, as well, he speaks for the common people, telling Tsutaju, a Tanuma fanatic who is trying to clear up misunderstandings about the “money lending association system” promoted by Ienari, “(Tanuma) is just pretending to think. After all, if a landlord is asked to pay money, he’ll raise the rent. The rice shop will raise the price of rice, and the oil shop will raise the price of oil. The village headman will take more rice from the mizunomi peasants. Yoshiwara will increase its share of the prostitutes. In the end, it’s people like us who are crawling on the ground who have to pay the price. I’m sorry to sound arrogant because I’m the one being looked after, but that’s the way I’ve seen the world.” How will the world change in the future, and how will the death of Ieharu and the end of Tanuma’s government affect Tsutaju? The story of Berabou has also entered a major turning point.

The impersonator Utamaro leaves Tsutaju in search of his own paintings and goes to his master Sekien. The political situation becomes turbulent as the battle between Tanuma Okitsugu and Matsudaira Sadanobu begins.

Image: Matsudaira Sadanobu, Source: National Book Database

Kitagawa Utamaro studied under his master, Toriyama Sekien. Episode 30 of the historical drama “Berabou” depicted Utamaro being tormented by visions of his painful past. In the drama, Utamaro became known as the “Utamaro impersonator” and began to gain recognition. Tsutaju decided that now was the time to sell Utamaro. Around this time, Tsutaju was enjoying a booming business thanks to the popularity of yellow-covered books. He took a further step by promoting a project called “Irigin Kyoka Ehon,” which allowed people to publish their kyoka poems in picture books for just one minute. He selected Utamaro as the artist and commissioned him to create a portrait of Kitao Shigemasa. The artwork was a huge success, further increasing the reputation of the “Utamaro impersonator.” Tsutaju decided that the time had come for him to make a breakthrough, and strongly encouraged him to create an original illustration unique to Utamaro. However, childhood trauma resurfaced, sending Utamaro into a deep slump. Utamaro’s mother was a low-ranking prostitute who was unable to abort the baby, and as a result, Utamaro grew up being abused by her and her lover from an early age. Furthermore, during the Great Meiwa Fire, Utamaro abandoned his mother when she was crushed under a building and fled. His mother and her lover appeared as ghosts every time he painted a picture, tormenting him. Finally, he confessed his anguish to Tsutaju, asking his mother’s ghost, “Who would want to look at a picture of a murderer?” At this time, Toriyama Sekien, a master of yokai painting who taught Utamaro as a child, visits Koshodo.

Tsutaju shows Sekien a painting that Utamaro had painted and then painted over while tormented by the ghosts. Sekien stared at the painting and commented, “It’s painted with demons. They’re moaning, begging to be let out. They’re trapped, angry and sad.” He then encouraged Utamaro, saying, “For some reason, you (Utamaro) seem lost. There are things that only those with three eyes can see. An artist need only copy them. It is the duty of those born to be artists to reveal what only your eyes can see.” Utamaro then, with tears in his eyes, said, “Please take me as your apprentice. I want to paint my picture. Please keep me by your side,” and finally left Tsutae. Meanwhile, in the political world, Matsudaira Sadanobu, Tanuma Okitsugu’s rival, returned to the center of the shogunate. Matsudaira Sadanobu was the grandson of the 8th Shogun, Tokugawa Yoshimune, and was close to becoming Shogun, but due to the machinations of Okinobu, he was ordered by the Shogunate to be adopted by Matsudaira Sadakuni, the lord of Shirakawa Domain, and was kept away from the core of the Shogunate. Therefore, we will be keeping our eyes on the battle between Tanuma Okinobu and Matsudaira Sadakuni from now on. And this battle will have a major impact on Tsutaju. This is likely to be the biggest highlight from now on.

Stones are thrown at the victim, and the perpetrator is made a hero.
How will Tsutae and Ikenori stand up against public opinion that distorts the truth?

