Published in the mid-Edo period, a time of cultural flourishing and a booming publishing industry, a curious book titled “Ichimokusenbon” (ひとめせんぼん) emerged. This “reputation book” likened the courtesans of the Yoshiwara pleasure district to flowers, capturing their beauty and allure.
This article delves into the “Ichimokusenbon,” exploring its content, author, historical context, and its significance and influence in contemporary times.
Overview of Ichimokusenbon
“Ichimokusenbon” is a courtesan reputation book published in July 1774 (An’ei 3). Each page features two courtesans depicted alongside seasonal flowers, with illustrations by the renowned artist Kitao Shigemasa.
Cleverly, the book draws parallels between the characteristics of the flowers and the personalities of the courtesans. For example, a haughty courtesan might be paired with a wasabi flower, while a glamorous one is likened to a peony. This creative approach captivated readers and made the book a sensation.
“Ichimokusenbon” falls under the category of “Gisaiken” (擬細見) publications. Unlike typical guidebooks, “Gisaiken” presented information from a unique perspective, often using metaphors and symbolism, as seen in the flower comparisons in “Ichimokusenbon.”
| Item | Description |
|---|---|
| Publication Year | 1774 (An’ei 3) |
| Author | Tsutaya Jūzaburō |
| Illustrator | Kitao Shigemasa |
| Content | Reputation book comparing Yoshiwara courtesans to flowers |
| Publication Purpose | Promotion of Yoshiwara courtesans and brothels, gift-giving |
出典: 国書データベース，https://doi.org/10.20730/100080738
出典: 国書データベース，https://doi.org/10.20730/100080738
The Origin of the Title: Ichimokusenbon
The title “Ichimokusenbon” is believed to be derived from a famous cherry blossom viewing spot in Yoshino Mountain, Nara Prefecture, also called “Ichimokusenbon” – meaning “a thousand trees at a glance.”
The cherry trees in Yoshino Mountain have a rich history. Approximately 1300 years ago, En no Gyōja, the founder of Shugendō, carved an image of Zao Gongen into a wild cherry tree, which became revered as a sacred tree. Subsequently, many cherry trees were planted in the area.
In 1594 (Bunroku 3), Toyotomi Hideyoshi held a grand hanami (flower viewing) party in Yoshino Mountain with around 5,000 people. Hideyoshi himself, along with prominent warlords like Tokugawa Ieyasu and Date Masamune, participated in disguise, making this event a possible precursor to modern cosplay parties.
By using the name “Ichimokusenbon” – a place of historical and cultural significance – for his book, Jūzaburō might have intended to imbue it with special meaning.
The Author: Tsutaya Jūzaburō
The mastermind behind “Ichimokusenbon” was Tsutaya Jūzaburō, a prominent publisher in the mid-Edo period. He produced a diverse range of publications, including sharebon (witty books), kibyōshi (yellow-cover books), and ukiyo-e woodblock prints.
Born into a family that ran a teahouse in Yoshiwara, Jūzaburō later opened a bookstore and ventured into publishing. He was known for his warm personality and love for Yoshiwara. Within this cultural hub, he interacted with leading intellectuals and artists, identifying and nurturing their talent. Prominent figures like Ota Nanpo, Koi Kawarachō, Santo Kyoden, Bakin Takizawa, Kitagawa Utamaro, Katsushika Hokusai, and Tōshūsai Sharaku were associated with Jūzaburō’s publications.
Jūzaburō was also involved in publishing “Yoshiwara Saiken” (吉原細見), a guidebook to the Yoshiwara pleasure district. While another publisher, Urokogataya Magobei, held the publishing rights to “Yoshiwara Saiken,” Jūzaburō played a crucial role in checking and updating the information for each new edition. This work provided him with deep knowledge of Yoshiwara’s courtesans and brothels, which likely contributed to the creation of “Ichimokusenbon.”
Jūzaburō and Magobei were rivals. Magobei’s reputation declined due to unethical practices like unauthorized reproduction of books from the Kamigata region (Kyoto and Osaka area). In contrast, Jūzaburō earned acclaim for his high-quality publications and unique editing style.
This rivalry may have fueled Jūzaburō’s editorial talent, motivating him to produce innovative works like “Ichimokusenbon.”
Publication Purpose of Ichimokusenbon
Jūzaburō had two main objectives for publishing “Ichimokusenbon.”
First, it served as a promotional tool for Yoshiwara’s courtesans and brothels. While Yoshiwara thrived as a government-sanctioned pleasure district, competition was fierce. “Ichimokusenbon” showcased the allure of Yoshiwara to a wider audience, aiming to attract more customers.
Second, it was intended as a gift. Initially, Jūzaburō did not sell “Ichimokusenbon” publicly, distributing it only to high-class brothels. This was a clever marketing strategy to create exclusivity and generate interest. The courtesans would then gift the book to their regular clients. The beautiful illustrations and the poetic comparisons to flowers made it an ideal present, enhancing the courtesans’ reputation.
Eventually, Jūzaburō released “Ichimokusenbon” to the general public, further promoting Yoshiwara and contributing to its overall prosperity.
Ichimokusenbon’s Modern-day Significance and Influence
“Ichimokusenbon” remains a significant work in the history of Edo-period publishing. Jūzaburō’s innovative editing, Shigemasa’s captivating illustrations, and the creative concept of comparing courtesans to flowers continue to fascinate and inspire.
“Ichimokusenbon” symbolizes the vibrant entertainment culture of Edo Japan. It serves as a valuable resource for understanding the customs and society of the time and reflects the genius and passion of the unconventional publisher, Tsutaya Jūzaburō.
In commemoration of the 2025 NHK Taiga drama “Berabō ~Tsutaju Eiga no Yume Banashi~” (about the life of Jūzaburō), the CCC Group is undertaking various projects to honor his achievements. The legacy of “Ichimokusenbon” is stimulating modern creativity, with efforts to blend the charm of the Edo period with contemporary sensibilities.
One example is the “Hitomesenbon” 10-minute aroma by hibi, which captures the essence of Yoshiwara nights with scents like cherry blossom, lily, and peony, evoking the glamorous yet fleeting stories of the courtesans.
Another is the J-Scent perfume “Tsutajuu,” embodying the “chic and stylish scent of green ink” inspired by Jūzaburō himself. These products exemplify the fusion of Edo-period culture and modern aesthetics.
Exploring Ichimokusenbon Today
Due to its rarity, acquiring an original copy of “Ichimokusenbon” is extremely challenging. It is currently held by the Osaka University Library and is accessible online through the National Institute of Japanese Literature Digital Collections.
→ National Institute of Japanese Literature Digital Collections: https://doi.org/10.20730/100080738
Conclusion
“Ichimokusenbon” is a remarkable testament to the talent and business acumen of Tsutaya Jūzaburō. Its captivating illustrations and poetic portrayal of courtesans captivated audiences in the Edo period and continue to be appreciated today.
“Ichimokusenbon” stands as a unique work that masterfully combines artistry, social commentary, and innovative marketing. It serves as a testament to the vibrancy of Edo culture and the enduring power of creative expression. Even today, it continues to inspire and offer valuable insights into a bygone era.
