February 15, 2025

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 5 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 5: "Tsutajū’s and Karamaru’s Karmic Entwinement" 「蔦(つた)に唐丸因果の蔓(つる)」
(originally aired on NHK Feb. 2 (Sun)

2025 NHK Taiga Drama Berabo (Unbound) eps 5 image


Episode 5 opens with Shinnosuke asking his oiran if she will be included in Tsutajū’s Hinagata Wakana print series, and she embarrassedly explains that only the most popular oiran will be included. Shinnosuke tells her he is relieved because he wants to keep her adorableness to himself. He then notices Tsutajū’s publisher-name on the print, but she explains that Tsutajū has been excluded from its publishing and his publisher-name will no longer be included on the prints.

Tsutajū is quite understandably infuriated by the situation, but Hana tells him that if he is not a part of the guild, it is perfectly understandable that he’s not allowed to publish. Afterall, he can still produce books, he just can’t distribute them through the bookstores outside of the Yoshiwara. A missive is brought to Tsutajū asking if he will agree to “revise” for the upcoming “Wakamurasaki” print, and while Tsutajū just turns away, Karamaru accepts the missive for him.

When Karamaru steps out of the Surugaya chaya on an errand, he is spotted by a rōnin lout who knows his past, and uses it to blackmail Karamaru into stealing cash from the Surugaya. Back at the Surugaya, Karamaru seems to want to consult with Tsutajū, but Tsutajū is lost in thought, mulling on the meaning of his publisher’s name that Gennai had thought of for him. When Karamaru sets down the missive requesting Tsutajū to do “revising,” he spots the unlocked cashbox.

[Opening sequence]

At Chichibu, Gennai is threatened by the workers who want their investment back, since they have been working for him for 10 years still without making a profit. Gennai explains that it’s because they still haven’t come up with a successful method of blasting air to smelt the iron ore in order to produce pig iron. Flashback to the fire at the smelting furnace, no one died, but several were severely injured. When Gennai explains that accidents are an important part of trial and error, he gets punched in the face. Gennai exclaims that since rice can’t be grown here, this is the only way to make money. Although Gennai’s assistant, Hezutsu Tosaku, promises they will return to Edo to collect the money to pay them back, a giant man suddenly appears, asking Gennai where’s the boat he promised him. He grabs Tosaku, threatening Gennai that if he doesn’t bring back the money in ten days, his assistant will be thrown in the furnace.

[*Blast furnaces for smelting iron ore already existed at this time in colonial America.]

Tsutajū reads the missive from Magobei of the Urokogataya asking him to work for Magobei as an “reviser” so that the “surimono” (摺物, privately sponsored woodblock prints) Tsutajū produces for the Yoshiwara can also be sold in bookstores throughout the city as Urokogataya’s publications. Tsutajū will do all the work, but they will be published as Urokogataya’s. Tsutajū’s ne'er-do-well older brother, Jirobei, asks him if he’s started to be greedy, after all Tsutajū had started out by saying he’d do it for free for the sake of the Yoshiwara.

The evil rōnin suddenly appears at the chaya, who Karamaru insists to take care of himself, and evil rōnin asks Karamaru if he’s gotten the money yet. Gennai also shows up, badly beaten, asking them to take him to get something to eat, leaving evil rōnin and Karamaru alone with the unlocked money box.

Out with Tsutajū and Jirobei, Gennai explains that he has to find some way to return about 1000 ryō. To that end, he wants to switch from trying to render an efficient way to smelt iron, and just sell the charcoal instead. The charcoal he’d been selling before had been only in small amounts of special orders for a privileged few, like Tanuma. But now he needs to buy a license (kabu, 株) for producing and selling charcoal. The idea of buying a license to become a member of a guild sparks interest in Tsutajū.

Returning home, Tsutajū notices that the moneybox was left unlocked. Karamaru is worried that Tsutajū will notice the missing money, but he doesn’t. Meanwhile, Gennai is introduced to a charcoal seller who wants to sell out. Gennai bargains the purchase price down from 300 ryō to 50 ryō, since the seller is in debt.

Jirobei notices that the bag of money feels light, but Karamaru suggests that he probably spent it himself. Evil ronin shows up again asking for more money since he lost at gambling, and wants the kid to steal from the shop next-door. When the kid threatens to report evil ronin to the authorities, the ronin threatens to report the kid in turn, which will not only get him the death penalty, but also Tsutajū et al will too be given the death penalty or at least be sent to a penal colony on an island for harboring him.

On the street, Gennai explains to Tsutajū that he has neither fields nor employment with the Shogunate for income. Tsutajū suggests he ask Tanuma for a government position, but that is not possible [because Gennai works behind the scenes? Or that his position does not allow for government employ?] Gennai says the only thing he has of worth (ichibutsu, 逸物) is his dick, and the only way to live freely is without the responsibility of family or position.

Tsutajū tells him he wants to buy a bookshop license, and Gennai introduces him to the publisher Suwaraya, but Tsutajū does not want a license for a shomotsu-doiya (書物問屋) that produces Confucian classics and history books, but rather for a jihon-doiya (地本問屋) that publishes illustrated popular fiction. It is explained to Tsutajū that a jihon-doiya is not within a guild, so buying a license for that type of bookstore will not make him a member. The booksellers who refuse to make Tsutajū one of their members is just a clique, not a guild. Gennai suggests that Tsutajū become a clerk for one of the bookshops, so that he can set up a branch shop of it in the future. [Setting up a clerk with his own branch shop sharing the shop’s name is called “noren-wake” (暖簾分け).]

Gennai goes to Tanuma to ask for 500 ryō to purchase a license for producing and selling charcoal. Gennai explains that doing so will bring economic benefits to the rural community, pay for dredging the river to make a transportation route by barge, inns will be built along the river and assembly-halls (kaisho, 会所) opened, further increasing prosperity. After Tanuma grants him the money, the two become enthused about increasing economic security for the nation. Gennai suggests opening up the country to international trade to learn the real worth of products for trading, set up the hōkan (male geisha) as the intermediaries since they have the social skills and talent to learn new languages, open restaurants serving meat beloved of foreigners, establish language schools, build better boats etc.

Jirobei sits blowing a glass toy called a poppin, which makes a clicking noise. He asks Tsutajū if he’s recently bought and expensive book, since the money bag feels light. Tsutajū too suggests that probably his brother spent it himself. After the gate to the Yoshiwara closes for the night, Tsutajū tells Karamaru that he agreed to work as “reviser” for the Urokogataya, so that he may set up a branch shop in the future. Tsutajū says he’s already thinking about how to set up Karamaru as a print artist in the future – he can start by imitating the styles of famous print artists like Harunobu, Koryūsai, and Shigemasa, then once he’s established a reputation for his talent, he can go on to be recognized for his own work. Tsutajū asks Karamaru if he’s hiding something, if only he will tell him, Tsutajū won’t do bad by him but help him with his problem. Karamaru says there’s nothing on his mind, and they go to bed.

The next morning the kid, and money box are gone. Tsutajū searches all over for him to no avail. Karamaru has met up with the evil rōnin bringing him the money box. He tells the rōnin that he’s done and won’t be returning to the Surugaya chaya. When further threatened, Karamaru jumps on the rōnin and pushes the both of them into the river.

