Life in Edo Japan: Beyond Pictures of the Floating World
The In Praise of Humanity exhibition at the Tokugawa Art Museum shifts viewers’ focus from conventional themes of geisha, courtesans, and Kabuki players, bringing to light the myraid of narratives woven into people’s everyday lives in Edo japan.
Sense of Wander: ★★★★★
In his Scenes in and around Kyoto (Funaki version), Iwasa Matabei vividly captures a lively group engaging in dance on a bridge. This joyful scene takes a poignant turn with the presence of a beggar on the left, revealing the intricate social strata in Edo Japan. Image courtesy of the National Tokyo Museum.
NAGOYA, Japan — During my recent visit to Japan, I made a stopover in Nagoya, and had the opportunity to explore the Tokugawa Art Museum. Managed by the descendant of the Tokugawa family, who governed Japan during the prosperous Edo period (1603-1867), the museum showcased a special autumn exhibition titled In Praise of Humanity: Genre Paintings of the Edo Period [人間讃歌 - 江戸の風俗画].
This exhibition offered a unique glimpse into the Edo period’s cultural richness. While the Edo Paintings A to Z exhibition in Kyoto I visited earlier showcased the prolific artistic output during the peaceful aftermath of the Warring States period (1467-1568), In Praise of Humanity took me on a captivating journey, exploring the intricate world of genre paintings that flourished during this remarkable chapter in Japanese history.
In art historical terms, “genre painting” refers to a form of genre art portraying ordinary people gngaged in daily activities, offering a glimpse into their everyday lives. Now, you might be wondering the distinction between “genre painting” and ukiyo-e, commonly known as “pictures of the floating world” In fact, ukiyo-e falls under the broader category of genre painting, as it, too, captures aspects of life in Edo Japan.
Like many, my initial association with ukiyo-e was confined to the woodblock prints depicting courtesans, geisha, kabuki players, and landscapes — art meant for the masses. This perspective, shaped during my postgraduate studies on the subject, led me to believe these prints encapsulated the essence of Edo Japan. But my recent visit to the exhibition In Praise of Humanity challenged my preconceptions, unveiling a more nuanced understanding of the spirit and artistic expression that defined the era.
Iwasa Matabei’s Scenes in and around Kyoto (Funaki version) [Japanese: 洛中洛外图屏风 (舟木本)] is a set of two monumental folding screens, painted towards the end of Matabei’s residence in Kyoto. Considered the greatest masterpiece of its kind, Matabei’s work vividly captures what life was like in 17th-century Japan. Image courtesy of the National Tokyo Museum.
On the right folding screen of Iwasa Matabei’s Scenes in and around Kyoto (Funaki version), women engage in ecstatic dancing on the street, capturing the attention of both onlookers and passersby. Image courtesy of the National Tokyo Museum.
Urban Tapestry: A Symphony of City Life
Upon entering the exhibition, I was immediately welcomed by a selection of folding screens, each beautifully illustrating the theme “Rakuchu Rakugai-zu.” In simple terms, Rakuchu Rakugai-zu provides a panoramic view of the city centre, encompassing both the “inside” of Kyoto (rakuchu) and its subrubs, the “outside” (rakugai).
This bird’s eye view of Kyoto, attuned to the latest trends and events across town, vividly documents famous scenic spots and important monuments serving as backdrops for seasonal festivals. Street parades, kabuki dances, the activities of the new entertainment district along the riverbank of Shijo, and citizens casually strolling the streets offer glimpses into the everyday life of people in Edo Japan. These screens were highly admired and sought after in Kyoto, becoming popular souvenirs for visitors from out of town.
Standing before these folding screen, which provide not only a panoramic view of Kyoto but also intricate details of the activities undertaken by its townspeople, I marvelled at the immersive experience they offer. Paintings featuring such theme had been executed on screens since the early 16th century. However, the landscape changed significantly in 1603 when Tokugawa Ieyasu’s construction of Nijo Castle in Kyoto transformed this genre of painting.
Iwasa Matabei’s Scenes in and around Kyoto (Funaki version) [Japanese: 洛中洛外图屏风 (舟木本)], a pair of monumental folding screens painted towards the end of Matabei’s residence in Kyoto, is designated a National Treasure. Matabei’s panoramic view of Kyoto unfolds scenes of recreation at Gion Shrine, a procession of warriors, and bustling streets lined with diverse merchant houses, selling fans, lacquerwares, kosode, scrolls, and more.
