I find it impossible not to be drawn to the story of Tsutaya Jūzaburō. He wasn’t just a publisher; he was a true visionary who reshaped the landscape of Japanese woodblock printing during the late Edo period. His name may not always be the first to come to mind when discussing Ukiyo-e, but his influence is felt in almost every major work from that era. Tsutaya had a keen eye for talent, a deep understanding of what the people of Edo wanted, and an ability to elevate Ukiyo-e to something far beyond its origins as ephemeral entertainment.
The Early Life of a Visionary
Tsutaya Jūzaburō was born in the mid-18th century, a time when Edo (now Tokyo) was flourishing as a bustling cultural center. The city was alive with energy, and art was everywhere. From Kabuki theater to the pleasure quarters of Yoshiwara, visual culture was at the heart of urban life. Yet, within this vibrant scene, Ukiyo-e prints were still largely seen as cheap, disposable art, designed to be enjoyed for a moment and then discarded.
It was into this world that Tsutaya Jūzaburō stepped as a young man. He had a natural talent for business, but it was his love for art that truly set him apart. Tsutaya recognized the potential of Ukiyo-e to be more than just fleeting entertainment. He believed it could capture the essence of Edo’s vibrant culture in a way that would endure. And with that vision, he opened his publishing house, Tsutaya, in the heart of Edo.
The Rise of Tsutaya Jūzaburō
Tsutaya quickly became a central figure in the Ukiyo-e world, attracting some of the most talented artists of the time. His shop wasn’t just a place where prints were sold; it was a cultural hub where artists, writers, and intellectuals gathered. Tsutaya nurtured this creative community, recognizing that great art often comes from collaboration.
One of his most famous partnerships was with the artist Kitagawa Utamaro. Together, they created some of the most iconic images of Edo-period Japan, particularly in the genre of bijin-ga, or portraits of beautiful women. Utamaro had a unique ability to capture the grace and elegance of the women of Edo, and Tsutaya’s prints elevated these portraits into something extraordinary.
But Tsutaya didn’t just rely on the talent of his artists. He also pushed the boundaries of what was possible in printing techniques. He was one of the early adopters of nishiki-e, or multi-colored woodblock printing, which allowed for a greater range of colors and depth in the prints. This innovation transformed Ukiyo-e from simple black-and-white images into vibrant works of art that captured the richness of Edo life.
Tsutaya Jūzaburō’s Innovations: Deluxe Prints and Artistic Techniques
Tsutaya didn’t stop at producing colorful prints. He also understood the value of creating something truly special for his collectors. That’s where his deluxe editions came in. These prints were different from the standard Ukiyo-e that could be found on the streets of Edo. They were more intricate, more luxurious, and far rarer.
Color and Detail
So, what made these deluxe editions stand out? First and foremost, it was the use of enhanced color and detail. Tsutaya’s deluxe prints often involved a greater number of color blocks, which allowed for a richer and more nuanced palette. Artists working under his guidance could bring their visions to life with unparalleled vibrancy. In some cases, precious materials like gold and silver were used to add a touch of opulence to the prints, making them even more desirable.
Printing Techniques
But it wasn’t just about the colors. Tsutaya also employed advanced printing techniques that went beyond the standard woodblock method. One such technique was karazuri, or embossing, which gave the prints a three-dimensional quality. Another was kirazuri, the use of mica to create shimmering effects on the surface of the print. These techniques required an extraordinary level of skill and precision, which is why deluxe prints were so highly prized among collectors.
Deluxe Editions
And then there was the paper. For his deluxe editions, Tsutaya used only the finest paper, which was thicker and more durable than the paper used for regular prints. This not only enhanced the appearance of the prints but also made them more resistant to wear and tear. Collectors knew that when they purchased a deluxe edition from Tsutaya, they were getting something that would last—a true work of art that could be cherished for years to come.
One of the key differences in these editions was their exclusivity. Tsutaya often produced deluxe prints in limited runs, making them rare and coveted items. This rarity, combined with the superior craftsmanship, ensured that his deluxe editions were highly sought after by Edo’s elite.
Iconic Masterpieces: A Deep Dive into Tsutaya’s Greatest Works
Tsutaya’s legacy is perhaps best understood through the prints that he helped bring to life. Three of the most famous works produced under his helm are “The Actor Otani Oniji III as Edobei,” “The Actor Ichikawa Ebizo as Takemura Sadanoshin,” and “Woman with a Glass Noisemaker.” Each of these prints represents a different aspect of Edo culture, from the drama of the Kabuki theater to the elegance of the pleasure quarters.
