The woman’s hat (tsunokakushi) is an indication that the scene (Plate 5) is taking place at a shrine. In the Edo period they were used for temple visits but since the Meiji period (1868–1912), the tsunokakushi has come to be associated with Japanese marriage rites.
Plate 5 from Utamaro’s ‘Utamakura (Poem of the Pillow 歌まくら)‘ published in 1788
Secret Tryst
In this case the image implies the visit is a pretext for a covert rendezvous between what are presumably attendants in a samurai residence. The young male bends toward the young female. He appears to be whispering in her ear, while the woman holds a bundle of kaishi papers to her mouth.
Impugned
Among ukiyo-e scholars there is some debate about the origin of the male character. Kiyoshi Shibui gave hime the nickname ‘Orisuke’, a moniker of adolescent servants in the Edo period. But this is impugned by Yoshikazu Hayashi who doubts the figure came from such a low rank.
Glistening
Amidst the excellent printing details are the glistening mica dust applied to the tsunokakushi and the karazuri embossed pattern on the sole of the bride’s tabi sock.
Plate 7 from Eiri’s ‘Fumi no kiyogaki (Models of Calligraphy)‘ published in 1801
Secret Lover
A lady of the samurai court (Plate 7) is taking advantage of an official outing to temple and theater, to rendezvous with a secret lover on a tea-house balcony. She wears the characteristic tusnokakushi formal headgear (seen today only at traditional-style weddings), which obscures the face of her lover and result in a somewhat weakened compositon.
Least Successful
Indeed, this is the one scene of the series that copies Utamaro all too closely, and it is thus, also, the least successful design. When you compare it with Utamaro’s design one can see the difference of expression.
In the next article you can examine the next set of designs featuring a mistress and her secret lover.