Tsutajū remembers that he had found the kid standing dazed in front of a burning building. Upon returning to Yoshiwara, a group of people is gathered around the Surugaya chaya, and Tsutajū is told that a “floater” (tozaemon, 土左衛門) has been found in the river, who is rumored to have been a member of a group of thieves. He was found pocketing a book that came from the Surugaya. Tsutajū says he recalls a non-paying customer who showed up a bit back and who must have taken the book at that time. Ichiemon explains that the "Hatchōbori no danna" (八丁堀の旦那) city police are here because they must report if any crime has been committed related to the Yoshiwara. The cops threaten them with the consequences if they are harboring secrets.

After the city police leave, Ichiemon says there was a rumor that a young boy fell into the river along with the man. But, for some dubious rōnin not much effort will be put into an investigation. Even if the kid was involved, probably no much will come of it, so don’t make a hullabaloo about it. Nevertheless, gossip spread throughout the Yoshiwara about the kid fleeing and the missing money box, thinking the kid must have been involved in something shifty.

At the fox shrine, Tsutajū looks at the print that Karamaru had resketched after the original was damaged by the spilled water. Tsutajū tells Hana that all he knew about the kid was that he was skilled in drawing, and that he has no idea who he was or where he came from, or why he was standing there dazed in front of the burning building. Although Tsutajū had sensed that Karamaru was lying when he said he didn’t know where he came from and was hiding something, Tsutajū now regrets that he hadn’t pushed Karamaru for details, maybe he could have done something and it wouldn’t have come to this.

Tsutajū not even knowing if he is still alive, Hana suggests to him that he imagine Karamaru as having returned to his family. Maybe he had been kicked out when is father acquired a second wife, and with her death, he was able to return to be raised to take over the family business. Tsutajū says he’d rather imagine Karamaru shirking his duties to the shop in order to practice his drawing skills, and that one day he will return to the Yoshiwara and Tsutajū will establish him as a print artist of mysterious origin. Tsutajū prays to the fox statues that he may realize his wish for Karamaru. [Is NHK planning to make Karamaru reappear in the future as the print artist Sharaku?]

Back at Chichibu, Gennai explains his plan to bring profit to the area, dredge the river to make a transportation route, and build barges etc. through the production and selling of charcoal. When Gennai opens a package of gold coins to give them, the workers accept his plan and Gennai’s assistant, Hezutsu Tosaku, is released.

Tsutajū meets with Urokogataya Magobei, and agrees to work with him as a “reviser,” to make more profit-making books and attract customers to the Yoshiwara. Magobei is delighted, and says he has high expectations of Tsutajū’s talents.

At Owari Atsuta (尾張熱田), in present-day Nagoya, someone takes a book in hand, that angers him. To be continued …


.....................................................................................................
.....................................................................................................

NHK Synopsis of upcoming eps. 6:

Historical Drama "UNBOUND" Eps. 6: 「鱗(うろこ)剥がれた『節用集』」
Sun, Feb. 9, 20:00-20:44
(Repeat) Mon, Feb. 10, 5:00-5:44; Sat, Feb.15, 13:05-13:50
https://nhkworldpremium.com/en/episode/332836

Tsutaju and Urokogataya Magobei brainstorm and refine ideas to create a more modern, marketable blue book, which is an illustrated storybook. In the midst of this, Tsutaju hears a rumor from Suwaraya that pirated edition of ‘Setsuyoshu’ dictionary is put on the market, and certain doubts arise in his mind. Meanwhile in Edo Castle, Tanuma Okitsugu argues against the shogun’s visit to Nikko, proposed by Matsudaira Takechika (Ishizaka Koji), on the ground of the budget waste.

蔦重(横浜流星)は、『吉原細見』だけでなく挿絵入りの青本を作ろうと、鱗形屋孫兵衛(片岡愛之助)と共にアイデアを考え、ネタ集めに奔走する。そんな中、須原屋(里見浩太朗)から『節用集』の偽板が出回っていると聞き、蔦重の中に、ある疑念が生じる…。一方江戸城内では、松平武元(石坂浩二)が莫大な費用がかかる日光社参を提案する。田沼意次(渡辺 謙)は、予算の無駄遣いを理由に、徳川家治(眞島秀和)に中止を訴えるが…。


auberginefleur at 14:50|PermalinkComments(0) NHK Taiga Drama 2025: Berabo (Unbound) 

February 10, 2025

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 4 (Auberginefleur Synopsis)

"Berabō" (Unbound) Eps. 4: "A Honey Trap: Hinagata Wakana (Fashion Plates of Young Greens)" 「『雛形若菜』の甘い罠(わな)」

2025 NHK Taiga Drama Berabo (Unbound) eps 4 image


With the death of his older brother Harukai, head of the Tayasu family, in 1774 (An’ie 3) Masamaru asks Matsudaira Takechika for a favor, to help him overturn his adoption to remain with the Tayasu family as heir so that the house is not extinguished. To that end, Takechika goes to the Ōoku (the private quarters of the shōgun’s wife and consorts), and “gifts” the head woman there with a jade incense burner for her help in applying pressure in this matter. When Hitotsubashi Harusada (father of new baby) hears of it, he jokes that Okitsugu has now been stumped in his maneuvers.

The Yoshiwara is vibrant with customers thanks to the publication of Tsutajū’s Hitome Senbon book representing the Oiran courtesans’ personalities as flower types. The bigwigs of the Yoshiwara have gathered together to show off their pet cats, and have called Tsutajū there to make a request. Since the Hitome Senbon was a great success in drawing visitors to the Yoshiwara, they want another publication to keep up the momentum; this time a series of nishiki-e hanga (literately “brocade pictures,” full-color woodblock prints) depicting the courtesans of the Yoshiwara. Full-color woodblock prints will cost a great deal more to produce than the small black-and-white Hitome Senbon, but the bordello owners promise to cover the cost. Even Tsutajū’s adopted father, Ichiemon, assents to him taking on this task.

However, the courtesans complain to Tsutajū for making them pay out even more money after helping him with his last book. The bordello owners had passed the cost onto their courtesans, asking them to pay 5 ryō, taking a cut from this money for themselves. Now Tsutajū needs to find a way to fund the print series without putting the onus on the courtesans.

Back home Karamaru asks Tsutajū why 5 ryō is such an onus for the oiran courtesans, since they make 10 ryō a night. Tsutajū explains that the 10 ryō is just what the customers pay, and the courtesans only receive a tiny portion of that. Moreover, they are already heavily in debt and have a great deal of expenditures. They have to pay back their purchase price from when they were sold to the Yoshiwara, also they have to pay for their clothes, accessories, and fancy bedding, let alone the upkeep for their kamuro (child apprentices). If they can’t entice their patrons to outlay the cost, they must borrow from the bordello owners, which only further increases their debt. Karamaru replies, “Wow, it really is a living hell!”

〔Opening Sequence〕

Back at the castle, Tanuma Okitsugu hears from the shogun that Masamaru has declined his adoption to the Shirakawa family. The shogun had promised that Masamaru would be allowed to return to the Tayasu house in case of extenuating circumstances, such as the heir dying. The shogun admits that pressure to allow it came from the Ōoku as well.

Masamaru thanks Takechika for his assistance in this matter, promising to serve the Tayasu house with honor, but Takechika warns him to beware of Okitsugu, since Okitsugu manipulates the shogun like a toy ball in hand.

