A collection of copy by Hiraga Gennai, the greatest idea man in Edo. The full text of his famous copy, “Toothbrushing, Soseki Fragrance” is included.

Hiraga Gennai was a versatile idea man and a first-rate copywriter. It’s widely believed that the catchphrase “Doyō-Ushi no Hi is Eel Day” was Gennai’s idea. The copy featured in this installment of “Furai Rokujūshu” is the advertising copy found on a flyer for the release of a toothpaste called “Sōsekikō,” which Tsutae and Hananoi (later known as Segawa) read in the second episode of the historical drama “Berabō.” The advert reads, “Put your teeth in a box, brush your teeth with Sosekikō, and your mouth will smell fine.” The Ukiyo-e Cafe has a permanent exhibition of “Furai Rokujūshu,” created in 1884.

　

A portrait of Hiraga Gennai. He has a Bunkin-style topknot, popular among connoisseurs. He was also famous as a homosexual, but he was also blessed with many talents, including the correction and sale of electric kettle bells, mining development, and the practice of Kyoka poetry. However, he ultimately died in prison.

In 1769 (Meiwa 6), Hiraga Gennai was asked by Ebisu-ya Hyōsuke to write the promotional text for the Hikifuda (a type of advertising card) “Sōsekikō.” Gennai was famous, but as he was a ronin (masterless samurai), he did not have a fixed income from the domain. To earn an income, he started by developing mines, put on shows with an electric kettle, and wrote comic stories, all at the request of publishers.

It is said that Hiraga Gennai was the first copywriter in Japan.
There is a collection of advertisements called “Furai Rokujibushu Tobika Rakuba.” This was compiled in 1783 (Tenmei 3) after Gennai’s death, collecting only the advertisement texts, and the copy for “Misekko” is included in this collection.

The full text of the tag on the Usekikou (Ushio)

Ukiyo-e Cafe Book Collection

[Story]
“Come on, come on”… I’m planning to build a storehouse on all four sides, with eight roofs on each side, and eight storehouses on all four sides. However, I’ve been suffering from a string of business losses and am in a difficult position. Then, someone told me about selling toothpaste, which requires no capital investment.

It would be rude to hide it, so I’ll be frank. I scented Boshu sand, carefully selected the medicinal ingredients as instructed, and mixed it carefully. I heard that it not only whitens teeth, but also has benefits comparable to those of Mount Fuji. However, I don’t know if it works or not. But it’s just toothpaste, so it won’t do any harm even if it doesn’t have any other benefits. This time, I’m putting 20 packets in one box. It’s easy to use, so I’m planning to sell a lot of it cheaply and make a profit. To be honest, I decided to sell it early because I wanted money. Even if you use it and it turns out to be no good and you have to throw it away, it will be a small loss. For me, every little bit counts. If it proves to be a good product, I’ll open a store on the main street, shine a gold sign, and make this current predicament a thing of the past.

Resident of the back store in Teppomachi: Kawai Sosuke Motono (anonymous, as Gennai used it); Salesperson: Ebisu-ya Hyosuke

By revealing his true feelings, Gennai wrote several well-paced hikifuda (drafts) that appealed to the witty sense of Edoites.

Tsutaju must have seen these spirited and interesting hikifuda often. It’s easy to see why he asked Hiraga Gennai to write the prologue at Yoshiwara Sasami.

[Title] Furai Rokuroku Bushu (Collection of Wandering Tales), Part 1, Part 2: Flying Flowers and Falling Leaves
[Author] Furai Sanjin (Hiraga Gennai)
[Editor] Ota Shusanjin
[Publisher] Tokyo Uchida/Yohbei
[Publication Year] Collected and edited works from the preface of 1777 to the 3rd year of Tenmei.
The Ukiyo-e Cafe collection includes a reprint of the 1884 edition.
[Specifications] Woodblock print, 17.3 x 11.6 cm, 60 pages total
[Summary]
A collection of mad prose from the late Edo period. Comprised of six pieces in two volumes. Written by Furai Sanjin (Hiraga Gennai). Published in 1780. This book is a collection of six humorous pieces published during the Meiwa and An’ei eras (1764-1781). “On Flatulence” and “The Story of the Hiding of Luyin” are some of his works.

