The courtesan Kashiku of the Tsuruya with two child attendants

Art Historical Context

In the vibrant world of Edo-period Japan (1603–1868), Kikukawaizan (1787–1867) captured the allure of the "floating world" with his exquisite ukiyo-e woodblock prints. This striking sheet from an *oban* triptych, titled *The Courtesan Kashiku of Tsuruya with Two Attendants* (c. 1824/29), showcases one of Yoshiwara's celebrated courtesans Kashiku, elegantly poised with her young attendants, embodies the refined beauty and poise idealized in *bijin-ga* (pictures of beautiful women), Eizan's specialty. Her elaborate kimono and accessories highlight the opulent fashion of the pleasure district, a hub of entertainment in Edo (modern Tokyo). Printed in vivid colors using the intricate woodblock technique—where separate blocks were carved for each hue and layer—this *oban* format (38.6 × 26.3 cm) allowed for grand, panoramic scenes when assembled as a triptych. Eizan's mastery of line, pattern, and subtle shading brought these figures to life, making affordable prints accessible to a wide audience beyond the elite. Culturally, such works romanticized courtesans as cultural icons, blending artistry with social commentary on urban life. Housed in the Art Institute of Chicago's Arts of Asia collection, this print offers a window into Japan's golden age of printmaking, where beauty and transience intertwined.

About the Artist

Kikukawa Eizan · 1787–1867

Kikukawa Eizan (1787–1867), born Toshinobu Ōmiya in Edo (modern Tokyo), emerged as a pivotal figure in ukiyo-e woodblock printing during Japan's late Edo period. He began his training under his father, Eiji Kikugawa, a minor painter and fan maker in the Kanō school tradition, before advancing to study with Suzuki Nanrei of the Shijō school and the ukiyo-e artist Totoya Hokkei, a pupil of Katsushik...