Okitsugu’s plans are now confounded and his assistant, Miura, recommends that he should just abandon the plan. Okitsugu turns to his son, Okitomo, asking if he knows how much emolument the houses receive from the government. He then explains that the tribute is 100,000 koku of rice (1 koku is about 150 kilograms or 330 lb), an onerous expenditure just to support the Gosankyō (御三卿), the three houses descended from the eighth shōgun Yoshimune, especially since there are already the Gosanke (御三家). [The Gosanke are three branches of the Tokugawa house descended from Ieyasu’s three youngest sons, governing the domains of Owari, Kishū, and Mito.] In any case, it is apparent that Okitsugu is trying to reduce government expenditure by eliminating the Tayasu house. His son dryly comments, that Okitsugu is indeed a loyal liege trying to uphold the economizing ordinance (ken’yakurei, 倹約令).

Tsutajū visits the Urokogataya bookshop to pick up some new “jōruri” books for his book lending business. There, Magobei congratulates him on his success with the Hitome Senbon book, but says that he wished Tsutajū had consulted him because he would have liked to have lent a hand. Tsutajū asks him if he any idea how to produce the nishiki-e without expenditure. Magobei suggests making the courtesans pay for it again, but Tsutajū says he wants to do anything but that.

On his way back to the Yoshiwara, Tsutajū runs in Gennai. They walk on to Ryōgoku and see the many entertainment-stands there. Tsutajū asks if he lives nearby, but Gennai just says he mostly stays in the mountains or with Shinnosuke when he’s in town. Gennai shows him his latest book, Hana saki otoko (花咲男), about a farting performer, and of course Tsutajū’s read it because it’s one of his most popular lending books, and they see the actual performer.

Gennai turns to watch a couple of women passing by, and Tsutajū asks if he knows them. Gennai explains that they are still wearing a hairstyle made popular by his old lover, the kabuki actor Segawa Kikunojō II (1741-1773). Besides the “rokō-mage” hairstyle (the “rokō” 路考 coming from Segawa’s penname), there was also the “rokō-musubi” style of tying an obi and the “rokō-cha” green color he popularized, which promoted business for the kimono shops. This sparks an idea for Tsutajū and he runs back to Yoshiwara. Left alone, Gennai has a secret meeting with Okitsugu’s son at a bench.

[The “rokō-cha” green color can be seen in the stripes of the young gentleman’s attire in Harunobu’s print “Kasamori Osen” 1768-69 *Click image to enlarge]

Harunobu 笠森お仙と袖頭巾の若侍 1768–69 (Meiwa 5–6) BM and Roko-musubi


Back at the Yoshiwara, Tsutajū explains his idea of how to make the kimono shops fund the nishiki-e print series. The oiran can be depicted wearing kimono designs advertising the latest fashions the kimono shops want to sell. Tsutajū is asked how much it costs to produce a nishiki-e print and he says 1-2 ryō for about 200 copies, including the costs of the artist, carver, and printer. The bigwigs tell him to talk to the kimono shops that visit the Yoshiwara without bothering them anymore for financial help. However, none of the kimono shops are willing to commit themselves to supporting this project.

Back at the Surugaya, Ichiemon explains to him that it’s because there’s no famous oiran presently at the Yoshiwara and they think a series produced by a minor publisher within the Yoshiwara probably won’t amount to much. Nishimura, a publisher famous for producing nishiki-e prints, unexpectedly arrives asking to participate since he has connections with other bookstores. Ichiemon looks dubious as the two go off together.

With Nishimura’s participation, the kimono shops agree to support the printing of the nishiki-e and the famous print-artist of bijin (beauties, 美人), Isoda Koryūsai (礒田 湖龍斎, 1735–1790), is able to be hired. Nishimura suggests that now Tsutajū is all but a publisher himself, he should think about making a seal for himself. When Tsutajū receives the sketches made by Koryūsai, the young boy, Karamaru, is captivated by them. Tsutajū tells him to put them back in their package when he is done looking at them.

Tsutajū visits Gennai, but Gennai blocks the entrance while Shinnosuke is madly clearing away what had been laid out. Gennai suggests teaching Karamaru to sketch and offers to do so himself, being somewhat of an artist having made the medical sketches for the book on Western medicine, the Kaitai Shinsho (解體新書). Tsutajū then asks Gennai to think of a good publisher’s name for him.

Tsutajū returns a bit late to the Suragaya chaya in the evening and immediately starts to help the customers with their baggage and such, when just then the cat jumps down knocking over a flower vase and spilling water all over the package of sketches. The sketches now ruined, Karamaru asks if he may attempt to recopy the sketches, and succeeds to such a degree that they are indistinguishable from the originals. Impressed, Tsutajū promises to make him a famous artist someday.

When the black outlines of the sketches are carved and printed, Nishimura is much impressed, and asks Tsutajū if he has come up with a seal yet, and Tsutajū hands over a slip with his publisher’s name on it.

Tanuma examines the book that Gennai brings to him, carefully scrutinizing the pages. When asked how he managed it (the forgery of a couple of pages) so perfectly, Gennai explains that he collected samples of the handwriting, blended the ink to be the same color, and made sure the paper was of the same weight and color. Gennai worries that Masamaru might already have read it, but Tamuma assures him that when he brought it from the archives it was covered in dust and no one has read it for ages, the dossier 『覚 両家處置之事』by the shōgun Yoshimune regarding the two houses of Tayasu and Hitotsubashi.

When Tanuma shows it to Masamura and Matsudaira Takechika (mr. eyebrows), they find Yoshimune had written that the lineage was only meant to be temporary and intended to end when the heir dies. Takechika growls that he’d never heard any such thing, but Tanuma explains that’s because he was working in a different (lower) position in a different part of the castle at the time. Tanuma asks Masamaru if he’d read it before –he hadn’t– and tells him that it was news to even the current shōgun, but the shōgun said he’d keep is promise if Masamaru still wanted to return to the Tayasu house.

After Tanuma leaves, Takechika tells Masamaru to ignore what was written in the book and go ahead and return to the Tayasu house since the shogun had given his permission. Masamaru says he cannot go against his forbear’s wishes, the former shōgun Yoshimune, but he is furious about how he was manipulated by Tanuma and vows to get back at him in the future.

The first prints of the Hinagata Wakana (Fashion Plates of Young Greens) series are presented, and have Tsutajū’s seal on them. Gennai explained when he presented Tsutajū with his idea for a publisher’s name, Kōshodō (耕書堂), it’s because his publications (書) will be groundbreaking (yo wo tagayashi, 世を耕し), and make the world a more bounteous place.

In the midst of all the excitement, Nishimura and Urokogata arrive, bringing along a third bookstore owner, Tsuruya, a famous publisher of nishiki-e prints. While all are praising the prints, Tsuruya suddenly asks for the publishing to be turned over to Nishimura, alone. Since Tsutajū is not a member of the publishing guild, he can’t have his seal of publisher on the prints if they want them to be distributed by bookstores outside of the Yoshiwara. Tsutajū’s Yoshiwara Saiken guidebook only had his name on it as “reviser” (aratame, 改) and his Hitome Senbon was only distributed within the Yoshiwara, so they were both acceptable, but to be publicly distributed the prints need to be certified by the guild. Tsutajū then asks how to be accepted to the guild, only to be told they are accepting no new members. Everyone else is perfectly happy with having Tsutajū’s name removed as publisher, even though he did all the work himself. His adopted father, Ichiemon, chides him that after all Tsutajū said he’d do it without recompense for the sake of the Yoshiwara. Unbeknownst to Tsutajū, it was all a trick by Urokogata and his father to keep him within the Yoshiwara making money for them.