The origin of good and bad characters expresses the moral lessons of good and evil in a fun way. A masterpiece of kusazoshi created by Tsutaju and Kyoden.

The image below is the opening scene of Kanninbukuro Ojime Zentama.

The work depicts an interaction between an editor and an author that could happen today.

Tsutaya Juzaburo is visiting Sankyoden’s home to pick up a manuscript. Kyoden (with his adorable nose) is sitting at the desk on the left. Serving tea is Kyoden’s wife, Okiku. As you can tell from the Tsutaya family crest, Tsutaju is sitting on the right.

This page shows the scene where Tsutaju is urging Kyoden, saying, “Even if I have to use my foot as a pestle, my voice as dry as mustard, etc., I must pray for your portrayal of good and bad characters.” The artist is also Sankyoden (Kitao Masaaki).

From the yellow-covered "Kanninbukuro Ojime no Zendama" (The Patience Bag and the Good Treasure) (published in 1793 by Tsutaya Juzaburo) illustrated by Kyoden. Original stock available at Ukiyo-e Cafe.

“Kanninbukuro Ojime no Zendama” is a popular kusazoshi (Japanese traditional painting) that reflects the culture and social climate of the late Edo period. This work serves as a moral book on the theme of good and evil, and was written during the Kansei Reforms, when restrictions on expression were a tough social backdrop for the publishing industry.

[Story]
The story pits “good guys” and “bad guys,” symbols of good and evil, against each other over the human heart. The bad guys tempt men to commit evil deeds and attempt to undermine their morals. Meanwhile, the good guys thwart these actions and encourage repentance. In the male psyche, the conflict between good and evil is used to examine human morality and ultimately to preach the importance of good deeds.

The villain seduces a man, while the villain holds him back. Characters like the Eyeball Man, with their light-hearted touch, became popular. The "villain dance" ("villain dance") became popular after this.

This work is linked to the social education policy of the Kansei Reforms, and the trend toward strengthening frugality. After Tanuma Okitsugu’s downfall, Matsudaira Sadanobu strictly monitored publications to maintain social order. Works with moralistic themes like “Kannin Fukuro Ojime Zentama” were more popular than yellow-covered books with gossipy themes. Since a mere moral lesson wouldn’t be interesting, Tsutaju and Kyoden likely devised interesting illustrations and stories to attract readers. In a sense, “Kannin Fukuro Ojime Zentama” may have been born precisely because of the Kansei Reforms.

The original “Kannin Fukuro Ojime Zentama” (not a reproduction) is on permanent display at the Ukiyo-e Cafe.

It has been decided that Ukiyo-e Cafe Tsutaju will be hosting an event.

Master Katsura Mikisuke, a collector of Yoshiwara Hosomi prints, will act as host for the event, which will be themed around rakugo and Yoshiwara. The event will be held monthly from October to January. There will be lectures and rakugo, mainly focusing on Yoshiwara and Tsutaya Juzaburo, as well as an exhibition and commentary of valuable Edo-period Koshodo publications.