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Tanuma Ochikazu finally passes away. Episode 28 of the historical drama “Berabou” begins with the sword attack incident, continuing from the previous episode. A few days later, Ochikazu passes away, surrounded by his father, Oji, who nurses him to death. Sano Masayoshi, who attacked Ochikazu, is also ordered to commit seppuku, a major incident that heralds the end of the Tanuma era. Later, as Tsutaju and others watch Ochikazu’s funeral procession through the city, a man dressed as a carpenter appears, shouting “Divine punishment!” and throwing stones. The crowd joins in, hurling stones at the coffin and palanquin, voicing their dissatisfaction with Tanuma’s politics. Meanwhile, Daresode rushes to protect the coffin, but the stones fly mercilessly, hitting him directly in the forehead. He is shown pleading with Tsutaju, who rescued him, “Avenge me!” The Tenmei famine, one of the three major famines in Edo, fueled growing discontent with Tanuma’s government and is said to have resulted in over 900,000 starving deaths nationwide. While many of these voices of resentment were directed at Tanuma and his son, neither the poor weather nor the eruption of Mount Asama, which caused the rice crop failure, were to blame. Furthermore, as Tsutaju suggested to Ichi in the previous episode, the shogunate’s policy of collecting rice in Osaka and sending it to Edo for sale at low prices led to a temporary stability in rice prices. While this could be seen as an achievement of Tanuma’s government, the general public instead believed that “the price of rice dropped because Sano killed Tanuma’s son,” and even worshipped Sano Masayoshi, who killed Ichi, as a hero, as “Sano Secho Daimyojin.” Seeing this, Tsutaju, a Tanuma lover, was troubled, thinking, “The one who was killed gets pelted with stones, while the one who did the killing gets worshipped…” To encourage Daresode, he tries to think of a way to avenge her, but now that Masayoshi has committed seppuku, there is no one to avenge her.

So Tsutaju comes up with the idea of ​​writing a yellow-covered book based on Ichi’s death, portraying Masayoshi as the villain. However, when he consults with book wholesaler Suharaya Ichibei, he is opposed, saying, “You shouldn’t make books about the government. Lord Tanuma is to blame for the fires in Mayayama and the stubborn drop in rice prices. Sano punished Lord Tanuma on behalf of the heavens. That’s how the world has plotted it.” He realizes that changing the minds of people suffering from hunger is not easy. Meanwhile, at the mansion of Tsuchiyama Sojiro, where Daresode has been kept as a potential buyer, she is clad in a white kimono, intently chanting a curse by beating straw. Seeing this, Tsutaju is helpless, unable to come up with a clever plan to save her. Meanwhile, Kitao Masatora visits Tsutaju and shows him the designs for a collection of hand towels. Seeing one of them, which shows a man peering through a gap in the noren curtain, he smiles and says, “Maybe this guy can do it. Maybe he can make that guy (Daresode) laugh again.” It will be interesting to see what kind of hint this gives Tsutaju and what secret plan he comes up with. Meanwhile, Tanuma Okitsugu realizes that Hitotsubashi Harusada is the mastermind behind the sword wound incident that led to his son’s death. To clear his son’s name, he decides to take over his son’s unfinished work and complete it as a form of revenge. It will be fascinating to see how this revenge turns out.

With the price of rice continuing to rise, the Tanuma administration finds itself in an increasingly difficult position!
And then, a blade is turned against Tanuma Ochi, while the courtesans Daresode and Tsutaju…

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Banzai Kyoka Collection (Source: Ukiyo-e Cafe Collection)

The price of rice continues to soar. This is the story from episode 27 of the historical drama “Berabou.” In the previous episode, Tanuma Ochitomo proposed a revision of the stock association system to allow the free import and sale of rice into Edo. He promulgated the Order for Free Rice Trading, believing that the influx of rice at fair prices would force merchants who had been buying up rice for speculative purposes to sell it.
However, this resulted in many non-rice merchants buying up rice, further exacerbating the situation. The Tanuma administration was held responsible. While the Reiwa rice riots appear to be calming down with the release of stockpiled rice, concerns about the future remain. The drama’s depiction may provide valuable insight into Japan’s future rice policy. Meanwhile, the daresode (who had been hoping for Tanuma Ochitomo’s redemption) was spending their days in distress as the rice riots slowed progress in their redemption plans.
Ichi was told to refrain from visiting Yoshiwara for a while, saying, “I must refrain from entertainment until the price of rice drops.”