[There’re only about 10 known prints from the “Hinagata Wakana no Hatsumoyō” series that have Tsutajū’s publisher seal “Kōshodō” (耕書堂) on them.The two images below have the seals of both Nishimura’s “Eijudō” (永寿堂) and Tsutajū’s ““Kōshodō” (耕書堂). Left: Matsu-no-i of the Matsubaya (1776, spring) and Right: Morokoshi of the Echizenya (1776, fall). *Click image to enlarge]

The episode ends with a major fire at Gennai’s iron forge at Nakatsugawa Tetsuyama (中津川鉄山) in Chichibu.

Hinagata Wakana no Hatsumayou  (1776)



.....................................................................................................
.....................................................................................................

NHK Synopsis of upcoming eps. 5:

Historical Drama "UNBOUND" Eps. 5: 「蔦(つた)に唐丸因果の蔓(つる)」
Sun, Feb. 2, 20:00-20:44
(Repeat) Mon, Feb. 3, 5:00-5:44; Sat, Feb. 8, 13:05-13:50

Tsutaju, disappointed about being left out of the stock circle, dithers to accept the offer from Urokogataya to become an in-house reviser. At that time, through an introduction from Gennai, Tsutaju meets publisher Suwaraya (Satomi Kohtaro). Meanwhile, Karamaru (Watanabe Towa) encounters a man who knows his past. The man threatens Karamaru, pushing him to the edge. On the other hand, Gennai is denounced by the funders of the mine in Nakatsugawa, and Hezutsu Tosaku (Kimura Ryo) is taken hostage.

株仲間に入れず、落胆する蔦重(横浜流星)。その後、鱗形屋(片岡愛之助)からお抱えの改(あらため)にならないかという誘いを受けるもためらう。そんな中、源内(安田 顕)の紹介で、須原屋(里見浩太朗)に出会う…。一方、唐丸(渡邉斗翔)の前にある男(高木勝也)が現れる。唐丸の過去を知る男は、唐丸を脅し次第に追い詰めていく。そして、秩父・中津川鉱山では源内らが出資者から罵倒され、平秩東作(木村 了)は人質にされてしまう。





auberginefleur at 10:37|PermalinkComments(0) NHK Taiga Drama 2025: Berabo (Unbound) 

January 28, 2025

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 3 (Auberginefleur Synopsis)

2025 NHK Taiga Drama Berabo (Unbound) eps 3 image


Kitao Shigemasa, Hito'me Senhon 1774, Osaka Library


The narrative of eps. 3 is much simpler than heretofore, probably because all the main players have now been introduced for the nonce. With the somewhat jarring inclusion of Onihei portrayed as an ignorant ruffian, while most of us know him for his debonair gentlemanly image as portrayed by the actor Nakamura Kichiemon II, raises the question of NHK’s overall intentions with the theme or agenda of this drama—I’m thinking “reformers” or “reformation battles.”

Tsutaya Jūzaburō (1750-1797), of uncertain parentage, was in real life probably just out to make a buck, but in this drama is trying to save the economy of the Yoshiwara for the sake of the “ladies of pleasure.” Tanuma Okitsugu (1719 –1788) was also an upstart, rising from the lower ranks of the samurai class to great power, who strived to reform the economy by manipulating the currency, taxing the merchant guilds, and increasing foreign trade. His reputation as a corrupt politician was probably invented by the samurai historians who couldn’t understand how their rice-commodity economy was being usurped by the cash economy of the merchant class. Hasegawa Heizō (1745-1795) himself became head of the Arson and Robbery Bureau of Investigation (Hitsuke tōzoku aratamekata, 火付盗賊改方), and also established a rehabilitation camp (“Ninsoku Yoseba,”人足寄場) for minor criminals so they could learn a trade and be reintegrated into society.



"Berabō" (Unbound) Eps. 3: " Enticing a plethora of visitors: Hitome Sen’hon (A thousand stems at a glance)" (千客万来 『一目千本』)

Episode 3 opens with Tsutajū watering plants in the garden and Karamaru (Tsutajū’s errand boy) notices that Tsutajū’s name has been added to the Yoshiwara Saiken guidebook as the reviser, and he wonders out loud if that will be alright. Indeed, when Ichiemon (Tsutajū’s adopted father) finds out about it, he berates Tsutajū for his name as reviser being included, and that even though he is a book-lender, he is suppose to be doing that for the Surugaya chaya “tea-house” and NOT trying to be a book publisher. Tsutajū says that since all the bigwigs like his father won’t do anything to help the Yoshiwara, Tsutajū had to try something, which makes Ichiemon all the more angry and while beating on Tsutajū accidently punches the ne'er-do-well older brother in the face.

2025 NHK Taiga Drama Berabo (Unbound) eps 3 opening


Several copies are bought in advance by the bigwigs, owners of the bordellos and chaya “tea houses,” and as they examine this newly revised edition, they have high hopes that with its introduction by Gennai it will draw customers to the Yoshiwara. Even Tanuma is impressed with Tsutajū’s accomplishment when Gennai gives him a copy of it. Nevertheless, after the book is published for NY’s, the Yoshiwara is still devoid of customers. While the book sales went well at the bookstores throughout Edo, apparently it was not enough to entice people to actually visit the Yoshiwara. Tsutajū comes up with a new ploy to draw customers to Yoshiwara, the idea of making a new book only available to patrons of the Yoshiwara, but it must be attractive enough to perk interest and somehow the publishing cost must be covered.

Walking through the Yoshiwara, Tsutajū runs into a “Westbank-girl” (nishigashi jorō, 西河岸女郎) attired for travel. She says her goodbyes because she has been sold off to a bordello in Niigata.

Tsutajū throws a stone up into Hana’s room to get her attention, and when they meet at the fox shrine, he explains that he wants a favor. Hana writes a letter to Onihei saying she has a one-time-only special request. When he shows up, she tells him about an upcoming Yoshiwara publication promoting the oiran courtesans, but they will be listed in the order of the money they contributed. Since so-and-so oiran has already promised 30 ryō, won’t Onihei contribute more? In the end, Onihei delivers 50 ryō, which Tsutajū immediately turns over to Kiku, madame of a Westbank house, to support the starving prostitutes there.

Back at the Surugaya house, Tsutajū and Karamaru look through books trying to decide on the best illustrator (eshi, 絵師). Having decided on Kitao Shigemasa (北尾重政, 1739-1820), famous for his illustrations of beauties, Tsutajū goes to see him. Shigemasa says he’s already published a series of books with illustrations of beautiful women, so Tsutajū need some thing new, and Shigemasa suggests a mitate (見立), which means something akin to “look-alike” or “in the guise of.” Tsutajū looks up at a vase of flowers and hits upon portraying oiran courtesans as flower arrangements in a sumo-like competition; the acerbic courtesan as wasabi, the courtesan who has her patrons die on her as a “man-eater” plant, etc.

Tsutajū then takes the subscription list to a meeting of the Yoshiwara bigwigs, listing the contributors’ names and promised amounts. When the bigwigs realize that they do not have to contribute any funds themselves, they readily agree with its publication. Tsutajū’s father, however, is infuriated with Tsutajū’s further publishing shenanigans, and drags him to the stairs. Only, it is Ichiemon himself who falls down the stairs, not Tsutajū, and in his ire kicks Tsutajū out of the house.

