Introduction to the Yoshiwara District
In the Edo period, Yoshiwara was a dreamland that everyone aspired to visit, especially men.
In March, cherry blossoms in full bloom lined the streets, only to be completely removed before they fell. In April, irises would be planted in their place. The main street's presentation was an elaborate production that changed with each month. It was truly like a theatrical stage!
In such a vibrant place lived the beautifully adorned courtesans who must have seemed otherworldly and mysterious to common people.
Don't you wonder how an oiran (high-ranking courtesan) spent her day in this dreamland?
Morning Routine
The day began early, around 4-5 AM, when the oiran would wake up any overnight guests.
At the Hour of the Hare (around 6 AM), Yoshiwara's only entrance, the Great Gate, would open. The oiran would bid farewell to her guests with a promise: "Please come again, it's a promise" in what was known as the "morning-after parting" (kinuginu no wakare). After this, she would return to sleep until around 10 AM (the Hour of the Snake).
Upon waking again, she would bathe, have breakfast, apply makeup, and change clothes—busy preparations for the afternoon business.
Daytime Activities
The afternoon business began with the "day display" (hiru-mise), where courtesans would sit behind latticed windows waiting for customers to request them.
High-ranking oiran would never sit at these displays. They would wait in their private rooms until evening appointments. However, they would never neglect sending letters of invitation to their regular customers.
Other professional duties included educating apprentice courtesans (shinzō) and young attendants (kamuro), as well as self-improvement. There was indeed much to do.
Around 4 PM (the Hour of the Monkey), the day display would end, allowing a rest period until the evening display.
Evening Routine
As the sun set (the Hour of the Rooster), the evening business began. Courtesans would again sit at the latticed windows, and if requested, would entertain guests in the second-floor rooms.
For an oiran, when summoned by a teahouse, it was time for the grand oiran procession. Led by a young man carrying a lantern, followed by elaborately dressed attendants, this slow-moving procession through the dim streets must have been a fantastical sight.
After hosting a grand banquet at the teahouse, the oiran would return to her establishment with her customer. For men, this was a parade-like escort that many dreamed of experiencing.
Around 10 PM (the Hour of the Boar), the Great Gate would close. Those leaving would have to use a smaller side gate.
At midnight (the Hour of the Rat), the display would close—no more orders. After completing chores, courtesans without customers would change into nightwear and go to sleep.
Around 2 AM (the Hour of the Ox), the "final closing" (ōhiki) would occur. Customers who had not left by this time would stay overnight.
And so, a new morning would begin.
Historical Context
If you have the opportunity to see Kitagawa Utamaro's "The Twelve Hours in the Pleasure Quarters," it would be interesting to compare it with the schedule described above.
Yoshiwara's only holidays were New Year's and Obon (two days); otherwise, every day followed the same routine. Courtesans could not leave the district until their contract ended at age 27. Even if they wore beautiful kimono and were admired as stars, theirs was still a somewhat tragic fate.
The Hour of the Dog
The Hour of the Dog refers to the period from around 8 to 9 PM. In Yoshiwara, there were day and evening displays, with the latter beginning at dusk (around 6 PM). During this time, courtesans would sit on scarlet felt mats waiting for customers.
This painting depicts a courtesan who, after two hours without a customer, is writing a letter to a regular patron. The composition is well-balanced, with the earnest-looking kamuro crouching with her hands on her feet and toes raised as she listens to the courtesan, whose body leans back slightly.
About Kitagawa Utamaro
Kitagawa Utamaro (1760-1849) At the age of 19, he became an apprentice to Katsukawa Shunshō, the leading artist of actor portraits at the time, and debuted in the ukiyo-e world the following year. After his master's death, Utamaro left the Katsukawa school and continued as a town artist. He became known for his innovative expressions in book illustrations in his late 40s. By his 50s, his number of disciples had increased, and he established the Kitagawa school. The words he left at around 90 years of age were powerful: "If only I had another 10 years, or even 5 years, I could become a true master of painting."
Utamaro Masterpiece Collection
The "Utamaro Masterpiece Collection" includes works from his representative series "Six Famous Beauties." While Utamaro left various types of works, he might be called a women's portrait artist or a beauty picture artist. Despite repeated censorship and restrictions, he boldly continued to paint women as he believed they should be depicted. His insight into women—looking at them head-on and depicting their physical lives, bodies, and hearts—was sharp. About one-third of Utamaro's works feature Yoshiwara and courtesans as subjects, but he expanded his repertoire to include mother-child affection in townhouses and popular teahouse maidens. The collection features 30 works by Utamaro, who stands at the pinnacle of ukiyo-e beauty portraits.
