25 - Toyonobu: Courtesan Standing in Front of a Building

Toyonobu: Courtesan Standing in Front of a Building

I like this bijinga. The geometric background might be a little overbearing, but the figure is graceful with a beautiful posture, and the geometric background provides an interesting contrast to the girl. This is a benizuri-e, a print in pink tones, a technique which was used before the invention of nishiki-e (full colour prints). The creator is Ishikawa Toyonobu (1711-1785), about whom we know very little. The print is named Courtesan Standing in Front of a Building.

21 - Kuniyasu: Parody of Shi Jin, the Nine Dragoned: Akomi of the Ôgiya

Kuniyasu: Parody of Shi Jin, the Nine Dragoned: Akomi of the Ôgiya

Here we have one of those hard-to-interpret mitate-e, with many layers of meaning in contrast with each other. At first sight this is nothing more than a bijinga. Indeed, it is a specified woman, Akomi of the Ôgiya. The print is made by Utagawa Kuniyasu (1794-1832), and it is called Parody of Shi Jin, the Nine Dragoned (Kyûmonryû Shishin no mitate): Akomi of the Ôgiya; from the series One Hundred and Eight Heroes of the Popular Shuihuzhuan (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori)."

The Ôgiya was a great brothel in Yoshiwara, Edo's pleasure district. Many ukiyo-e artists created bijinga with portraits of courtesans from this "House". As so many aspects of life in old Japan, a brothel, or a "House", was organised according to a strict hierarchy. The reigning courtesan of the Ôgiya had the hereditary name Hana-o gi.

But who is Shi Jin, the nine-dragoned, with whom Kuniyasu contrasts the courtesan?

He is a character in a Chinese literary classic, Shuǐhǔ Zhuàn (Water Margin). The story is too long to be told here, but Shi Jin had nine dragon tattoos on his body. Compare that to the pattern of the courtesan's kimono.

It is customary to translate "mitate" to "parody", but it can be misleading. I have explained that in a previous article.

18 - Kôkan: Girl on a veranda

Kôkan: Girl on a veranda

Shiba Kôkan (1747-1818), or Suzuki Harushige, was a very skilled artist who worked with a large number of styles and techniques. One of his specialities were woodblock prints in Harunobu's style. He even signed some of them with Harunobu's name. Today we would call that forgery.

This print is “Girl on a veranda” by Kôkan - falsely signed “Harunobu”. Note that Kôkan imitated Harunobu's style, but made his own picture.

17 - Nobukazu: Love Of Fireflies

Nobukazu: Love Of Fireflies - 1896

Watanabe Nobukazu (1872?-1944), a student of Yōshū Chikanobu, made pictures ranging from traditional ukiyo-e, such as bijinga, to pictures of Tokyo on the verge of modernisation, or war scenes from the wars with China or Russia. He is one of the very last ukiyo-e artists.

This is a bijinga by Nobukazu: “Love Of Fireflies” from 1896.  It is not a woodblock print but a lithograph.

15 - Gekkō: The Plum Blossoms of Kameido

Gekkō: The Plum Blossoms of Kameido
From the Series Famous Views of Flowers and Beautiful Women
1895

This is a triptych - three prints put together to create one larger picture - "The Plum Blossoms of Kameido" by Ogata Gekkō (1859-1920). The picture is from the series "Famous Views of Flowers and Beautiful Women", 1895.

Ogata Gekkō understood himself as part of the tradition of ukiyo-e, but he was very versatile and also experimented with techniques and styles not normally included in that tradition - for example lithography. He is widely underestimated, but I perceive him as one of the greatest Japanese artists of his generation.

10 - Utamaro: Three Beauties of the Present Day

Utamaro: Three Beauties of the Present Day - 1793

Kitagawa Utamaro (1753-1806) is one of the most influential ukiyo-e artists, and one of the few who became famous beyond Japan. He is best known for his bijinga, pictures of beautiful girls, one of the major sub-genres of ukiyo-e. 

Utamaro introduced a certain realism of the faces, which had so far been idealised and stereotyped. This print, "Three Beauties of the Present Day" [Tōji San Bijin], from 1793, shows a triangular composition of three girls in the style of okubi-e (large head). Okubi-e had so far been yakusha-e, portraits of kabuki actors, but Utamaro applied it in bijinga.

The heads seem alike, but on a closer look, there are subtle differences which make them individual. In fact, the girls are the geisha Tomimoto Toyohina (top), and the two waitresses Takashima Hisa (left) and Naniwa Kita (right), who figure on many prints by Utamaro and others.

It has sometimes been claimed that this picture was the first (or one of the first) bijinga with girls who were not courtesans. That is not true - it was already started by Harunobu, who sometimes made bijinga with beauties from everyday life.

01 - Harunobu: A girl on a veranda

Harunobu: Girl on a veranda

Suzuki Harunobu (1725-1770) was the first woodblock artist who made full-colour prints, so-called nishiki-e. That, in combination with other innovations in technique, format, material, and style, makes him one of the most important masters of ukiyo-e.

This woodblock print shows a bijin, a beautiful girl. It is the typically petite girl of Harunobu's art: a slender, elegant figure - almost a child. While many other ukiyo-e-artists paid an immense attention to the kimono and its pattern, these aspects play a relatively small role in Haronubu's bijinga. On the other hand, he was the first artist to make real backgrounds, an environment for his figures.