Overflowing with energy and liveliness, Matabei’s folding screen almost allows us to hear the joyful voices of the people depicted in the painting. The meticulous details in his work, including scenes of people getting their hair done at a barbershop, vividly bring Edo Japan to life before our eyes. This brings to mind the painting scroll Along the River During the Qingming Festival [Chinese: 清明上河圖] by Zhang Zeduan (1085-1145), which offers a glimpse into what life was like in China during the Northern Song dynasty (960-1127).
What captivates me most in Matabei’s depiction, also found in several other genre paintings adorning folding screens, is the use of golden clouds. Beyond their practical role as dividers between sections and scenes, these clouds infuse a touch of magic, blurring the boundary between reality and imagination. The abstract nature of these clouds, set against Matabei’s artistic brilliance and meticulous attention to detail, is arguably what elevates this piece to the pinnacle of Rakuchu Rakugai-zu, making it a true masterpiece.
This differs from the more familiar ukiyo-e, offering an overview of life in Edo Japan with vibrant depictions of the city's townspeople immersed in the trasnsient joys of everyday life. It was depiction of people living in the real world, enjoying a time of peace.
An animated portrayal from Scenes of a Kabuki Performance, designated as an Important Cultural Property, illustrates the customs and manners associated with attending a kabuki play. Image courtesy of the Tokugawa Art Museum, Nagoya.
A Closer Look: Life In and Around Homes
The idea of “ukiyo,” originally rooted in the Buddhist notion of life’s transitory nature, underwent a transformation during the Edo period. The character for “to float” replaced the homonym for “transitory,” symbolising a more optimistic joie de vivre. This shift gave rise to a hedonistic culture of embracing life in the “floating world,” as exmplified by a pair of handscrolls titled Scenes of a Kabuki Performance [Japanese: 歌舞伎図巻].
The handscroll unfolds a series of dance sequences, notably featuring a scene of “chaya play” with a woman dancer dressed as a man. This portrayal harkens back to the convention of an all-female cast in kabuki, initiated by Izumo no Okuni (c. 1578-1613), before it later transitioned to an all-male cast due to societal concerns.
In addition, the scroll vividly captures the journey to the kabuki play, including a nobleman on horseback, as well as post-play activities with street entertainers indulging in food and drink. Scenes of conflict between kabuki players add dramatic flair. The audience is a diverse mix of noblemen and laymen, with presence of those characterised by distinctive features like long noses and high hats, setting them apart from the locals.
Believed to be a special commission for the Tokugawa family, Scenes of a Kabuki Performance not only provides insights into the entertainment of Edo Japan but serves as a valuable source for those interested in the performing arts of the time.
Pleasure and Amusement, also referred to as “Sōōji Screen,” consists of a pair of eight-panel screens depicting a myriad of entertainments relished during times of peace. Image courtesy of the Tokugawa Art Museum, Nagoya.
Beyond the bustling city streets, surviving pictorial images and painting scrolls provide glimpses into people’s recreational amusements within and around their residences. Adorned in exquisite attire, individuals partake in various activities, including drinking, eating, and dancing. Others engage in refined arts like tea ceremonies, flower arrangements, and incense rituals modelled after the four accomplishments of a Chinese literati.
A pair of eight-panel screens, Pleasure and Amusement [Japanese: 遊楽図屛風 (相応寺屛風)], commonly known as “Sooji Screen,” captures a myriad of entertainment forms enjoyed in and around a grand mansion. From pipe smoking to drinking parties, playing karuta cards to practicing archery, the screens exudes a hedonistic vibe, depicting people relishing in these entertainments during times of peace.
Amidst these temporary pleasures, the subjects in the paintings appear distanced from their everyday lives. I couldn’t help but wonder if they’re living in the “moment” or is it a means to escape the concerns and worries of everyday life.
In the eyes of the subjects, it was the liberty to savour life, embracing joy and happiness at their whim. For the painters, it was a canvas of freedom, capturing these individuals indulging in the richness of their existence and reflecting a nation at peace. Yet, like the transient world they depicted, these freedoms were ephemeral, destined to slip away with time.
Capturing a moment in time, this image showcases a scene from the Hikone Screen, a six-panel folding screen considered by some as the earliest masterpiece of ukiyo-e. The Hikone Screen is designated as a National Treasure of Japan. Image courtesy of the Hikone Castle Museum in Shiga, Japan.
