Torii kiyonaga biography of barack

Harvard Art Museums

This object does not yet have a description.

Identification and Creation

Object Number

1916.586

People

Torii Kiyonaga, Japanese (1752 - 1815)
Published by Nishimuraya Yohachi 西村屋与八

Title

Female Musician Dreaming of Robbery

Classification

Prints

Work Type

print

Date

Edo period, circa 1783

Places

Creation Place: East Asia, Japan

Period

Edo period, 1615-1868

Culture

Japanese

Persistent Link

https://hvrd.art/o/210341

Physical Descriptions

Medium

Ukiyo-e woodblock print in "hashira-e" format; ink and color on paper, with printed signature reading "Kiyonaga ga"

Dimensions

Paper: H. 69.9 cm x W. 12.0 cm (27 1/2 x 4 3/4 in.)

Inscriptions and Marks

• Signed: (printed) Kiyonaga ga

Acquisition and Rights

Credit Line

Harvard Art Museums/Arthur M. Sackler Museum, Gift of Dr. Denman W. Ross

Accession Year

1916

Object Number

1916.586

Division

Asian and Mediterranean Art

Contact

am_asianmediterranean@harvard.edu

Permissions

The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a

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I find there [in Yoshiwara] so many kind hearts,
and I have discovered that even the women people call “trashy whores”
are in a true sense the really authentic high-class courtesans.

This quote is from Baba Bunkō (馬場文耕:  1718-59). I found it at A Christian Samurai by William J. Farge.

Baba Bunkō did not die a natural death – In Bunkō’s time the Bakufu (幕府) was the governing body of the shogunate. Sometimes they were moderately liberal, but most of the time they were arch-conservatives, reactionaries, right-wingers, callous hardliners. Bunkō like to tell stories. He even published some of them himself and circulated them privately. The Bakufu found out about one of these publications and felt that Bunkō had crossed the line. So they executed him. So much for tolerance.

Matsuharu (増春) of the Matsubaya (松葉屋)
Kunisada – ca. 1830
The Lyon Collection

I was admiring the print shown above when it occurred to me that I had never written a post specifically about Japanese ‘courtesans’, prostitution, the treatment of woman and other delicate matters. So, I decided to focus in more narrowly on ukiyo woodblock prints that dealt only with the House of Matsuba , the House of Pine Needles – my loose translation – as a single exampl