Tagasode’s poem, “The paper case I prayed for, thinking I would never forget it, makes me yearn for you all the more,” is a famous line that was even included in the Banzai Kyoka collection. Moved by this line, Ichi decided to buy Tagasode’s freedom under the name of the treasurer, Tsuchiyama Sojiro. (In actual history, Tsuchiyama Sojiro actually bought Tagasode with the proceeds of illegal activity.)

In the drama, Taresode was portrayed as happy, dressed in the attire of a samurai woman, but a tragedy was looming that would put an end to her happiness.

[Sano Masayoshi’s Sword Wound Incident]

Tanuma Okitsugu enjoyed absolute power at the time, backed by the trust of the 10th shogun, Ieharu, but at the same time, many held grudges against the Tanuma family. As a result, the sword incident between Sano Masayoshi and Tanuma Okitsugu occurred, and with the loss of his heir, Okitsugu’s power also began to decline. The Sano family was a Tokugawa vassal family, a hatamoto vassal that had guarded Edo Castle for generations. Despite their prestigious lineage, they had a low stipend and faced difficult economic circumstances. Therefore, in episode 6 of Berabou, Sano Masayoshi’s father, Masatoyo, presented a family tree showing that the Tanuma family had once been Sano’s vassal, and asked Okitsugu for help in his career. However, his wishes were repeatedly rejected, and in episode 27, after various incidents that led Masayoshi to distrust the Tanuma family, we see him draw his sword at Okitsugu. This eventually led to the Tanuma family’s downfall, but it also brought great misfortune to Daresode and, historically, Tsutae, so it’s important to watch what happens next. Tsutaju also gets a little more active in episode 27 regarding rice policy. He visits the Tanuma household and proposes that the shogunate purchase rice and sell it to the people at the same price. However, Ichi demurs, saying, “What a samurai doing, quasi-business…” In response, Tsutaju persuades, “When you’re struggling to make ends meet, you have to forgo books, give up on construction, take a bath once every 10 days, and go to the barber. This leads to increasingly poor circulation of money. We must stop this flow. This is not business, it’s politics.” I personally believe this idea is connected to the current consumption tax reduction policy. The consumption tax dampens consumer sentiment, slowing down the flow of money. Therefore, the consumption tax should be reduced to stop this flow. Currently, one political party is arguing this, and it is one of the issues in the House of Councillors election. Will revitalizing consumer sentiment lead to a booming economy, which in turn leads to increased tax revenue? Perhaps a look back at history through historical dramas and other sources might provide some clues.

As the Tenmei famine causes the people to suffer from rising rice prices, Tsutaju’s mother, Tsuyo, appears!
Inspired by Tsutaju’s words, Tanuma Okitomo comes up with a solution to the rice riots.

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Kinpei Kodomo Asobi (Children's Play), Publisher: Koshodo, Illustration: Chiyojo, Disciple of Utamaro
Source: National Book Database

Anticipating rising rice prices, prices at Osaka’s Dojima Commodity Exchange first rose. Seeing this, rice wholesalers, brokers, and moneylenders hoarded rice, causing rice prices to double from last year’s levels. While this may seem like a recent news story, it’s actually the opening scene of episode 26 of the historical drama “Berabou,” in which a senior councilor receives a report of a poor rice harvest at Edo Castle. The Tenmei famine, partly due to the devastating eruption of Mount Asama in the previous episode, became a serious problem, resulting in many deaths from starvation. Upon receiving the report, senior councilor Tanuma Okitsugu quickly ordered merchants to lower prices, but it was unclear whether the merchants would comply, and the turmoil showed no signs of abating. Naturally, Tsutaju also faced the reality of a rice shortage. The rice in the storehouse is rapidly dwindling due to the servants’ meals and the artists and writers who barge in and eat.

What was the real nature of the real mother?