Back at the Westbank, where Tsutajū is staying now that he’s been kicked out of the Surugaya household. Apparently, the collected funds were only enough to pay for the print artist, the block carver (hori-shi, 彫師), and the printer (suri-shi, 摺師) who rubs the colors from the woodblock onto the paper. So, the filles-de-joie are helping Tsutajū glue the pages together and bind the books.

Once the books are completed, in addition to distributing them to the bordellos and chaya’s in the Yoshiwara that contributed funds, he also gives out sample copies to various establishments throughout Edo, such as public baths, hairdressers, and drinking spots as a form of advertisement. The book is not available at bookstores, but only to those who visit a bordello at the Yoshiwara. Within a couple of weeks, suddenly there’s a plethora of new customers coming to the Yoshiwara.

Ichiemon at first refused to look at the book when Tsutajū dropped off a copy at the Surugaya, but now that he hears about all the hubbub, he decides to take a glance. When even his wife laughs out loud at the sumo competition of the hothouse-flowers of the Yoshiwara, he accepts Tsutajū back into the household.

Meanwhile, back at the castle. Tanuma Okitsugu asks the shogun to reconsider allowing the adoption of Tayasu Masamaru into the Shirakawa-Matsudaira family, explaining that even Matsudaira Takechika (mr. eyebrows) praised this young man for his samurai rectitude. The problem is that although Masamaru is a second son, he would be needed by his family to take over the house and continue the lineage if the first-born heir died. In the end, the adoption is allowed with the caveat that Masamaru will be returned to his family in the case of their heir dying prematurely. But what does Tanuma hope to accomplish through this adoption? Find out, episode 4.

.....................................................................................................
.....................................................................................................

NHK Synopsis of upcoming eps. 4:

Historical Drama "UNBOUND" Eps. 4: 「『雛形若菜』の甘い罠(わな)」
https://nhkworldpremium.com/en/episode/331019
Sun, Jan. 26 20:00-20:45
Repeat: Mon, Jan. 27 5:00-5:44; Sat, Feb. 1 13:05-13:50

Having succeeded with 'Hitome-senbon,' Tsutaju devises a second plan to create new Nishiki-e featuring courtesans wearing kimonos sponsored and funded by kimono shops, however he struggles to raise the necessary funds due to his low profile. Meanwhile, the proposal for a joint project brought up by Nishimuraya breaks the deadlock and the creation of Nishiki-e seems promising. On the other hand, after the head of the Tayasu family, Haruaki (Irie Jingi) passed away, Masamaru decides to decline the matter of becoming an adopted heir of the Matsudaira family.

『一目千本』で成功した蔦重(横浜流星)は、次なる一手に、呉服屋の入銀で店の着物を着た女郎の錦絵を作る計画を立てるも、自身の知名度の低さで資金集めに苦戦する。そんな中、西村屋(西村まさ彦)が共同制作の話を持ちかけ、錦絵作りは順調と思われたが…。一方、田安治察(入江甚儀)亡きあと、賢丸(寺田 心)は、田沼意次(渡辺 謙)が画策した白河藩への養子の一件を撤回するため松平武元(石坂浩二)にある頼みを命じるが…。


auberginefleur at 12:17|PermalinkComments(0) NHK Taiga Drama 2025: Berabo (Unbound) 

January 21, 2025

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 2 (Auberginefleur Synopsis)

2025 NHK Taiga Drama eps 2 image


Buncho's_Kikunojo_II(2) combined


The story of Tsutaya Jūzaburō

Historical Drama "Berabō" (Unbound) Eps. 2: "Yoshiwara Saiken ‘Ah~ O’Edo’ " (吉原細見『嗚呼(ああ)御江戸』)

Episode 2 opens with Karamaro (Tsutajū’s errand boy) dressing Tsutajū’s hair and asks if Tsutajū intends to attract patrons to the Yoshiwara by making a revised edition of the Yoshiwara Saiken guidebook, (which is published twice a year and this revised edition will come out for NY’s).

Afterwards, when Tsutajū guides Onihei on the Yoshiwara boulevard, and Onihei asks him how to be “debonair” (tsu, 通) to appeal to Hana-no-i, Tsutajū advises him to be generous in his tipping.

Back at the Surugaya chaya “tea-house,” his adopted father warns to him not to devise any other foolish schemes, and although Tsutajū says, “Of course not, he’s had enough with being put in the barrel,” he is already planning the revised Yoshiwara Saiken. His father has his doubts …

At the banquet house, Onihei is with Hana-no-i trying to attract her, but failing badly. When she gets up to leave [courtesans of the upper levels do not have to accept their customers], Tsutajū’s advice comes back to him and he starts throwing around the pink “kamibana” (紙花) vouchers, worth about 10,000 yen or 100 bucks(ish) each in current currency. Will Onihei be able to win Hana-no-i’s favor before he runs out of money?

〔Opening Sequence〕

Tsutajū is now back at the Matsubaya courtesan-house lending books. The oiran Matsu-no-i asks him if it’s true he went to see Tamuna-sama, and since she’s heard that he’s quite a manly-man she wants Tsutajū to bring him to her. Tsutajū then asks Han-no-i who she would use to increase sales of decorative combs and such at an accessory shop (komamonoya, 小間物屋), and the two of them quote the advertising jingo for the “Sōsekikō” brand of toothpaste.

Tsutajū runs off to the Urokogataya publisher’s shop in Nihonbashi. Tsutajū wants to have the person who wrote that jingo, Hiraga Gennai, write the preface to the Yoshiwara Saiken to increase the sales of the Saiken and advertise the Yoshiwara. Urokogataya Magobei agrees, if Tsutajū can bring him Gennai’s preface. However, no one will tell Tsutajū how to find Gennai. One oiran recommends that he ask Tanuma-sama to introduce him, since Gennai is known to visit Tanuma-sama.

At the public toilet, Tsutajū again runs into the odd fellow carrying around the coal for Tanuma-sama, and asks him if he knows Hiraga Gennai. The odd fellow agrees to introduce him to Hiraga Gennai Sensei, but only if Tsutajū agrees to treat him and his attendant, the rōnin Oda Shinnosuke, at the Yoshiwara. Walking on the way the way to the Yoshiwara, Tsutajū asks for his name, and he tells him, “Zeni-nai, ‘cause he has no money.” When asked, the man says he works in the mountains (apparently the mining industry), and mountain men should not be taken lightly because that’s where gold, silver, copper, and iron come from, which the nation needs. Since they sold too much off to Holland cheaply, the country is now trying to buy it back. [I’m not sure of the accuracy if this, but whatever – I think the Japanese exported the silver through China, so that the West did not realize the source of the silver, to avoid what happened to Peru and Mexico. Whether they later tried to buy it back, I do not know, but that doesn’t necessarily make it untrue.]

[While I don’t fully understand the explanation in the TV show, based on my previous knowledge, Tanuma wishes to mint more silver coins to devalue the currency, which will serve as a tax against all (particularly the merchants who are based on a monetary economy as opposed to the samurai class which is based on a rice-commodity economy), and will also temporarily increase monetary funds for the government.]