Katsura Mikisuke Discusses the World of Tsutaya Juzaburo
Edo Culture of Shin-Yoshiwara and Rakugo: “Learn, See, and Experience”

Date and Time: Saturday, October 4, 2025
Venue: Taito Civic Hall, 9th Floor, Special Conference Room (Large)
Doors Open: 4:00 PM
Show Starts: 4:30 PM (Approximately 1.5 hours)
Price: ¥1,500 (Advance and Same-Day Tickets)
(Seats are on a first-come, first-served basis)
Organizer: Ukiyo-e Cafe Tsutaju

[Part 1] Talk Show Related to Yoshiwara
Master Katsura Mikisuke x Owner of Ukiyo-e Cafe Tsutaju
“Before Tsutaju” – A Look at Shin-Yoshiwara through Yoshiwara Sasami
The Great Takao Tayu – Learning about Oiran, Brothels, Shops, and Local Products

[Part 2] Exhibit and Commentary of Outstanding Works
Tsutajyu’s Ally, Sankyoden, Owner of Ukiyo-e Cafe Tsutaju

[Part 3] Rakugo: Katsura Mikisuke Kon’ya Takao – Exhibit and Commentary of Classic Masterpieces
Oiran Procession Performed by Tayu, the Highest Ranking of Courtesans
Their appearance captivated many. A story begins from this procession…

Tickets on Sale: From Friday, September 5th
Same-day tickets will be sold if seats are available.
On the day of the event, please provide your full name and the ticket purchase screen at the reception desk.

If you would like to participate, please apply by clicking “Reservations” below.
Payment by credit card or bank transfer is accepted.
Once payment has been confirmed, your tickets will be sent to the email address you provided.

We look forward to seeing you there.

Our planned opening dates for September are:

Saturday, September 6th, Sunday, September 7th
Friday, September 12th, Saturday, September 13th, Sunday, September 14th, Monday, September 15th
Friday, September 19th, Saturday, September 20th, Sunday, September 21st, Monday, September 22nd, Tuesday, September 23rd
Friday, September 26th, Saturday, September 27th, Sunday, September 28th

We look forward to seeing you!

Advance reservations are also accepted.

We’ve opened an online shop where you can purchase Ukiyo-e Cafe ukiyo-e prints without visiting the store.

We’ll be adding more products in the future.

All new items will be shipped framed.

An event has been scheduled at the Taiga Drama Museum.

“Edo Culture Experience Day”

Date and Time: Sunday, August 24
10:30 AM – 4:30 PM *Entry and exit are free

• Lecture on Ukiyo-e
• Woodblock Printing Demonstration
• Lecture on “Utamaro and Tochigi”
• Woodblock Printing Workshop

Location:
Taito Civic Hall, 9th Floor, Special Conference Room (Large)
*Same floor as the Taiga Drama Museum

The venue is located close to Asakusa Station,
Please take advantage of this opportunity to attend.

Our planned opening dates for August are:

Friday, August 1st, Saturday, August 2nd, Sunday, August 3rd
Saturday, August 9th, Sunday, August 10th, Monday, August 11th
Saturday, August 16th, Sunday, August 17th
Friday, August 22nd, Saturday, August 23rd, Saturday, August 30th, Sunday, August 31st

We look forward to seeing you!

Advance reservations are also accepted.

Our planned opening dates for July are:

Friday the 4th, Saturday the 5th, Sunday the 6th, Wednesday the 9th,
Friday the 11th, Saturday the 12th, Sunday the 13th,
Friday the 18th, Saturday the 19th, Sunday the 20th,
Friday the 25th, Saturday the 26th, and Sunday the 27th.

We look forward to seeing you!

[Connoisseur of contemporary customs]
Published: July 1773 (An'ei 2)
Artist: Kinkin Saeru (Kinkin Saeru, Hosei-do Kisanji, Hirasawa Tsunetomi)
Illustration: Koikawa Harumachi (Sake no Ueno Furachi, Kojitsuke Daiosho)
Postscript: Ishino Dodai
Publisher: Shodorakan Collection (colophon) is believed to be by Hasegawa Shinbei of Ikenohata Nakamachi
*The print in our collection is a Taisho-era woodblock reproduction.