The Unseen: Whispers of Pleasure
As the shogunate solidified their grip, outlawing licentious behaviour and extravagant dressing beyond one’s social class, revelry found its refuge confined to entertainment districts and theatrical spaces. In the spirit of these restrictions, genre paintings also took a great turn: the field of view was limited, background scenes faded away, unveiling a singular focus on the allure of figures and their sumptuous costumes within the tantalising realm of the pleasure quarter.
A scene from the the folding screen nicknamed as the Hikone Screen (Hikone Byobu) [Japanese: 風俗図 (彦根屛風) ] offers a fascinating glimpse in to the evolving landscape. Regarded by some as the earliest masterpiece of ukiyo-e, this six-panel folding screen captures 15 men and women imersed in pleasure, artfully arranged against a plain gold-leafed background.
Indoor pastimes usher in a shift, trading the koto, chess, and calligraphy practiced by the literati for the three-stringed shamisen, the sugoroku board game, and literature. Set against a backdrop of contemporary-style folding screen paintings, the abstract golden background adds an element of mystery to the setting. While the arrangement of furniture suggests indoor engagement, the exact location remains elusive.
In depiction of figures, the emphasis shifts from individual appearances to the dynamic movements of the subjects. On the right side of this folding screen, four figures stand, possibly in an outdoor setting. Our immediate focus gravitates toward a figure clad in black, gracefully leaning on a sword, forming a sinuous curve.
Despite the indulgent themes depicted in the painting, a subtle undercurrent of loneliness, possibly stemming from the absence of a clear “context,” permeates the scene. Speculation arises that the artwork might serve as a poignant homage to bygone pastimes, now fading away, against the backdrop of an escalating strictness in the feudal social order.
In Yuna, Public Bathhouse Attendants, the woman in the centre, exuding a dignified posture, bears a melancholic expression that suggests the weight of grief and guilt associated with her role as a bathhouse woman. This poignant portrayal serves as a compelling example of how genre paintings of this nature mirrored the realities of the time. Image courtesy of MOA Museum of Art, Shizuoka.
With the elimination of background settings, genre paintings shift their focus to the beauty of the subjects — capturing the intricacies of makeup, the allure of unswept or untied hairstyles, and expressive gestures.
In a hanging scroll titled Yuna, Public Bathhouse Attendants [Japanese: 湯女図], bathhouse women, despite facing the challenges of their profession, are celebrated for their innovative kosodes — the precursor to the kimono — placing them at the forefront of fashion trends.
Post mid-17th century, the concept of “ukiyo” or “floating world” underwent a transformation, evovling to symbolise shifting winds or tides. It now encompassed not only current fashion trends but also delved into the intriguing underworld of theatre districts and pleasure quarters. This marked the emergence of two distinct ukiyo-e genres: portraits of stage actors (yakusha-e) and images of beautiful women (bijin-ga).
Woodblock prints became accessible to the masses, showcasing alluring depictions of courtesans, kabuki actors, and landscapes. Meanwhile, the priviledged few continued to commission screens and scroll paintings, providing a canvas for their ideals and inspirations of life.
While genre scenes depicting human life have a long history, the 17th century witnessed a surge in genre paintings celebrating the pleasures of peaceful times. The exhibition In Praise of Humanity features a good selection of folding screens and paintings, many designated as National Treasures and Important Cultural Properties. Additionally, it presents actual kosode robes and furnishings from the era, providing a tangible connection to the spirit of Edo Japan.
The fact that this exhibition on the flourishing artistic production of the Edo period is held at the Tokugawa Art Museum — now overseen by Yoshitaka Tokugawa, a direct descendant of the shogun who shaped Edo Japan — adds an intriguing layer to the visiting experience. This rare convergence of past and present promises an experience that transcends time, catering to both newcomers exploring the wonders of Edo and passionate enthusiasts alike.
Tips of wanderer — For visitors to the Tokugawa Art Museum, seize the opportunity to explore the adjacent Tokugawaen – a Japanese garden meticulously preserved in the style characteristic of major daimyo gardens during the Edo period.
Reference:
Tokugawa Art Museum. (2023). Ningen sanka ― Edo no fūzoku-ga (In Praise of Humanity - Genre Paintings of the Edo Period) [Exhibition catalogue]. Nagoya, Japan: Tokugawa Art Museum.
Autumn special exhibition, In Praise of Humanity - Genre Paintings of the Edo Period, was held at the Tokugawa Art Museum in Nagoya, running from September 24 to November 5, 2023.