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池大雅筆「楼閣山水図屏風」（国宝） /

Culture of the Edo period (3) ― Horeki and Tenmei Culture

Culture of the mid-Edo period, in which literati-associated forms of literature and fine art flourished, as well as research on Japanese classical literature

Encyclopedia Edo period

This culture developed in the mid-Edo period, primarily during the Horeki and Tenmei eras (1751–1789). Reforms made to the shogunate administration involving Edo shogunate frugality and higher taxes effected a shift in cultural activities pursued by some in the warrior class in the direction of simplicity and introspection, inspired by ideals associated with the Chinese literati. As their academic and artistic activities came to include the involvement of townsfolk as well, a network of people with literati-associated inclinations formed. Entering the “Tanuma period” (1767-1786), amid the more dynamic economy, these preferences spread from Edo out into the provinces as well.

             In artists’ circles, Kyoto painters including Buson Yosa and Taiga Ike painted bunjin-ga (literati paintings), and Okyo Maruyama pioneered a style of true-to-life painting, while in Edo, Harunobu Suzuki ushered in the golden period of ukiyo-e with his production of nishiki-e (colored woodblock prints).

             Also, Yoshimune Tokugawa’s lifting of the import ban on Western books in Chinese translation brought the development of Yogaku (Western learning), including medical science, and anatomical works were produced with the involvement of Toyo Yamawaki, Genpaku Sugita, and others, among other things.    At the same time, the study of Japanese classical literature developed further as well, with figures such as Norinaga Motoori and Mabuchi Kamo taking on research that had been actively pursued in the Genroku era (1688–1704). The world of literature saw the advent of authors such as Kyoden Santo, who drew on the work of Saikaku Ihara with his sharebon (pleasure-quarter novelettes), and Harumachi Koikawa, who produced kibyoshi (illustrated storybooks with yellow covers), with Juzaburo Tsutaya working to publish such works.       

            Theatrical entertainment such as ningyo joruri puppet theater and kabuki continued to flourish as well, and Kanadehon Chushingura (“The Treasury of Loyal Retainers”), a joint effort by Izumo Takeda and others, was adapted from joruri to kabuki and performed repeatedly as a highly popular play.

Literature and art

A haiku poet, painter, and calligrapher of the mid-Edo period, considered one of the greats of literati painting

Hiraga organized the first exhibition of medicinal products in Japan and, as a scientist during the Edo period, created the Elikiter; he also wrote joruri

A major publisher in the mid-Edo period who collaborated with writers and artists to produce many popular books

A literary giant of the Edo period known for his kyoka (comic Japanese poetry) and sharebon (gay-quarter novelettes). In addition to "Nanpo," he also used "Shokusanjin" and "Yomo no Akara" as pen names. In addition, he was a capable official in the Edo shogunate

江戸時代中期の戯作者、浮世絵師。筆名は藩邸のあった小石川春日町に因む。浮世絵を鳥山石燕、勝川春章に学び、1775年（安永4）に草双紙『金々先生栄花夢 （きんきんせんせいえいがのゆめ） 』を発表。江戸市井の実生活を洒落と風刺を交えて表現した黄表紙の祖と目されるに至った。

The late Edo Period haiku and waka poet, novelist and Japanese-language scholar Ueda Akinari (1734-1809) was born in Sonezaki, Osaka. He was adopted by the Shimas – a family of paper and oil traders. Akinari started haiku writing at a young age and was deeply drawn to classic Chinese and Japanese literature. He went on to study under the Japanology scholars Takebe Ayatari (1719-1774) and Kato Umaki (1721-1777), both disciples of the famous scholar Kamono Mabuchi (1697-1769). Akinari wrote an innovative mystery-thriller (kaidan), Tales of the Moonlight and Rain (Jp. Ugetsu Monogatari), when he was 35. This novel still enjoys wide acclaim as a new genre of literature. After Akinari turned 50, he attracted wide attention by engaging in hot debates over Japanese literature and linguistics with the famous Japanologist Motoori Norinaga (1730-1801). The exhibit shows interesting patterns imprinted by pressing dyed plant leaves onto paper, on which Akinari wrote a poem in a strange scrawl.

