Page 436 - Edo: Art in Japan, 1615–1868

24O The first scroll opens in the workaday Opening with a drastic shift in view-
Hishikawa Moronobu (c. 1618-1694) world with a scene of a fan maker's point, the next scroll presents a lonely
Scenes of Daily Life in Edo shop and the sight of a barrel maker landscape scene of the banks of the
hard at work. As the scroll is unfurled, Sumida River and the San'ya Canal,
Early 16905
we come to a pine tree marking a the water route to Yoshiwara. To reach
Two handscrolls; ink and color on silk transition to the next scene and a Yoshiwara one had to go by boat,
5
34.4 x 423.3 (13 Va x i66 /s); and cherry tree in full bloom, indicating horse, palanquin, or take a very long,
34.4x419(1372x165)
Idemitsu Museum of Arts, Tokyo that we have moved from mundane tiring walk along the Dike of Japan,
life into a realm of pleasure. The bridge, as some are shown doing here.
guarded by a willow — ubiquitous
• This set of brightly colored scrolls symbol of budding sexuality in uki- Suddenly the viewer is placed on the
captures the soul of townspeople at yoe — demarcates the entry into the main street of Yoshiwara, known as
leisure. Life is uncomplicated; people the Nakanochô. Courtesans encamped
world of erotic play. The bridge 435
get along with one another; their crosses into the "floating world" of in latticed parlors try to attract clients;
pursuits are in harmony with nature. earthly pleasure whose symbol is at an entrance samurai negotiate with
The first scroll, which progresses from water, a unifying theme of both the madam. The final scene enters the
spring into summer, shows people at scrolls. One's first encounter in this large room of the ageya where patrons
work and play in pleasant surround- world is the elaborately dressed are entertained. One customer to the
ings near the river and in open areas wakashu, who makes his living vari- right is served sake and cajoled by male
of the city. The second scroll, set in ously as a stage performer and as and female companions; another cus-
autumn and winter, depicts people a male prostitute; behind him is his tomer is serenaded by a geisha with a
in procession to and inside the Yoshi- shamisen. The cluster of patrons and
trusted manservant (kongô). Crossing
wara pleasure quarters of Edo. female companions around a hibachi
the bridge in the opposite direction
The artist seems to have consciously is a middle-aged samurai with a is a reminder that winter has arrived.
a samurai lounges under a
left
To the
balanced the gender emphasis of each female attendant and porter; we may quilt, while a courtesan and her young
scroll. The first concludes with a de- assume they are with the troupe of apprentice keep him company (see
cidedly homosocial aspect, showing dancers just ahead. facing page). JTC
an elaborate male gathering of older The female dancers are on their way
samurai ministered to by teenage to a lavish cherry-blossom viewing
male companions (wakashu) and party, where people are entertained
male geisha. The second scroll traces by the koto, shamisen, drums, and
the progress of a samurai to the Yo-
flutes. The next scene segues into
shiwara pleasure quarters and ends a panoramic view of pleasure seekers
up inside a house of assignation, or enjoying an outing on the Sumida
ageya, where men pursue heterosex-
ual pleasures. River. Inside the boat groups sepa-
rated by gender listen to music or
watch a go match while indulging in
sake and snacks. In the final scene
of the scroll, back on shore, merry-
makers dance in a large circle around
a hanging lantern (see facing page).
Several figures are dressed in femi-
nine attire, but we may safely infer
that this is an all-male function. Seated
on mats, the wakashu and male geisha
take care of older men. The lantern
suggests that evening has arrived.