Printmaking in Edo
Prosperous and peaceful times tend to lend themselves to a flourishing of the arts. The aforementioned merchants, as well as the artisans and craftsmen above them, while realistically having no true freedom, reaped the economic and social benefits of the time and spurred artistic creativity.Though this social division was based on the Confucian concept of the natural order of society, it became increasingly inconsistent with social realities. Many merchants benefited from Japan's peace and prosperity and became extremely rich, yet the strict social hierarchy prevented them from using their wealth to improve their status or acquire political power in an overt fashion. Instead they often channeled their money into social ritual, the pursuit of pleasure and the acquisition of beautiful and often expensive objects.[1]
Although much of Japan remained an agrarian society, cities began to grow. In an attempt to control public behavior, the shogunate created designated pleasure quarters in all major cities for brothels, theaters, and teahouses.[2] These locations offered up new subject matter for ukiyo-zōshi novellas and ukiyo-e paintings and prints.[3] Ukiyo-e (“pictures of the floating world”) prints most frequently depicted prostitutes, kabuki actors, and the hedonistic culture of these pleasure districts, though with time the subjects of ukiyo-e prints expanded to romantic scenery and historical events.[4] The word ukiyo literally means “floating world,” but is also homophone of the Japanese word for “sorrowful world.” This term originally expressed the Buddhist concept of the transitory nature of life and the endless cycle of life, death, and rebirth, though this idea was reversed in the Edo period when the term came to resemble something closer to “enjoyment of life.”[5]
Suzuki Harunobu’s Lovers Walking in the Snow (Crow and Heron) (fig. 2) is a quintessential ukiyo-e print of two lovers. Harunobu (1725-1770) was very well-known during his time, his style considered to be one of the most influential of his contemporaries.[6] The image he depicts is intimate, a quick glimpse into the world of this young couple. The two lovers, in contrasting white and black, are characterized as “crow and heron.” They are strolling side-by-side through the snow, sharing a large umbrella upon which snow has accumulated. They are passing under a tree whose branches are also laden with snow. The expressions on their faces are hard to read, giving us little indication as to what they might be thinking or discussing. While the couple’s kimonos are plain, their inner robes and sashes are decorated with subtle, yet intricate patterns. There is an embossed, diamond-shaped pattern on the woman’s kimono and hood as well, bringing out the soft texture of the fabric. The slight marks in the snow also hints at its smooth consistency. This print evokes both a romantic and a melancholic mood. Even though their surroundings are bleak, their love for each other is apparent.
[1] “The Edo Period in Japanese History,” Victoria and Albert Museum, accessed March 25, 2018, http://www.vam.ac.uk/content/articles/t/the-edo-period-in-japanese-history/.
[2] “Art of the Pleasure Quarters and the Ukiyo-e Style,” The Metropolitan Museum of Art, accessed March 25, 2018, https://www.metmuseum.org/toah/hd/plea/hd_plea.htm.
[4] “Woodblock Prints in the Ukiyo-e Style.” The Metropolitan Museum of Art. Accessed March 25, 2018. https://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm.
[5] Ibid.
[6] Basil Stewart, A Guide to Japanese Prints and Their Subject Matter (New York: Dover
Publications, Inc., 1979), 39.
Publications, Inc., 1979), 39.
