Portraits of Beautiful Women

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The Prints

Print 10-1. Wakakusa at the Go Board: Album leaf by Harunobu. Published in 1770. From Yoshiwara Shunro Bijin Awase Sugata Kagami (A Collection of Beauties of the Brothels of Yoshiwara), Vol. 1, sheet 10a. This collection featured works by both Suzuki Harunobu and Kitao Shigemasa.

: In this famous album the artist depicted well-known courtesans of the day, each picture accompanied by a short poem by the portrait's subject, presumably in her own handwriting. Shown here is one identified as Wakakusa of the House of Manjiya (located in the famous pleasure quarter of Edo). The seventeen-syllable poem above her is a tissue of double-meanings and allusions:

: Again they break means she parts her thighs; fancy sandals signifies a prostitute; cherry-blossom alludes to a handsome lover; salt suggests a house in the pleasure quarters because of the ancient custom of putting little piles of it beside the entrance of such establishments to ward off evil influences -- a custom faithfully observed in Japan even today.

: A courtesan who hoped to attract wealthy patrons had to be more than physically attractive. She was also expected to be skilled in at least some of such graces as calligraphy, poetry, singing, samisen-playing, or games. In this print Wakakusa is shown holding the white stones, perhaps meaning that she was known as a strong go player.

Print 10-2. Five Beauties of the Kansei Era: Yoko-e print by Utamaro, published by Maruya Bunemon ca. 1794.

: Renowned as the master of prints of beautiful women, Utamaro loved to play go and featured the game in a number of his works. This example from the collection of the Honolulu Academy of Arts is all that is known to remain of its original print run and is prized by the go community therefore all the more, beyond even its worth to the art world.; A depiction of famous beauties of the Kansei era (1789-1801), the players are identified as Okita (on the left) and Ohisa, while the three looking on are, from left to right, Tachibanaya Otatsu, Tomimoto Toyohina, and Hiranoya Okichi.; Contributing to the particular charm of this print is the fresh informality and naturalistic ease of posture of the woman on the right, caught by the artist to convey the psychology of focused attention. The angle of her body and direction of her gaze serve to point the viewer's eye to the hand about to make its move.; In his album Momo Chidori (One Hundred Plovers) Utamaro portrays a snow-white heron with a black crow, traditionally symbols of the black and white go stones. Another example of his treatment of the go motif is shown in Print 10-3.

(Editor's note: Among the author's private collection was a Four Accomplishments print by Utamaro, which, unfortunately, could not be located after his death.)

Print 10-3. The Widow of Hinodeya: Oban print by Utamaro, published by Omiya Gonkuro ca. 1796.

: This print is titled Komei Bijin Rokkasen (Six Famous Beauties). The woman here was one of the most famous beauties in Edo. She is depicted just stepping out of the bath and with her eyebrows shaved. Although her name is not given, it can be deduced from the cartouche in the upper left. The rising sun there identifies the shop, Hinodeya (Rising-Sun Shop), owned by her deceased husband, and the go board with the clipping of hair (ke in Japanese) beneath it imply goke, meaning widow.

Print 10-4. Courtesans Playing Go: An oban print by Eizan, published by Izumiya Ichibei ca. 1811.

: This print was the go panel of a set of four prints on the theme of the Four Accomplishments.

Print 10-5. Three Women in Moonlight: Oban triptych by Kunisada (signing as Toyokuni III), published by Maruya Jimpachi ca. 1846-47.

: The Moon subject from the series of three triptychs, Furyu Getsu-sekka (Elegant Moon, Snow, and Cherry-Blossoms), it includes familiar elements characteristic of Genji prints: the Heian-style lantern and the pattern--the Genj family crest--of the kimono worn by the woman in the central panel. The arrangement of the three figures is evocative of prints depicting Prince Genji spying on two court women at their go game (See Chapter 5), although their garments and hairstyles are thoroughly up-to-date.
From the collection of Erwin Gerstorfer.

Print 10-6. Utanosuke Playing Go: Oban print by Kunisada (signing as Toyokuni III), published by Tsutaya Kichizo in 1861.

: From the series Meigi Sanju-rokkasen (A Selection of Thirty-Six Famous Geisha). The haiku in the panel reads:

Print 10-7. The Geisha Wakadae: Oban print by Kunisada (signing as Toyokuni III), published by Tsutaya Kichizo in 1861.

: Another in the same series as the foregoing. The story related in the panel at the upper right tells how Wakadae was an example of a temperament rare in the licensed quarter. She was so devoted to her parents that, when her mother fell ill, she prayed to the gods and Buddhas to take her own life instead. Her mother recovered, and Wakadae is shown here receiving the good news upon returning from a visit to the temple where she had prayed. The haiku captures her sense of joy:

: Beginning in the Meiji era (1868-1912), many prints were published depicting respectable middle-class women engaged in various arts and accomplishments. Below are three examples.

Print 10-8. Tea Ceremony Lesson: Oban triptych by Chikanobu, published by Takegawa Unokichi in 1891.

: From the series Onna Reishiki (Polite Behavior Among Women). Three girls are being instructed in the tea ceremony. The youngest of them ingenuously looks over her shoulder to where her mother sits with the other mothers passing the time at go.

Print 10-9. Noble Young Ladies Competing in Various Accomplishments: Oban print by Nobukazu Yosai, published ca. 1896. Publisher unidentified.

: The furniture, kimono, and the lacquered go board and bowls all indicate that the young ladies depicted playing go here belong to well-to-do families during the middle of the Meiji era.

Print 10-10. Women Playing Go: Oban triptych by Chikanobu, published by Katsuki Yoshikatsu in 1902.

: From the series Fujin Kurabe Reishiki no Zu (Ladies' Polite Behavior Compared in Pictures). This is one of the few prints that accurately show 19x19 lines on the board, although as usual the placement of the stones would baffle any real player of the game.