Switch to a meeting of the “elders” in the government bureaucracy. Tanuma says that the world is now run by money, so the government needs some way to acquire cash, but the samurai class (buke, 武家) still relies on rice income [and, of course, the merchants control the rice trading]. By minting new coins, the samurai class will be able to acquire more cash. Thus, more silver needs to be mined. Matsudaira Takechika (mr. eyebrows) says that they should just order the merchants to sell the rice for higher price, but Tanuma replies that the government has no way to enforce the merchants to do so. Takechika exclaims that it is inappropriate for a samurai, let alone a government “elder,” to be so concerned about money and Tanuma should be ashamed of himself.

Arriving at Yoshiwara after nightfall, there are few visitors, mostly just old men and country bumpkins, because Yoshiwara is expensive and has many strict conventions of behavior for the customers. “Zeni-nai” wants to go to the prestigious Matsubaya courtesan-house. There he asks for a courtesan by the name of Segawa, but that name is no longer in use due to an unfortunate incident in the past. [As in the case of kabuki actors, famous names of courtesans are passed down and inherited by worthy new courtesans.] “Zeni-nai” sadly mumbles, “There is not a Segawa even here.” Han-no-i takes notice.

Shinnosuke manages to find someone he likes, but “Zeni-nai” is still non-plussed since the unlicensed quarters also have beautiful women and skilled geisha performers, and the food while beautifully displayed is hardly tasty.

[The food at a banquet-room is decorative and not meant to be eaten by the customers, but left for the ladies-of-pleasure to eat afterwards. Btw, the geisha in the Yoshiwara are not allowed to sleep with the customers in order to prevent competition with the courtesans. Also, male geisha entertainers are called “hōkan” (幇間) or “taiko-mochi” (太鼓持).]

Tsutajū reassures “Zeni-nai” that there’s 3000 women in the Yoshiwara, so there will be a special one for him too. If Tsutajū can find such a courtesan, then “Zeni-nai” will let him know about Gennai. Asked about his preference, he tells Tsutajū, someone who seems not of this world, like an angel [Hint, hint, hint!]. One courtesan says there’s no angels here, but Shinnosuke exclaims, That’s not true!” already besmitten with her.

Elsewhere, in her private room, Hana-no-i (Hana for short) is writing a love-letter enticing a patron to pay a visit to her. She hears Tsutajū talking to the owner, Genzaemon, that he’s been made to pay for the bill, and Genzaemon says he will pass the bill onto Surugaya (Tsutajū’s father) − to Tsutajū’s chagrin. While talking to Hana-no-i, somebody greets Gennai, by which Tsutajū learns the odd-fellow’s true identity. Even though Shinnosuke has found a favorite, Gennai still won’t write the preface, after all he prefers men! When further urged to write the preface, Gennai notices that Tsutajū is quite a handsome man, and says maybe he could write the preface if Tsutajū dresses up as an oiran.

Just then, Hana appears dressed as a kabuki female-role actor, speaking like a man, to be “Segawa” for a night. Hana had realized from Gennai’s earlier sad mumbling that Gennai was missing his former lover, now deceased, the actor Segawa Kikunojō II (1741-1773). Genai replies, with the jingo, “Daimyō of the land can kill with an arrow, but the Segawa of the Matsubaya can slay with her eyes.”

Tsutajū goes off to take a laydown, since he’s exhausted from all his efforts. He tells Karamaro that he was helped by Hana, to his chagrin.

Gennai asks Hana if she has a thing with Tsutajū, but she says while lighting a pipe for Gennai, “Tsutajū is not in love with anyone, but adores all. That’s the type of man he is, even if he doesn’t know it himself.” Gennai says he has a request for her, won’t she dance for him? The next day a note from Gennai is thrown at Tsutajū’s door, saying that he left the preface with Hana.

Tsutajū meets Hana at the Fox shrine to receive the preface. Hana explains about Gennai asking her to dance. 〔Flashback〕Gennai wanted her to imitate Segawa (the kabuki actor) when he used to practice (o’keiko, お稽古) his dance in front of him and as Hana dances, Gennai imagines his former lover dancing. Afterwards, Gennai tells her to go out and cool-off in the breeze, and when Hana returned, he had written the preface. Tsutajū tells her he is in awe of her accomplishment, thanking her for her help, but she says, he’s not the only one desolate over Asagao’s death nor the only one who wants to do something to help the situation at Yoshiwara. There’s only so much a “bird in a cage” can do, but Tsutajū is not alone.

Then the preface is narrated, in brief: There’s no woman who has everything; pretty skin, but the teeth; fangs, but no horns; the clever one ugly; the beauty foolish, etc. But by the time the gate closes, everyone finds a special someone for himself. The world is a wide one, “Hanjō, hanjō (thriving), ‘Ah~ O’Edo.’ ”

Back at the Urokogataya publisher’s shop in Nihonbashi, Magobei reads the reface written by Gennai, and agrees to use it. Tsutajū asks for reimbursement for his expenses, but Magobei just laughingly says, you did it of your own volition. Giving up on that, Tsutajū then asks if Magobei would further revise the Saiken by removing the areas blackening-out the shops that went out of business and removing the names of courtesans who no longer exist. Magobei agrees, if Tsutajū will do the work himself. So, Tsutajū goes around to the various bordellos asking for the latest information, while carrying out his book-lending business.

Around the same time, a celebration is held at the Edo castle for the birth of Toyochiyo, Hitotsubashi Harusada’s son. A puppet play is being performed, attended by members of the three branches of the Tokugawa family (Gosankyō, 御三卿), the houses of Tayasu, Hitotsubashi, and Shimizu, along with other prominent figures of the government. The purpose of the Gosankyō is to insure heirs for the ruling Tokugawa family.

Tanuma Okitsugu and Hitotsubashi Harusada appear to be absent, but as it turns out, they were serving as puppeteers. When Harusada is politely complimented on his puppeteering skills, he jokes that maybe he’ll take up being a puppet-master (kairai-shi, 傀儡師) for real. However, the young Tayasu Masamaru exclaims that Harusada should be ashamed of himself for behaving in a manner unbecoming of a blood-relative of the shōgun; the appropriate diversions for a samurai are academic studies or the martial arts. Doesn’t he think he has more important duties than playing at being a puppet-master?! Harusada replies that he has already done his duty by supplying a male heir, at which all laugh at his humor. However, Matsudaira Takechika (mr. eyebrows) says that he admires the young Masamaru, and all would do well to learn from him. Tanuma, in turn, expresses his admiration for Matsudaira’s opinion, but is it really heartfelt?

The Yoshiwara Saiken is successfully published, “Dekita! (できた)”

.....................................................................................................
.....................................................................................................

NHK Synopsis of upcoming eps. 3:

Historical Drama "UNBOUND" Eps. 3: 千客万来 一目千本
Sun, Jan. 19 20:00-20:44
Mon, Jan. 20 5:00-5:44; Sat, Jan. 25 13:05-13:49
https://nhkworldpremium.com/en/episode/331018

After revising the "Yoshiwara Saiken," Tsutajū rushes around collecting funds from prostitutes and working on creating a new book. Surugaya Ichiemon (Takahashi Katsumi), unable to forgive Tsutajū, becomes furious and kicks him out of the house. However, Tsutajū does not give up bookmaking and visits the artist Kitao Shigemasa (Hashimoto Atsushi).