Tosei Fuzokutsu (Tosei Fuzokutsu) is a guide to modern manners and customs published in 1773 during the mid-Edo period. It was written by Kinkin Saeryu, also known as Hoseidō Kisanji, and illustrated by Koikawa Harumachi, a master of yellow-covered book covers. While it is classified as a single volume and a sharebon (sharebon), its content goes beyond simple humor to become an illustrated encyclopedia that visually and descriptively conveys the latest fashions, customs, and connoisseur culture of the townspeople of the time. This work is essentially an Edo fashion magazine. Aimed at connoisseurs—stylish men with a keen sense of style and fashion—it introduces the "modern" manners, language, attire, hairstyles, and even the use of props with witty brushstrokes and exquisite illustrations. It truly served as an information medium for townspeople's culture, and readers used it as a reference to dress and behave in order to demonstrate their sophistication in social settings such as pleasure quarters and theater districts.
Of particular note is the "Illustration of Eight Hairstyles for the Times" at the end of the book. This illustration depicts eight variations of the Hondamage hairstyle popular in Edo for men, and is structured to visually show the differences in the way each hairstyle was styled and the impression it gave. These illustrations were positioned like a "men's hairstyle catalogue" in modern terms, and appear to have been used as reference material by connoisseurs to choose a topknot style that suited their character and destination, and to place their orders with hairdressers.

■ Eight hairstyles of the time: Comparison table of topknots

Topknot name	Features and Shape	Impression/purpose
Ancient Honda	The most basic shape. Standard height and width.	A relaxed traditionalist.
Marumage Honda	The butt end of the topknot is rounded and bulging.	A soft and stylish impression.
Honda five minutes down	The topknot is tied low to create a calm and modest look.	It goes well with a gentlemanly look.
Osaka Honda	The height is emphasized and the design is somewhat large.	He seems to have a taste for flashy things.
Brother Honda	The topknot is long and the figure is imposing.	Suitable for older people and dignified people.
Honda plague	A simple tying method that saves effort.	Emphasis on practicality and a simple impression.
Kingyo Honda (bottom of the boat)	The bulging shape at the bottom gives the impression of a goldfish’s tail.	Unique and soft atmosphere.
Danshichi Honda (Denkuro’s temples)	The sideburns are prominent, giving the look a theatrical elegance.	Popular among comedians and those frequenting the pleasure quarters.

[Connoisseur’s manual]

This book not only covers hairstyles, but also introduces illustrations of all manner of connoisseurs’ personalities, from how to coordinate clothing, use of accessories, makeup, speaking, and walking. For example, connoisseurs were expected to wear kimonos “slightly casually,” and there were also unique ways of tying obi and carrying tobacco pouches.

Furthermore, the magazine also describes the “tips and tricks” of connoisseurs, down to the smallest details, such as the design of metal fittings on a kiseru pipe, how to use netsuke (seals) and inro (seal cases), and even how to hold a folding fan. This information is presented visually, not just in words, but through detailed illustrations, making it a truly practical guide to manners for readers, much like a modern-day fashion magazine. The characters all portrayed typical Edo townspeople, such as “connoisseurs,” “town girls,” and “courtesan,” and scenes from the theater district and Yoshiwara were also seen in the background. The behavior and interactions in the pleasure quarters, in particular, were full of wit, charm, and charm, and are thought to have been extremely useful in “directing” their own lives.

“Tosei Fuzokutsu” is an extremely valuable primary source that conveys to the present day the sophistication and sophistication that Edo townspeople’s culture had attained. Its contents are not simply an entertainment book, but an “Edo version of a style manual” that reflects the aesthetic sense and social skills of urban dwellers at the time, and it is an extremely important document from the perspectives of the history of manners, fashion, and publishing culture.

Scheduled opening dates for June

1 (Sun), 6 (Fri), 7 (Sat), 8 (Sun),
14 (Sat), 15 (Sun), 19 (Thu) 13:00~, 20 (Fri), 21 (Sat), 22 (Sun),
27(Fri), 28(Sat), 29(Sun)

It is as follows.

We look forward to seeing you all.