Page 397 - Edo: Art in Japan, 1615–1868

1 Translated in Ryusaku Tsu- 7 See Jurgis Elisonas, "Notorious 12 Hishikawa Moronobu's 19 For a discussion of the customs
noda et. al., comps., Sources of Places: A Brief Excursion into influence on his successors is surrounding wakashu see
Japanese Tradition (New York, the Narrative Topography of suggested by comparing the Paul Gordon Schalow's intro-
1964), i: 439-440. The aes- Early Edo," in James L. McClain, views of the activities in and duction to his translation of
thetic concepts of Chikamatsu John M. Merriman, and Ugawa around the covered pleasure Ihara Saikaku, The Great Mirror
in relation to puppet theater Kaoru, eds., Edo and Paris: boat to a similar scene in a of Male Loue (Stanford, Calif.,
(bunraku) are discussed in Urban and the State in the Early magnificent set of screens by 1990). Schalow notes: "A waka-
Andrew Gerstle and Sakurai Modern Era (Ithaca, N.Y., 1994), Miyagawa Chóshun in the shu was identified essentially
Hiroshi, "Margins between the 263. Worcester (Mass.) Museum of on the basis of his long-sleeved
Real and Unreal: Bunraku," in Art. See Elizabeth de Sabato robe and hairstyle At the
James R. Brandon et al. Japan- 8 Traditional accounts report Swinton, éd., The Women of the age of eleven or twelve the
ese Theater in the World (New that the shamisen was in- Pleasure Quarter: Japanese Paint- crown of a male child's head
York, 1997), 59-64- troduced from the Ryukyu ings and Prints of the Floating was shaved, symbolizing the
Islands (Okinawa) into Japan World (New York, 1996), pis. 3 first of three steps towards
2 Quoted in Christine Guth, during the 15605. For a de- and 4. adulthood. The shaved crown
396
Asobi: Play in the Arts of Japan tailed history of the shamisen drew attention to the forelocks
(Katonah, N.Y., 1992). and its music, see William P. 13 Richard Lane, Images from the (maegami), the boy's distin-
Malm, Japanese Music and Floating World: The Japanese guishing feature. At the age of
3 For a discussion of the variable Musical Instruments (Rutland, Print, Including an Illustrated fourteen or fifteen the boy's
modes of expression allowed Vt., 1959), 185-212. Dictionary o/Ukiyo-e (New York, natural hairline was reshaped
by the no mask, see Gunter 1978), ii. by shaving the temples into
Zobel and Goto Hajime, "Snow 9 Elisonas 1994, 266. right angles, but the forelocks
in a Silver Bowl: No Theater," 14 For a discussion of Moronobu remained as sumi-maegami
in Brandon et al. 1997, 50-51. 10 See Okudaira Shunroku, in the context of popular Edo (cornered forelocks)... .The
Hikone byôbu: Mugengeki no culture, see Joshua S. Mostow, final step, completed at age
4 Cited in Ury Eppstein, "The enshutsu (Tokyo, 1996), 4-5. Pictures of the Heart: The "Hya- eighteen or nineteen, involved
Stage Observed: Western Atti- kunin Isshu" in Word and Image cutting off the forelocks com-
tudes toward Japanese The- 11 The courtesan population of (Honolulu, 1996), 98-104. pletely; the pate of his head
ater," Monumento Nipponica 40, Yoshiwara has been approxi- was shaved smooth, leaving
no. 2 (1993), 148- mated by scholars consulting 15 Tsunoda et al. 1964, i: 435. only the sidelocks (bin). Once
the brothel guidebooks of he changed to a robe with
5 For a discussion of the role of the day. By the second decade 16 Tsunoda et al. 1964, i: 435. rounded sleeves, the boy was
satire in kyógen, see Hayashi of the eighteenth century recognized as an adult man
Kazutoshi and Laurence Kom- there were approximately 17 The Kaigetsudó painters (yaró). He was no longer avail-
inz, "Satire, Parody, and Joyous i,800 to 2,100 prostitutes occasionally painted other able as a wakashu for sexual
Laughter: Kyogen" in Brandon working in Yoshiwara. By the subjects, including religious relations with adult men like
et al. 1997; this particular play 17805 there were 2,800 to icons. See Asano Shúgó, himself but was now qualified
is discussed on p. 56. 2,900. The Kansei Reforms of "Kaigetsudó Ando hitsu tatsu to establish a relationship
1787 to 1793 required that bijin zu," Kokka 1183 (1994). with a wakashu" (p. 29).
6 In a photograph of a modern many of the prostitutes work-
performance of the kyógen ing in unlicensed districts 18 For a summary of recent 20 For a complete translation
play Persimmons, a priest can move to Yoshiwara, which scholarship on the subject of with full annotation, see Kuki
be seen mimicking the actions meant that by the end of the mitate-e, see Timothy T. Clark, Shùzô, Re/lections on Japanese
of a monkey, plain face; see century nearly 5,000 prosti- "Mitate-e: Some Thoughts, Taste: The Structure o/Iki, trans.
Carolyn Anne Morley, Transfor- tutes were indentured to the and a Summary of Recent John Clark, ed. Sakoku Matsui
mation, Miracles, and Mischief: bordellos. See Nishiyama Ma- Writings," Impressions: The and John Clark (Sydney, Aus-
The Mountain Priest Plays of tsunosuke, Edo Culture: Daily Journal of the Ukiyo-e Society of tralia, 1997). An enlightening
Kyogen, Cornell East Asia Life and Diversions in Urban America, no. 19 (1997), 6-27. discussion of Kuki's work in a
22
Series (Ithaca, N.Y., 1993), - Japan, 1600-1868, trans, and broader intellectual context is
éd., Gerald Groemer (Honolulu, found in Leslie Pincus, Authen-
1997), 60-61. For a detailed ticating Culture in Imperial Japan;
cultural history of the Yoshi- Kuki Shuzo and the Rise of
wara licensed quarters, see National Aesthetics (Berkeley,
Cecilia Segawa Seigle, Yoshi- Calif., 1996).
luara: The Glittering World of
the Japanese Courtesan (Hon-
olulu, 1993).