Meanwhile, in Edo Castle, Tanuma approaches the shogun Ieharu (Mashima Hidekazu) again about applying to adopt Tayasu Masamaru (Tereda Kokoro) into the Matsudaira family of Shirakawa Domain.


auberginefleur at 15:51|PermalinkComments(0) NHK Taiga Drama 2025: Berabo (Unbound) 

January 18, 2025

2025 NHK Taiga Drama: Berabo (Unbound) Eps. 1 (Auberginefleur Synopsis)

IMG_2545


Sharaku_三世大谷鬼次の奴江戸兵衛 Utamaro combined


2025 NHK Taiga Drama: Unbound – A Fantasy of Splendor
(Berabō 〜 Tsutajū – eiga no yume-banashi, べらぼう〜蔦重栄華乃夢噺〜)

The 2025 NHK Taiga Drama, Berabō (Unbound), is based on the life of the late-18th century publisher Tsutaya Jūzaburō (Tsutajū for short), famous for publishing the prints of Sharaku and Utamaro.

Historical Drama "Berabō" (Unbound) Eps. 1: "Arigatayama no Kangarasu" (Thank thee good sir)

The story begins with the Great Meiwa Fire of 1772 (明和 9, meiwaku), which burned down most of Edo (former name of Tokyo) and all of the Yoshiwara pleasure quarters, the only government-licensed pleasure quarters in the Edo metropolis. Tsutajū stands on a tower directing people to flee from the Yoshiwara when he sees his childhood friend, the Oiran (courtesan) Hana-no-i, running in the wrong direction. She is running back to find her two kamuro (child apprentices), who are trying to save the fox statues that are the guardian deities of Yoshiwara. Tsutajū grabs the small shrine and carries it on his back, but the entrance gate is fully engulfed in flames. After pouring buckets of water on themselves the four make a rush for it through the gate. Outside the gate, Tsutajū runs into a young boy who says he has no memory of where he came from or who his parents are, and Tsutajū later takes him on as an errand boy.

After the Yoshiwara is rebuilt, a year and a half later, the customers have still not returned because there are now cheaper, closer places of unlicensed prostitution more popular such as the “okabasho” (岡場所) area around Fukagawa or Asakusa and the “shukuba” (宿場) entranceway stations of major “kaidō” highways, such as Shinagawa (Tōkaidō), Naitō-Shinjuku (Kōshū Kaidō), Senjushuku (Ōshū Kaidō), and Itabashi (Nakasendō). The poorest of the yūjo (遊女, ladies of pleasure) of the Yoshiwara, who live and ply their trade in tiny rooms along the Rashōmon-gashi and Nishigashi (Jōnen-gashi) sides of the quarters’ walls, now hardly make enough money to eat.

One day while Tsutajū was lending books (for a fee) at the Matsubaya courtesan-house, Hana-no-i gives him a box of food to take to Asagao, once a high-end courtesan, who fell sick and is now wasting away at the Nimonjiya house at the Jōnen-gashi (west bank) side of Yoshiwara. However, she is unable to eat it and soon after dies. Her body and several others are dumped (at a temple) lying naked because their clothes were stolen while waiting for burial in a mass grave. Tsutajū and Karamaru (his errand boy) bring clothes for Asagao so that she does not have to be buried naked.

Tsutajū had been discarded by his parents as a boy and adopted by Ichiemon owner of the Surugaya chaya “tea-house,” probably for cheap labor. A chaya serves as a place of introduction where one can have them hold onto one’s swords (forbidden when entering a bordello) like a cloakroom, rent a change of clothes to go incognito, exchange cash for vouchers to use in the Yoshiwara, and most importantly select a bordello or courtesan for which the chaya will serve as the necessary go-between. Since Ichiemon already has an oldest son, Jirobei, who will inherit the business, Tsutajū runs his Tsutaya rental-book business out of the shop.

Tsutajū passes by the Surugaya as three rowdy samurai complain about the tea (not THAT type of tea shop), and Tsutajū tries to help them out offering to take care of their swords etcetera, only to be beaten up when the samurai realized that there are more prestigious places after another samurai walks by still wearing his swords. While meandering around Yoshiwara, the lead samurai sees Hana-no-i in her “oiran-dōchū” parade on the way to a banquet house, when she turns to give him a slight smile, he is besmitten. BTW, courtesans are not supposed to smile, imagine an oiran in a "dōchū” parade as a model on a runway.

As it turns out, the lead samurai is Hasegawa Heizō (Onihei for short). Onihei was a love-child of a hatamoto liege-lord, and when the wife-proper died, his father was able to bring him back into the family as his legitimate son. Onihei was also assigned the position as head of the Arson and Robbery Bureau of Investigation (Hitsuke tōzoku aratamekata, 火付盗賊改方). As a youth, Onihei ran wild in the “okabasho” unlicensed districts, so really shouldn’t be such a clod, but in this TV show it is his first visit to the Yoshiwara now that he has money from his inheritance to afford it.

Onihei forces his way into a high-end banquet-house, without a proper introduction no less, causing all manner of commotion over the impropriety, when Tsutajū shows up and explains that the Hana-no-i is a childhood friend of his and takes him to a more appropriate (let alone more affordable) banquet-house, and all’s well that ends well.

Concerned over the impoverishment of the yūjo “ladies of pleasure” in the Yoshiwara, Tsutajū tries to come up with a solution. Not only did Asagao starve to death, but one young kamuro (apprentice courtesan) even tried to set fire to the Yoshiwara, because after the last fire the yūjo worked in the okabasho (unlicensed districts) until the Yoshiwara was rebuilt, where the rules were relaxed and the women made more money.

Tsutajū barges into a banquet, which is laden with gorgeous food, to complain to the bigwigs who run the Yoshiwara, owners of the major bordellos and banquet-houses, about the situation. But, they would rather the old prostitutes die off so they can replace them with fresh young ones, after all the owners are called “Bōhachi” (亡八), those who have lost all eight virtues: 仁 benevolence・義 righteousness・礼 propriety・智 wisdom・忠 fidelity・信 sincerity・孝 filial piety・ 悌 brotherly love. Only to be thrown down the stairs for his efforts, Tsutajū decides he must take matters into his own hands.

His first thought is to submit a petition for “keidō” (警動), whereby the government rounds up the prostitutes from the unlicensed districts and sends them off to the Yoshiwara. When that comes to nought, Tsutajū attempts to make his petition more directly. Outside of a grand samurai estate, Tsutajū spies the samurai patron of the oiran Matsu-no-i, Izumi, whom he had seen earlier at the banquet that Onihei had burst in on. Offering to attend him by carrying his bundle for him, Tsutajū accompanies him to meet Tanuma Okitsugu, a member of shogun's council of elders called “rojū” (老中). Tsutajū interrupts this formal meeting to add his petition for a “keidō.” Okitsugu explains that the prostitution and gambling support these mercantile centers, and without them the economy would suffer. Okitsugu furthermore asks what has Tsutajū done himself to try to increase the patronage of the Yoshiwara, perhaps there is not an adequate enough draw. This turns on a lightbulb in Tsutajū’s head, and in gratitude he replies “Arigatayama no kangarasu,” slang for the equivalent of “Thank thee good sir.”

Upon returning to the Yoshiwara, the bigwigs there have learned that he petitioned for a “keidō,” which would only bring more low-end prostitutes to the Yoshiwara that they would then have to care for. When they find out that Tsutajū has also been to see Tanuma Okitsugu, they turn livid with rage. Tsutajū is locked-up in a barrel for several days as punishment; this is normally done for those customers in the Yoshiwara who fail to pay their bills. During his time in the barrel, Tsutajū mulls over how to entice more customers to the Yoshiwara. Upon his release, his idea is to publish a revised edition of the Yoshiwara Saiken (吉原細見), the guidebook to the Yoshiwara.

