Understanding This Might Reveal the True Identity of Sharaku
The Differences Between Ukiyo-e from Kansai (Kamigata) and Tokyo (Edo)
In a previous post, I wrote that “Ukiyo-e is a genre of painting that was established in the early Edo period.” This statement is generally accepted. However, according to the website of the Kamigata Ukiyo-e Museum (1-6-4 Namba, Chuo-ku, Osaka), “Hand-painted ukiyo-e originated in Kamigata during the Azuchi-Momoyama period (1573-1603). Famous examples include Shijo-Kawara no Zu and Rakuchu Rakugai Zu.” I’ll leave the exact timing of the birth of ukiyo-e to the scholars, but today, I will explore the differences between ukiyo-e from Kansai (Kamigata) and Tokyo (Edo).
Nishiki-e (full-color woodblock prints) were invented in Edo in 1765. Later, in 1791, ukiyo-e prints, known as Kamigata ukiyo-e, began to be produced in Kansai (Kamigata) as well. Kamigata ukiyo-e, primarily created in Osaka, predominantly depicted kabuki actors. Unlike Edo’s actor prints, which idealized the actors, Kamigata ukiyo-e portrayed them with human qualities. These prints were characterized by their lack of flamboyance, natural depiction, and intense gazes. Overseas, they are popular as “Osaka Prints.”
Kamigata ukiyo-e rarely featured Bijin-ga (pictures of beautiful women) or Meisho-e (landscape prints). In Kamigata, there was a traditional culture where paintings were hand-drawn and enjoyed by the upper class.
The naturalistic depiction in Kamigata ukiyo-e reflects the cultural differences between Edo, which valued formality, and Kamigata, which valued realism. Edo’s actors were always depicted as cool and stylish, while in Kamigata, they were depicted as real human beings with genuine expressions, marking a significant difference.
Was Sharaku’s Ukiyo-e Influenced by Kamigata Ukiyo-e?
In a previous blog post, I mentioned that the ukiyo-e artist Tōshūsai Sharaku was a Noh actor from Awa Province (modern-day Tokushima Prefecture). Awa, facing the Seto Inland Sea, was heavily influenced by Kamigata culture. It seems that Sharaku’s ukiyo-e did not sell well. Although his prints accurately captured the characteristics of kabuki actors, they exaggerated even their flaws, which did not appeal to the purchasing desires of Edo’s commoners. Sharaku’s ukiyo-e were only truly appreciated after German art historian Julius Kurth praised him in his book “Sharaku” (1910).
Sharaku is often called a mysterious ukiyo-e artist due to his brief activity period of about only ten months. However, the truth might be that his ukiyo-e, influenced by Kamigata’s naturalistic style, did not sell well in Edo, where he was based. Comparing Kamigata ukiyo-e, Sharaku, and Edo woodblock prints from this perspective could provide new insights and make for an interesting study.