Artwork

青楼歌舞妓やつし画尽十番続|The Oiran Yoyogiku of Matsubaya Standing under a Cherry Tree

青楼歌舞妓やつし画尽十番続|The Oiran Yoyogiku of Matsubaya Standing under a Cherry Tree is an ink print by the Romanticist artist Kitagawa Utamaro. It dates from 1780 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

The work is part of the Metropolitan Museum of Art’s collection and measures within the typical dimensions of ukiyo‑e portrait sheets.

Created in 1780 by the Edo‑period artist Kitagawa Utamaro, this multicolour woodblock print depicts a scene of refined leisure. The work is part of the Metropolitan Museum of Art’s collection and measures within the typical dimensions of ukiyo‑e portrait sheets. Its composition centres on a woman in a patterned kimono standing beneath a blossoming cherry tree, accompanied by a kneeling attendant and a male figure with an umbrella.

Subject & Meaning

The central figure is an oiran, a high‑ranking courtesan, presented in a moment of quiet contemplation as she lowers her gaze, her hand lightly touching her cheek. The attendant, positioned at her side, holds a serving tray, while the man in a dark robe, likely a patron or protector, stands behind them. The setting under the cherry blossoms evokes transience and the seasonal elegance associated with the pleasure quarters.

Technique & Style

Executed with the traditional ukiyo‑e woodblock process, the image combines line engraving with hand‑applied inks in muted browns, greys and soft pinks. The kimono’s floral pattern is rendered through fine carving, while the delicate blossoms are achieved by layered colour blocks. Utamro’s characteristic attention to facial expression and subtle gesture is evident in the serene countenance of the oiran.

History & Provenance

The print forms part of a series titled "The Oiran Yoyogiku of Matsubaya," illustrating various scenes of the courtesan’s life. It entered the Metropolitan Museum of Art’s collection through a 20th‑century acquisition, reflecting the museum’s broader effort to represent Edo‑period printmaking. Its preservation in paper format offers insight into the commercial publishing practices of late‑18th‑century Japan.