TERADA Sanae

寺田 早苗

Tsukuba Repository

Reconsidering Illustrated Educational Books
for Women with regard to Hishikawa Moronobu's
"Woman's Imagawa"
著者 TERADA Sanae
journal or
publication title
Bulletin of the study on philosophy and
history of art in University of Tsukuba
volume 32
page range 20-21
year 2017-03-01
URL http://hdl.handle.net/2241/00147338
20 2016年日台五大学大学院生美術史研究交流会
Keywords: 
education, ukiyoe
Introduction 
“Woman’s Imagawa” were a popular form of imagery in
Edo from the Edo Period into the Meiji period. There are a lot
of variations. This version has eight illustrations and dates
back to the year 1700. They appeared for the first time in
illustration in the year 1700, which has generally been
attributed to Hishikawa Moronobu (1618–1694). Hishikawa is
sometimes referred to as the originator of ukiyo-e, as he is
considered to be the first person who both painted and
created woodblock prints in the ukiyo-e genre. The first
printed description of a “Woman’s Imagawa” is in the
“Textbook Classification Catalog for Girls” published by
Ishikawa Ken in 19461. The first reference about a painter
appeared in the “Encyclopedia of Japanese Literature” in
1963. However, it’s unclear who wrote this reference. There is
no identifying signature on the “Woman’s Imagawa” recorded.
Perhaps without considered attention, it would be easy to
assume that the work is by Hishikawa Moronobu. In this
paper I would like to discuss whether the imagery of the
“Woman’s Imagawa” was in fact created by Hishikawa
Moronobu.
1. About “Woman’s Imagawa”
The first “Woman’s Imagawa” was published in 16872.
After that, they became widely available and later published
in different versions. The format was 23 sentens on different
aspects of female etiquette and behaviour. The form imitated
that of the publication “Imagawa jo”, for boys to learn. Each
section was very short – about 15–25 words and it was
assumed that a young girl would learn the text by heart. 
Kichi Sawada (?–?) edited a new version in 1700 with eight
illustrations and a variant text of the first publication in 1687.
Sawada was a well-known calligrapher at the time. It is this
version that the most divergent varieties at present are
confirmed. In this original version, there are eight kinds of
image depicting Hishikawa Moronobu. I would like to compare
with two images “Woman’s Imagawa” to Hishikawa’s works. 
2. Compare “Woman’s Imagawa” with Another Hishikawa
works
The first image is of three women, huddled together,
talking image. The second is of a woman reading, who is
dressed in the style of the Heian period. The talking lady’s
waist is projecting forward. Also, the draping of her kimono
is portrayed by three curving lines and her skirt by a triangle
shape. These features appear frequently in Hishikawa’s work
and can be considered characteristic of his style.The depiction
of the body shape and kimono are quite different compared
with other painters. However, considering only this point
would not be enough to conclusively say that it is a work by
Hishikawa. This is because he ran a workshop, and other
painters may have been involved in the creation of any
particular work.
3. Classification of Hishikawa work and reconsideration
of image of “Woman’s Imagawa”
From the research of Hisagawa works to date , the
development of his style is gradually becoming clear. I would
like to consider the images of “Woman’s Imagawa” in relation
to these developments.
First initial stage. This term is hard drawn lines, and eyes
represented by single lines, and spacing from eyes to chin
relatively large.
Next Early stage. This term is a unique style appears.
Woman’s faces is portrayed with high cheekbones. And eyes
are still represented by lines. However, there are two distinct
face shapes round, and oval.
Third, Middle stage. This term is that face shapes and
expressions become more diverse. Eyes become more oval.
The last is Late stage (1694– ). The proportions of the face
relative to the body change.
Around 1677, production at the Hishikawa workshop
increases greatly in response to fashion for illustrated books
between 1677–1683 in Edo area. A unique style is also evident
in Hishikawa’s work by this time. 
Next I would like to consider the imagery of the “Woman’s
Imagawa”, which was published six years after Hishikawa
Moronobu died. In this work the clothes are firm and decisive.
Compared with other works, the features are uncommon. The
screen (几帳) and desk are not depicted with realistic
perspective. 
4. Hishikawa workshop 
Moronobu’s eldest son and protege leave works
independently around 1684. But after Moronobu’s death, the
eldest son gave up painting and left the workshop. Not much
is known about the workshop after Moronobu’s death.
However, the “Yakusha-shogei (役者諸芸)” dates from 1716,
which indicates that production continued at least up to then.
In other words , when the “Woman’s Imagawa” was being
produced, the Hishikawa workshop is assumed to still have
been operating. It is difficult to judge whether Hishikawa
Moronobu created sketches of the “Woman’s Imagawa”, and it
Reconsidering Illustrated Educational Books for Women 
with regard to Hishikawa Moronobu’s “Woman’s Imagawa”
TERADA Sanae
was very likely that another member of his workshop
produced sketches for the “Woman’s Imagawa” after
Moronobu’s death. 
Conclusion
There are a lot of common features shared with other
works from the Hishikawa workshop, and therefore it is
possible to conclude that the imagery of the “Woman’s
Imagawa” was created in the Hishikawa workshop but not by
Moronobu himself.
────────────────
1 Ishikawa Ken “Joshiyo Oraimono Bunken Mokuroku”, Dai
Nippon Yubenkai (Kodansha, 1946).
2 Yasuda Chiemi, “‘Woman’s Imagawa’ Seiritsuko: Joshi-yo-
orai-mono Shahon to Kanpon,” Shien, no.73(2013):
123–138.
21藝叢32


Reconsidering Illustrated Educational Books for Women with regard to Hishikawa Moronobu\u27s "Woman\u27s Imagawa"

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Reconsidering Illustrated Educational Books for Women with regard to Hishikawa Moronobu\u27s "Woman\u27s Imagawa"

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