たけだいずも。江戸時代中期の浄瑠璃作者。初名は竹田小出雲。父である初代出雲の没後、2代目を襲名。浄瑠璃執筆とともに竹本座座本を兼ね、並木千柳、三好松洛とともに『菅原伝授手習鑑』 『義経千本桜』『仮名手本忠臣蔵』の三大狂言を合作し、浄瑠璃の最盛期を支えた。

Scholarship

A researcher of the Kojiki (“Records of Ancient Matters”) and accomplished scholar of Japanese classical studies unparalleled in 18th-century Japan

江戸時代中期の蘭学者、蘭方医。筑前藩士の子として江戸に生まれ、青木昆陽に師事してオランダ語を学ぶ。長崎に遊学の折に解剖書『ターヘル・アナトミア』を入手する。江戸に持ち帰った後、杉田玄白らと翻訳に没頭し、安永3年（1774年）に『解体新書』を刊行。江戸蘭学勃興期に指導的役割を果たした。

江戸時代中期の医者。京都の官医山脇玄修の養子となり、医学を学んだ後に古医方派の後藤艮山（こんざん）に学んで実証精神を養う。宝暦4年（1754）、京都所司代の官許を得て刑死体の解剖をおこない、日本初の人体解剖記録となった『蔵志』を宝暦9年（1759）に発表。杉田玄白らに影響を与えた。

国学は江戸時代中期に興った学問のひとつ。儒教や仏教が渡来する以前の日本独自の思想や文化を究明することを目指し、『古事記』や『日本書紀』などを文献学的方法によって研究する。漢学に対抗して古学、和学などとも呼ばれ、下河辺長流や契沖の古典研究を源流とする。本居宣長や平田篤胤らを輩出し、近代における国文学の基礎となった。

江戸時代中期の医師、思想家。延享1年（1744）頃に陸奥で町医者を開業していたことが伝わる。封建社会にあって身分制度を批判し、平等主義を唱えた。著書も出版されたがその思想が世に知られた形跡はなく、明治期に『自然真営道』の稿本が発見されるまでは全く埋もれた存在であった。

江戸時代中期の経世家。江戸に生まれ、後に仙台に移住。蝦夷、長崎、江戸などに赴くなかで海外事情に精通するようになる。天明5年（1785）、国防の観点から隣国の地理を記した『三国通覧図説』を刊行。さらに『海国兵談』を自費出版し、対外戦の備えを論じたが後年、幕府により発禁処分を受け、蟄居を命じられた。

Scholar of Dutch learning of the late Edo period and author of Japan’s first translation of a Western book on anatomy who contributed to the development of Dutch learning

Fine art

A haiku poet, painter, and calligrapher of the mid-Edo period, considered one of the greats of literati painting

A literati painter of the mid-Edo period who mastered this style of painting along with Buson Yosa

A detailed naturalistic painter of the middle Edo period who captured the hearts of a generation 1733-1795

Jakuchu Ito was a well-known painter from the mid-Edo era in Kyoto. He first studied with the Kano School, then developed his skills by studying the painting style of the Rinpa School and Chinese paintings from the Song, Yuan, and Ming Dynasties. In recent years, he has regained recognition for his realistic painting style and unique colors.

A style of painting that spread from China to Japan and was mastered in the Edo period by Taiga Ikeno and Buson Yosa

A successful colored woodblock print artist noted for his prints of beautiful women 1725?-1770

One of the great ukiyo-e painters, responsible for the introduction of large-head portraits. ca. 1753-1806

A mysterious ukiyo-e artist who drew unique pictures of actors in the late Edo period

ながさわろせつ。江戸時代中期の絵師。山城淀藩の武士の家系に生まれる。京都にて円山応挙に師事し頭角を現し、天明6年（1786）には名代として南紀の諸寺に赴き絵筆を振るった。師に劣らない精緻な画風とともに、躍動感に溢れる大胆な構図と奔放な着想の絵師として知られ、障壁画を多く手がけた。

そがしょうはく。江戸時代中期の絵師。室町時代後期の画家で曽我派の始祖である曽我蛇足、蛇足6世を名乗った曽我直庵の画風を学び、自らは蛇足10世とも称した。粗豪な筆致を用いた墨絵人物図や極彩色の作品によって従来の画壇にはみられない独自の画風を確立。伊藤若冲らとともに、奇想の画家として評価される。

江戸時代中期の洋風画家。秋田藩領角館に生まれ、安永2年（1773）に秋田を訪れた平賀源内より西洋画法を学び、秋田蘭画の一派を開く。同年、江戸の源内について再び画法を探求し、翌年には『解体新書』の挿絵を担当。江戸における洋風画家の嚆矢となり、門下には司馬江漢などがいる。

しばこうかん。江戸時代中期の浮世絵師、洋風画家。少年期に江戸狩野を学んだ後、鈴木春信の門下となり鈴木春重の名で浮世絵版画を手がける。後年、小田野直武の指導を受けて洋風画家に転向し、天明3年（1783）には日本初の腐食銅板画を制作。また西洋の自然科学にも精通し、万国地理や地動説を日本に紹介した。

References

  5. 詳説日本史図録編集委員会 編,山川出版社
  6. 中央公論社
  7. 辻惟雄 監修,美術出版社
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Last updated
August 15, 2022