Artwork

『雛形若菜の初模様つるや内すがたみ』|The Courtesan Sugatami of the Tsuruya Brothel, from the series “A Pat-tern Book of the Year’s First Designs, Fresh as Spring Herbs” (“Hinagata wakana no hatsu moyō”)

『雛形若菜の初模様つるや内すがたみ』|The Courtesan Sugatami of the Tsuruya Brothel, from the series “A Pat-tern Book of the Year’s First Designs, Fresh as Spring Herbs” (“Hinagata wakana no hatsu moyō”) is an ink print by the Romanticist artist Isoda Koryūsai. It dates from 1778 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Isoda Koryūsai’s woodblock print, dated 1778, portrays the courtesan Sugatami of the Tsuruya brothel. Executed in ink and color on paper, the image forms part of the series “Hinagata wakana no hatsu moyō,” a pattern book showcasing new designs for the year. The work is currently in the collection of the Metropolitan Museum of Art.

Subject & Meaning

The central figure is Sugatami, distinguished by a tall black hat and a kimono patterned with orange chrysanthemums. She holds a folding fan and stands between a young boy and a younger woman, both dressed in flowing robes of simpler decoration. The composition emphasizes the attire and posture of each figure, reflecting the fashion and social roles within Edo‑period pleasure districts.

Technique & Style

Printed using traditional ukiyo‑e woodblock methods, the image combines bold geometric motifs—hexagons and stylized flowers—on the courtesan’s garment with softer, flowing lines on the companions’ robes. Careful hand‑applied brushwork adds subtle shading, while the plain background directs attention to the vivid colors and patterns of the clothing.

History & Provenance

Created in 1778, the print was part of a commercial pattern book intended for designers and patrons of the time. It entered the Metropolitan Museum of Art’s collection through acquisition in the late twentieth century, where it remains documented as an example of Koryūsai’s work for the licensed pleasure quarters.

Context

The series “Hinagata wakana no hatsu moyō” functioned as a visual catalogue of new textile designs, a common practice in late‑Edo Japan where courtesans often set fashion trends. Koryūsai, a prolific ukiyo‑e artist, produced numerous images of teahouse and brothel figures, contributing to the visual culture that documented contemporary dress and entertainment venues.