The Actor Otani Oniji III as Edobei
One of the most dramatic and memorable Ukiyo-e prints is Toshusai Sharaku’s “The Actor Otani Oniji III as Edobei.” Published by Tsutaya Jūzaburō in 1794, this print captures the intense expression of a Kabuki actor in the role of a villain. The artist Sharaku is known for his ability to convey emotion through exaggerated facial expressions, and this print is a prime example of that talent.
In this work, we see Otani Oniji III mid-performance, his hands clawing forward, his face twisted in a fierce grimace. Sharaku’s bold lines and striking use of negative space make the figure leap off the page, capturing the energy and intensity of the Kabuki stage. Tsutaya’s decision to publish Sharaku’s works, despite their unconventional style, speaks to his willingness to take risks and push the boundaries of Ukiyo-e.
The Actor Ichikawa Ebizo as Takemura Sadanoshin
Another masterpiece from the collaboration between Sharaku and Tsutaya is “The Actor Ichikawa Ebizo as Takemura Sadanoshin.” This print, like the one featuring Otani Oniji III, is part of a larger series of Kabuki actor portraits. However, what sets this particular print apart is the emotional depth that Sharaku conveys in the character’s expression.
Unlike the ferocity of Edobei, Ichikawa Ebizo’s portrayal of Takemura Sadanoshin is one of quiet contemplation. His face is marked with the sadness of a man burdened by fate, and his posture exudes a sense of resignation. The contrast between these two actor portraits demonstrates Sharaku’s range as an artist and Tsutaya’s ability to bring out the best in his collaborators.
These actor prints are more than just depictions of famous performers—they are psychological portraits that reveal the inner lives of their subjects. Tsutaya’s role in publishing these works was crucial. He recognized the genius of Sharaku’s style and had the foresight to preserve these fleeting moments of Kabuki theater in a way that would endure for generations.
Woman with a Glass Noisemaker
While Sharaku’s works captured the drama of the Kabuki stage, Utamaro Kitagawa’s “Woman with a Glass Noisemaker” offers a glimpse into the quieter, more intimate world of Edo’s pleasure quarters. This print, published by Tsutaya, is a quintessential example of bijin-ga, or pictures of beautiful women.
In this image, we see a woman holding a glass noisemaker—a delicate object that produces sound when shaken. Her expression is serene, and there is a sense of calm elegance in the way she holds herself. Utamaro was known for his ability to depict the subtle beauty of women, and this print is no exception. The gentle curve of the woman’s neck, the softness of her gaze, and the intricate patterns on her kimono all contribute to the overall feeling of refined grace.
Tsutaya’s expertise in printing is evident in the execution of this work. The colors are rich and vibrant, and the fine details of the woman’s kimono and hair are rendered with exquisite precision. This print from the series “Ten Classes of Women’s Physiognomy” (Fujo ninsō juppen), like many of Utamaro’s works, captures a fleeting moment of beauty, frozen in time by Tsutaya’s expert craftsmanship.
Tsutaya Jūzaburō’s Publisher’s Seal: A Mark of Excellence
One of the most recognizable features of Tsutaya’s prints is his publisher’s seal. This small mark, often found in the corner of the print, was a symbol of quality and authenticity. For collectors, seeing Tsutaya’s seal was a guarantee that they were purchasing a work of art that had been produced to the highest standards.
Tsutaya’s seal also carried a sense of prestige. It wasn’t just a marker of quality—it was a badge of honor for the artists whose works he published. Having a print published by Tsutaya meant that the artist had reached a certain level of recognition and success. In this way, Tsutaya’s seal became synonymous with excellence in the worldof Ukiyo-e. For artists, to be published by Tsutaya was akin to having their work endorsed by one of the most respected figures in the industry. It meant their art was not only appreciated but would also be preserved and shared with future generations. Collectors sought out these prints with Tsutaya’s seal, knowing they were investing in something truly special. This small mark of authenticity became a powerful symbol, representing a legacy that stretched beyond the artist’s hand to the vision of the publisher who made it all possible.
The Impact of “Oji san bijin” (Three Beauties of the Present Day)
Another iconic work that highlights Tsutaya Jūzaburō’s contributions to Ukiyo-e is Kitagawa Utamaro’s “Oji san bijin” (Three Beauties of the Present Day). This print is a perfect example of how Tsutaya and Utamaro collaborated to elevate Ukiyo-e into an art form that was both beautiful and reflective of contemporary society. The print features three women, each representing a different ideal of beauty in Edo. These women were not fictional characters but rather real figures, well-known within the urban culture of the time.