In episode 26, Tsutaju’s mother, Tsuyo, sneaks in among the guests and eats the remaining rice. Her real name is Hirose (Maruyama) Tsuyo, and she was Tsutaju’s biological mother, separated from him when he was seven years old. Her father is Maruyama Jusuke. Tsutaju is furious and tries to send her away, asking, “What have you come here for now?” However, with the help of his wife, Tei, who intervenes, saying, “When you want to be filial, your parents are gone,” Tsuyo ends up living with them. However, Tsuyo ends up styling guests’ hair for free, handing them books from the store and promoting them while Tsutaju does so. Tsuyo’s skills come in handy in an unexpected way. It’s believed that Tsuyo is actually highly educated. His mother, Tsuyo, was a member of the Yoshiwara Ren (a group of poets), and contributed several hokku poems to Tsutaju’s kyoka collections. She used the playful name Tsuta Karamaru Haha. As a biological mother, Tsutaju, eager to show her filial piety, lived with Tsuyo and worked energetically to ensure the success of the family business. It’s likely that Tsuyo and his wife, Tei, quickly became accustomed to the Koshodo business.

Meanwhile, only a few merchants followed Ikenaga’s orders and sold rice at the regular price, further increasing the poverty of the common people. Thinking, “Is there something we can do?”, Tsutaju came up with a bold idea.

Blow away the Tenmei famine!

Tsutaju, along with Ota Nanpo and others, launched the Tenmei kyoka boom. Thinking, “It’s precisely because these dark times bring laughter,” Tsutaju came up with the idea of ​​compiling a celebratory kyoka collection for the New Year. Tsutaju’s vision was supported by Ōta Nanpo and Utamaro, who worked with him to create a new kibyōshi.

Tanuma Okitomo, the newly appointed wakadoshiyori (young councilor), came to visit Tsutaju. He came to ask for advice on how to get merchants who were withholding rice to release more, believing that the only way to motivate merchants was to borrow their wisdom. Tsutaju then told him about the kibyōshi and how, even if he produced a good book, he could not be included in the group of jihon wholesalers and was therefore unable to distribute it freely, which had caused him great hardship under the “nakama system” of the book world. Inspired by this story, Okitomo proposed abolishing the stock nakama system of rice brokers and wholesalers. He wanted to break the ties between rice dealers and prevent withholding and price manipulation. Today, rice distribution is liberalized, and anyone can collect, ship, and sell rice. However, with the “210,000 tons of missing rice” becoming a hot topic, consumers still have a lingering distrust for rice distribution. So, while watching episode 26, I couldn’t help but think that if we made the “smart food chain” concept mandatory, which links data from rice production to processing, distribution, sales, and consumption, it would also make it possible to see which businesses are withholding rice.

Edo woodblock print reproduction – a masterpiece that faithfully reproduces even the deterioration!

Source: Tokyo National Museum

A limited edition of 10 copies will be produced and sold.

Kitagawa Utamaro’s “Sagi Musume” (Herring Girl) is an ukiyo-e print based on the Kabuki dance “Sagi Musume,” which was extremely popular in the mid-Edo period. This fantastical tale of a white heron spirit transforming into a beautiful young woman, who vanishes into the snow while expressing her pain and regret over unrequited love, brought tears to the eyes of audiences.

The exact year Utamaro painted “Sagi Musume” is unclear. It is believed to date to the Tenmei period (late 1780s to early 1790s) and was published by Tsutaya Juzaburo. This is a representative work from the period when Utamaro was highly acclaimed for his actor prints, before turning to bijin-ga (portraits of beautiful women).

This ukiyo-e print depicts a young woman dressed in a pure white wedding kimono, standing in the pouring snow. Wearing a crown of white herons, her sleeves spread wide, and her gaze cast down ephemerally, the figure skillfully captures the mysterious atmosphere and sadness of the dance. Utamaro idealized the actor’s facial features while expressing the tension and beauty of the stage with soft contours and pale colors. This idealized feminine beauty foreshadowed the direction of later bijin-ga (portraits of beautiful women).

The creation of this work required a sophisticated division of labor. First and foremost, the carver’s meticulous work was essential. To transfer Utamaro’s delicate brushstrokes onto the woodblock, he skillfully adjusted the angle and pressure of his sword to carve varying line strengths and thicknesses. The carver faithfully reproduced Utamaro’s sketch, from the soft folds of the white wedding robe to the intricate lines of the snow-covered background, and meticulous attention to the parting of the hair, down to every single strand of hair. In particular, the patterns on the robes and the egret’s feathers are given a subtle accent in the lines, creating a sense of three-dimensionality.

