![]() Scenes from the Yoshiwara Pleasure Quarter Attributed to: Hishikawa Moronobu Museum of Fine Arts, Boston |
The “floating world,” or ukiyo in Japanese, is a term describing the lifestyle of pleasure-seeking in Japan during the Edo Period (c. 1603 – 1867). It is marked with brothels, tea houses, and kabuki theaters, set in government-licensed red-light districts transliterated by many as the “pleasure quarters.” Pictures of the floating world, or ukiyo-e, depict scenes and geography of these districts; characters who frequented the areas, such as courtesans, Geisha, actors and sumo wrestlers; parodies of the gods, demons, political figures, and famous scenes from theater. Many of these woodblock prints were for commercial use, lining the streets as advertisements for theater, decorative lanterns, and within the tea houses and brothels.
The scene above, as titled, is from the pleasure district Yoshiwara in the city of Edo (modern day Tokyo). It is an original painting, currently displayed at the Kimbell Art Museum in Fort Worth, TX, along with many other screens, paintings and scrolls that are far more rare than the ukiyo-e, as they were not mass produced.
What really sets the pleasure districts apart from the rest of the city, is not what went on there necessarily, but the total lack of distinction between the social classes. In these areas, a samurai warrior (who had to check his weapons at the gate) was equal to a commonplace townsman. The prevailing thought of the time was Neo-Confucianism, and these pleasure quarters seemed a place to seek refuge from the “sorrowful world,” the earthly place of death and rebirth in Buddhism. Neo-Confucianism, at bottom, relies on the philosophical paradigm of Confucianism, coupled with the spirituality of Buddhism. Unlike many Buddhists of the time, however, the Neo-Confucianists did not separate the physical world from the spiritual.
For more information on “Drama and Desire”: http://www.asianart.org/pressroom/dramadesirepress.htm
Unrelated to the floating world, though painted during the same period, the hanging scroll to the left is displayed outside the exhibit. Entitled, Two Gibbons Reaching for the Moon, it plays an important role in coming to terms with the human condition. If you notice, the two gibbons are not reaching for the moon itself, but its reflection. Of course, many other philosophers have alluded to this phenomenon; cf., Plato, with his allegory of the cave in the Republic. As human beings, we naturally see things in a narrowing point-of-view. Some of us attempt to see the world as objectively as possible, given our human condition and the limitations of the body, but many seem quite satisfied viewing the world with blinders on. This scroll represents all the best in Zen Buddhism, and really, all the best in most of western philosophy as well. As human beings, we will always have a limited ability to know anything empirically. But if we truly attempt to view the physical world, objectively, we may see the moon.
Filed under: Philosophy, Visual Arts & Photography, Fort Worth, Kimbell Art Museum, Neo-Confucionsim, Plato, Two Gibbons Reaching for the Moon, ukiyo-e




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