Composition
The composition of this print is remarkable for its balance and symmetry. The three women are arranged in a triangular formation, their faces turned slightly toward one another, creating a sense of intimacy and connection. Utamaro’s attention to detail is evident in the subtle differences in the women’s expressions and hairstyles, as well as the intricate patterns on their kimonos. Each woman represents a different aspect of Edo’s beauty standards, from youthful charm to refined elegance.
Essence of Edo
But what truly sets “Oji san bijin” apart is how it captures the essence of the Edo period’s urban culture. These women were celebrities of their time, admired for their beauty and grace. Through Utamaro’s eyes—and Tsutaya’s publishing house—they were immortalized in a way that transcended the ephemeral nature of their fame. This print not only showcased the beauty of Edo’s women but also provided a glimpse into the social dynamics of the city, where fashion, status, and aesthetics played crucial roles in everyday life.
Tsutaya’s involvement in this print was essential. His expertise in printing techniques ensured that Utamaro’s delicate lines and subtle colors were preserved with the highest level of fidelity. The use of nishiki-e, with its multiple color blocks, allowed for a depth and richness in the print that would have been impossible with earlier methods. The collaboration between Utamaro and Tsutaya on “Oji san bijin” resulted in a masterpiece that remains one of the most celebrated examples of bijin-ga to this day.
Cultural Impact and Legacy
Tsutaya Jūzaburō’s influence on Ukiyo-e extended far beyond the individual prints he produced. He was a key figure in transforming Ukiyo-e from a form of popular entertainment into an art form that could be appreciated by connoisseurs and collectors alike. His innovations in printing techniques, combined with his keen eye for talent, helped elevate Ukiyo-e to new heights, both artistically and commercially.
Tsutaya’s role as a publisher was not just about making prints; it was about shaping the cultural landscape of Edo. He understood that art could be a powerful reflection of society, and he used his position to ensure that Ukiyo-e captured the vibrancy and diversity of Edo’s urban life. Whether it was through the dramatic portraits of Kabuki actors or the elegant depictions of courtesans and beauties, Tsutaya’s prints offered a window into the world of Edo, preserving its culture for future generations.
His legacy continues to resonate in the world of Japanese art. Today, Tsutaya Jūzaburō is recognized not just as a publisher but as a visionary who played a crucial role in the development of Ukiyo-e. The prints he helped create are now prized as masterpieces, collected by museums and private collectors around the world. They serve as a testament to the enduring power of Ukiyo-e and to Tsutaya’s ability to see the potential in an art form that others might have dismissed as mere ephemera.
It becomes clear that Tsutaya’s role in shaping the art form was as important as that of the artists themselves. Without his vision and expertise, many of the masterpieces we admire today might never have been created.
Conclusion
Tsutaya Jūzaburō’s story is one of vision, innovation, and a deep appreciation for the arts. He was a man who saw the potential in Ukiyo-e when others did not, and he dedicated his life to elevating it to new heights. His collaborations with artists like Utamaro and Sharaku resulted in some of the most iconic images of Edo-period Japan, and his deluxe editions set a new standard for quality and craftsmanship in the world of printmaking.
But perhaps Tsutaya’s greatest legacy is the way he preserved the culture of Edo for future generations. Through his prints, we can still see the vibrant world of Edo’s pleasure quarters, the drama of the Kabuki stage, and the elegance of its beauties. We can still feel the energy of a city that was alive with art, culture, and creativity. And we can still appreciate the genius of a man who understood that Ukiyo-e was more than just a passing trend—it was a window into the soul of Japan.
This article is inspired by the NHK Japan television series entitled The Masterpieces of Ukiyo-e produce Tsutaju.
Read more:
- The Great Wave Makes a Splash in New York: Record Sales of Hokusai’s Masterpiece
- Turning Mistakes into Art: The Magic of Mt. Fuji Erasers
- 11 Most Influential Ukiyo-e Artists: Masters of Japanese Woodblock Prints
- Why I Love This Japanese Blue Whale Ramen Bowl
- Mapping the Evolution of The Great Wave
At the Art of Zen we have a selection of original Japanese art prints in the ukiyo-e and Japandi style. Some of our best selling work is Mount Fuji wall art and Japandi wall art.
Add some zen to your space with some art from the Art of Zen shop.
0 Comments