Standing beauty

The Japanese artist Keisai Eisen (1790–1848) was a bijin-ga ('pictures of beautiful women') specialist whose portraits of the yūjo of Edo’s (Tokyo) brothel quarters closely assumed the subtly erotic aesthetic of Utamaro. His bijin-ga compositions of both yūjo and townswomen maintained the lissome, elongated figures, drooping limbs and winsome detachment of the earlier artist’s Yoshiwara (brothel quarter) portraits.

The aloof detachment suggested in the cool facial expression of Eisen’s women again echoes that of Utamaro’s subjects. That sense of distance insinuates the impression of unattainability displayed by Yoshiwara women in their rare public displays of splendour in the carefully contrived seasonal dōchū (parades). These erotic provocations are accentuated by Eisen in his Standing Beauty in subtle suggestions of nudity at her nape, wrists and toes, and the vulval suggestiveness of the crepe underclothes below her hems. Whether they frequented the brothel quarters or not, Eisen’s public would have recognised the artistic and fashion conventions of the subtly provocative, chic Edo sensibility of iki: ‘Iki exists in opposition to the conventional, boorish (yabo),or unrefined (gehin). Iki suggests concepts like “stylish,” “fashionable” or “tasteful.” Iki finds subtly provocative expression in attitudes of countenance or posture, lightness of bearing, and self-contained urbanity. Iki is never loud, showy or demonstrative, [it is] characterised by... qualities of cool elegance, subtle flirtatiousness, spontaneity and suggestiveness.' (David Bell).

However, the showiness of the decorative brocades and ornate hems in Eisen’s woman seem inconsistent with the reserve of iki convention that inform the delicate femininity depicted by Harunobu or Koryūsai. Eisen’s works were beginning to reflect the slow decay of fashion and manners in the brothel world, evident also in other contemporary representations of its luxurious engagements. The rich floral overlays in his Standing Beauty seem demonstrative rather than tastefully reserved. Their showy designs are much tempered, however, by the overwhelming blue tonality and dominant patterns of fine vertical stripes that so complemented iki sensibility and fashion. The subject’s coy demeanour belies her occupation in the sex trade, and there is a suggestion of anxiety in her pose and dismay in her facial expression as she gazes intently at a pocket mirror, a sheet of paper – a letter perhaps? – crumpled in her left hand.

See: David Bell, 'Floating world at Te Papa: the Heriot collection', Tuhinga, 30 (2019), pp. 56-81.

Dr Mark Stocker   Curator, Historical International Art    May 2019