Next, the printer’s skill is crucial. Gofun (white pigment) was used to express the white, and mica printing (kirazuri) was used to create a shimmering effect when light catches it. The snowy background is printed using a gradation printing technique, creating depth and emotion. To achieve these effects, the printer layered the prints to adjust the subtle shades. Because the washi paper expands and contracts with moisture and pigments, the printer used alignment marks called “kento” to ensure each print is precisely layered.

This print is also valuable as an actor portrait. It is said to be modeled after the performance of popular onnagata (female impersonators) of the time, such as Iwai Hanshiro V. Depending on the collection, the actor’s name or role may be inscribed in the corner of the painting. This is evidence that ukiyo-e was not simply a work of art, but also functioned as a medium to promote plays and increase the popularity of actors.

Currently, well-known institutions that hold Utamaro’s “Sagi Musume” include the British Museum, the Metropolitan Museum of Art, and the National Theatre Traditional Performing Arts Information Center. The large-format nishiki-e print at the British Museum is in particularly good condition, revealing the effect of the kirasuri (sparkle-printed print) on the white wedding kimono. The Metropolitan Museum of Art’s copy, which clearly lists the actors’ names, is also highly valuable as a research resource for kabuki history.

[Summary]

Kitagawa Utamaro’s “Sagi Musume” is a masterpiece that combines the artist’s exceptional aesthetic sense, the carver’s meticulous technique, and the printer’s intricate coloring techniques. The image of the white-robed girl standing in the snow, combining the sadness of love with a mysterious beauty, evoked deep sympathy among the people of Edo. Even today, its refined and elegant beauty captivates many, making it an essential piece when discussing the appeal of ukiyo-e.

Ukiyo-e Cafe Tsutaju’s reproduction woodblock print is a faithful reproduction of a work from the Tokyo National Museum’s collection. Compared to the work in the Boston Museum of Fine Arts, this piece had deterioration in the mica print on the left side and the title. By faithfully reproducing these missing parts, this is an exceptional piece that allows you to enjoy a classical atmosphere despite being a brand new woodblock print. While most reproduction woodblock prints are sold by the printer after correcting the deteriorated parts, this work has been reproduced with the deterioration included.

Please take a look and enjoy the craftsmanship of the carvers and printers from Taito Ward. Only 10 reproductions will be made and sold.

The battle between Koshodo and the Jihon Wholesalers Alliance has finally come to an end.
A new Koshodo begins in a town stained in ash!

Source: Kokusho Database

Koshodo finally makes it to Nihonbashi. In episode 25 of the historical drama “Berabou,” Koshodo achieves its dream of expanding into Nihonbashi, and Tsutaju marries “Tei.” This marks the end of the battle with the Jihon Wholesalers Alliance, and Tsutaju is officially welcomed into the Jihon Wholesalers community. The drama begins with Kashiwaraya, the wholesaler that purchased Maruya, approaching Tsutaju to consider buying their store. Naturally, Tsutaju immediately agrees, but there’s one major obstacle: the rule from the previous episode that Yoshiwara residents cannot purchase property within Mitsuke. To resolve this issue, Tsutaju visits Tanuma Ochi with Subaraya Ichibei. They bring with them a map of Ezo, which contains evidence of the Matsumae family’s smuggling. Tsutaju requests permission to open a store in Nihonbashi, on the condition that they hand over the map. Ichi readily agreed, and Tsutaju finally gained control of Maruya in Toriyucho, Nihonbashi. However, the conflict with the rival Nihonbashi local wholesaler alliance remained unchanged, and the owner of Maruya, Tei, remained closed off. Tsutaju therefore pondered ways to reconcile with Nihonbashi. Meanwhile, a massive eruption of Mount Asama occurred, causing a huge amount of ash to fall on the city of Edo. The sudden ash caused great confusion for the people of Edo, but with this troublesome ash in hand, Tsutaju smiled and said, “This is ash that’s a blessing…”

