The Fourth Scene, from the series Scenes of the Pleasure Quarter at Yoshiwara in Edo
| Support Type: | Paper |
| Paint Type: | Ink |
| Current Location: | The Metropolitan Museum of Art, New York City, New York, USA but it is currently \'not on view\' |
| Location History: | By 1942 to 1948 - In the collection of Louis V. Ledoux, New York. Ledoux was a noted collector of early Japanese prints, and this sheet is documented in his own 1942 collection catalog, Japanese Prints of the Primitive Period in the Collection of Louis V. Ledoux (cat. no. 2). It remained with him until his death in 1948. 1948 to 1949 - Roland Koscherak, New York. On Ledoux\'s death in 1948 the print was sold to Koscherak who held it until 1949. 1949 to present - The Metropolitan Museum of Art, New York. Koscherak sold it to the Met in 1949. Additionally : 1964 - Shown in Masters of the Japanese Print: Moronobu to Utamaro at the Asia House Gallery, New York (Gentles exhibition catalog, p. 26, cat. no. 3). 1969 - Shown in Master Prints of Japan: Ukiyo-e hanga (Harold P. Stern exhibition catalog, p. 22, cat. no. 2). |
The Fourth Scene depicts a typical Yoshiwara street. Three beautifully dressed women stand at the left, who are the center of attention. They embody everything the pleasure district promised: elegance, fantasy, escape. To the right moves the other half of the scene, the crowd that came to look. These are the quarter's visitors, and Moronobu characterizes them with care. Many wear swords, and several keep their faces hidden under woven hats. This concealment of identity is deliberate. Visiting the pleasure quarter was something a samurai often preferred to do discreetly, since the warrior class was expected to model restraint, and a low hat pulled over the face was the ordinary way to enjoy the Yoshiwara without being recognized.Moving among them are people who appear to be servants, judging by their lighter dress. Yoshiwara was one of the few spaces in Edo where rigid class lines loosened, and men of every station were reduced, more or less, to the common role of paying visitor. The whole composition turns on a single gesture. The women move to the right and all the men are looking at them, even turning on their back. The women are the spectacle, and the men are the audience caught in the act of looking. Moronobu also places an unusual detail in the background. A water tank and several wooden buckets. They are not decorative, but they are there for a very practical and historical reason. Only a few years before this print was made, Yoshiwara had burned completely to the ground. In 1676, fire swept through the narrow, crowded streets of the quarter, and the teahouses, the brothels, the carefully built fantasy all turned to ash. This was not the only time. An earlier fire had struck in 1644, and the district would burn again and again across its history, rebuilt each time. For Moronobu's audience, the memory was fresh and the threat was permanent. So the tank and buckets are not idle background. They are the quarter's standing defense against its own destruction, the fragile reality beneath the fantasy. Someone had to keep Yoshiwara alive. Someone had to prepare for the next fire. The beauty of the three women exists only because of that unglamorous, unseen labor. This is what sets Moronobu apart. Ukiyo-e would come to specialize in pure fantasy: beautiful courtesans, endless pleasure, no consequences. Moronobu's instinct ran toward the whole picture. In earlier works he had already turned his attention to the ordinary, to the unseen labor that kept the floating world running. Here, he lets the tools of survival stand quietly at the edge of the frame. He neither glamorizes the quarter nor mocks it. He simply reminds us that pleasure districts are fragile, that they have to be protected and that the protection is itself a kind of care.
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