As the ash fell, Tsutaju headed to Maruya, showed Tei the bill of sale for the store, and asked him to help protect it. However, Tei refused, closing the store doors and hiding inside. So Tsutaju climbed onto the roof of the store and covered it with the old clothes of courtesans, preventing ash from accumulating in the gaps between the tiles and protecting the store. He also worked hard to remove the ash from Toriyucho, Nihonbashi, working hard alongside the owner of Tsuruya, the leader of a rival local wholesaler. They competed for prize money and treated the ash like a game, winning the hearts of the townspeople. Seeing Tsutaju’s behavior, Tei’s heart gradually melted. The two were happily married. Tsuruya also attended the wedding and presented them with a noren curtain as a celebratory gift. “This time, Toriyucho was able to have fun removing the ash. It’s all thanks to Tsutaya’s Yoshiwara spirit, which aims to turn everything into fun. As Edo’s most knowledgeable and festival-loving man, he will surely liven up this town even more. With this, the consensus of the town was settled, and Nihonbashi Toriyucho is willing to welcome Tsutaya.” This marked a happy new start for the new Koshodo, but in actual history, the volcanic ash from the massive eruption of Mount Asama caused cold weather damage, devastating crops and casting a shadow over the management of the Tanuma administration. And Tsutaju, too… Going forward, the company will have to face challenges incomparable to anything it has faced before.

It’s finally here! Tsutaju’s wife? Tsutaju proposes to Tei, the key figure in their Nihonbashi expansion, on their first meeting!

This is believed to be the only illustration showing Tsutaya Juzaburo's wife and child together. His wife is seen praying on the right page. The Tsutaya family prays for prosperity at the Ebisu-ko meeting.
Source: Ukiyo-e Cafe Collection, "Ehon Azuma Karage"

The taiga drama “Berabou” has been garnering attention for its honey trap performance by the courtesan, played by Haruka Fukuhara, known for her pure and innocent image. In episode 24, the plan to seize Ezo from the Matsumae clan by seducing her seduces the younger brother of the Matsumae clan’s head, made great progress. Initially, the plan targeted Hirotoshi, the younger brother of the Matsumae clan’s head, but Hirotoshi, being too timid, lacked the courage to smuggle goods, and the plan appeared to have stalled. However, his target, the Matsumae clan’s lord, Michihiro, appeared in Yoshiwara. In front of Oomonjiya Ichibei and Daresode, he brought up the idea of ​​a direct amber transaction, proposing to make a profit in Yoshiwara with the Matsumae clan. During this process, Michihiro, played by Enari Kazuki, is shown many times showing his cruelty, such as when he fires a matchlock gun at a vassal, and many viewers were likely put off by the creepy smile he displayed at the time. In real life, Michihiro’s entertainment habits were also seen as problematic, so it will be exciting to see how he will be portrayed in Berabou, along with the future of Dare Sode Oiran. Meanwhile, as Tsutajyo’s plan to expand into Nihonbashi stalls, he meets his future wife, Tei, who is a key figure in his expansion into Nihonbashi.

Tsutajyo’s expansion into Nihonbashi was driven by the targeting of Maruya, a bookstore that was up for sale due to financial difficulties caused by debt. Tei is the proprietress of Maruya. Tei didn’t accept Tsutaju, a Yoshiwara resident, and refused to sell, so the men who supported Tsutaju approached the tea wholesaler Kameya on the condition that they would forgive their debts to Yoshiwara. Officially, they would have Kameya buy Maruya and lease the store to Tsutaju, with the aim of expanding into Nihonbashi. However, their intentions were discovered before the deeds were even signed, and Tei’s impression of Yoshiwara further deteriorated. Meanwhile, Tsutaju, hoping to catch a glimpse of the real Tei, visits the temple where Tei is studying Chinese classics. There, during an exchange between the priest and Tei, he sees Tei cherishing a book and finds a clue to winning Tei over. Tsutaju’s conclusion is that Maruya and Koshodo should be jointly managed, and to understand Tei’s feelings, he proposes that the name “Maruya Koshodo” remain. Despite this, Tei stubbornly refuses Tsutaju. So Tsutae proposes, “Well, how about we get together? It would be difficult to buy or sell a shop or a house (due to a rule that Yoshiwara residents cannot purchase houses within Mitsuke), but marriage is not prohibited. In that case, I will not disobey your orders, and it is only natural that we run the shop together.” However, Tei refuses, saying, “No matter how low I fall, there is no way I would marry someone from Yoshiwara.” Meanwhile, in Edo, rumors of something strange happening on Mount Asama spread, and subtle tremors in the earth are beginning to show ominous signs. Just like these tremors, it will be exciting to see how Tei’s womanly heart will be shaken.