.....................................................................................................
.....................................................................................................

NHK Synopsis of upcoming eps. 2:

Historical Drama "UNBOUND" Eps. 2: 吉原細見『嗚呼(ああ)御江戸』
Sun, Jan. 12 20:00-20:45
Mon, Jan. 13 5:00-5:44 & Sat, Jan. 18 13:05-13:49

https://nhkworldpremium.com/en/episode/331068

Tsutajū comes up with the idea of bringing visitors back to Yoshiwara by publishing “Yoshiwara Saiken,” a guidebook for the quarters. He goes to consult with Urokogataya Magobei (Kataoka Ainosuke) to have Hiraga Gennai (Yasuda Ken), a famous figure in Edo, write the preface. Urokogataya promises to publish the book if Tsutajū can persuade Gennai, Tsutajū rushes around trying to find him.

Meanwhile, a banquet is held at Edo Castle to celebrate the birth of Hitotsubashi Harusada (Ikuta Toma)’s son, Toyochiyo, attended by members of the three branches of the Tokugawa family and prominent figures like Tanuma Okitsugu (Watanabe Ken).


#NHK #Taiga #Berabo #Unbound #Tsutaju #Tsutaya #Yoshiwara



auberginefleur at 11:13|PermalinkComments(0) NHK Taiga Drama 2025: Berabo (Unbound) 

January 03, 2025

Happy New Year 2025 ❣

2025 Year of the Snake

From an ukiyo-e triptych of three women out for a NY's temple visit, at the Yanganishima Myōgensan Hosshōji temple in Edo/Tokyo, likely in 1845.

Utagawa Kuniyoshi, "Yanagishima on a Morning in the Auspicious Direction (柳嶋朝の恵方) " circa 1845, British Museum and Edo-Tokyo Museum collections

Notice her pink inner skirts has the motif of snake toys.


IMG_2446


IMG_2444


FullSizeRender


IMG_2452


IMG_2448


Likely this print (triptych) was published in 1845 because the censor seals for Mera 米良 and Murata 村田 were used between 1843 and 1847, and 1845 was a year of the snake.

Kuniyoshi 柳島朝の恵方 ca 1845 (triptych) 589923001 BM snake


Seals Mera 米良 and Murata 村田 from 極改印_0005-1


*The "Kuniyoushi Project" has it wrong in date and site, btw:
http://www.kuniyoshiproject.com/Triptychs%20of%20beautiful%20women,%20Part%20III.htm

Likewise the British Museum and the Edo Tokyo Museum
https://www.britishmuseum.org/collection/object/A_2008-3037-18614
https://www.edohakuarchives.jp/detail-9037.html



auberginefleur at 12:43|PermalinkComments(0)

March 06, 2024

Wtf Facebook 

IMG_9666


auberginefleur at 01:09|PermalinkComments(0)

October 13, 2023

Taisho Era Meisen Kimono at the Yayoi Museum (Tokyo)

If you are in Tokyo, I highly recommend this exhibition on Meisen kimono at the Yayoi Museum, which is also a terribly fun small museum and connected to the Yumeji Museum next door.

*Link to exhibition:
https://www.yayoi-yumeji-museum.jp/yayoi/exhibition/now.html

2023 Yayoi-Yumeji Museum Meisen Kimono Exhibition Flyer


auberginefleur at 09:45|PermalinkComments(0)

May 15, 2023

KAINOSHO Tadaoto Exhibition

KAINOSHO Tadaoto: Crossing Boundaries in Nihonga, Theater and Film 2023.07.1 sat. - 08.27 sun. Tokyo Station Gallery


IMG_6173


As a Nihonga (Japanese-style) painter, Kainosho Tadaoto (1894-1978) was active in Kyoto during the Taisho (1912-1926) and early Showa Period (1926-1989). The works he showed as a member of the Kokuga Sosaku Kyokai (National Painting Creation Association) were acclaimed for their depiction of human life, which embraced both the beautiful and the ugly. Due in part to Kainosho’s subsequent shift to the film industry, where he worked as a researcher of traditional manners and customs, among other things, he was long neglected by the art world.

Although an exhibition devoted to his paintings that was held at this museum in 1997 prompted a reevaluation of Kainosho’s career, it did not sufficiently address his film work. In light of the fact that some period clothing Kainosho designed for movies was recently unearthed at a film studio in Uzumasa, this exhibition strives to present a full picture of the artist’s career, including his work for the screen.

auberginefleur at 10:29|PermalinkComments(0) Exhibitions in Japan 

March 27, 2023

What I did wear for OC @ Niiza Campus 3-25

IMG_5609


auberginefleur at 16:13|PermalinkComments(0) Kimono Winter (Awase) | Kimono: My Collection Etc.

March 16, 2023

Kimono Coordinate for OC on 2923-03-25

IMG_5404
Planning “O’hanami Coordinate” for Open Campus lecture on 2023-03-25


auberginefleur at 01:39|PermalinkComments(0) Kimono Spring (Hitoe) | Kimono: My Collection Etc.

June 26, 2022

2022-06-25 (Sat) @ Bunkyo

IMG_3217


auberginefleur at 13:25|PermalinkComments(0) Yukata & Kimono (Usumono) | Kimono: My Collection Etc.

April 24, 2022

AFs April Kimono 2020-04-23 (Sat)

@Bunkyo Campus (Seminar Class)

IMG_2709



#LiveImitatingArt

IMG_2708



Kiyokata Kaburaki (鏑木清方) Exhibition:

https://kiyokata2022.jp/?fbclid=IwAR3Pvy-cynkkW6ihkB3siOseSUFyfRPpuJPbycAZrR7AC_QbbtHYKnDvY9Y

Kiyokata Kaburaki (鏑木 清方, Kaburaki Kiyokata, August 31, 1878 – March 2, 1972) was the art-name of a Nihonga artist and the leading master of the bijin-ga genre in the Taishō and Shōwa eras. His legal name was Kaburaki Ken'ichi. The artist himself used the reading "Kaburaki", but many Western (and some Japanese) sources transliterate it as "Kaburagi".

In 1917, together with Hirafuku Hyakusui, Matsuoka Eikyu, Kikkawa Reika and Yuki Somei, he helped found the Kinreisha, a Nihonga association training promising young artists, including Kawase Hasui. When Watanabe Shōzaburō started an export woodcut print business, he needed many talented artists to make print designs appealing to western audiences. Kaburaki's group became a recruiting center for Watanabe. Kaburaki organized exhibitions with works of his students and introduced his best students to Watanabe. Next to Watanabe himself, it was probably Kiyokata Kaburaki, who had the greatest influence on the development and promotion of the shin-hanga ("new prints") movement. Alongside Kawase Hasui, artists such as Itō Shinsui, Shiro Kasamasu, Yamakawa Shūhō, Torii Kotondo and Terashima Shimei were trained by Kaburaki and then introduced to Watanabe. 〈Wikipedia:https://en.wikipedia.org/wiki/Kiyokata_Kaburagi




auberginefleur at 10:16|PermalinkComments(0) Kimono Spring (Hitoe) | Kimono: My Collection Etc.

November 15, 2021

COVID Olympics (Tokyo 2021) NONO

The correspondance between the Tokyo Olympics 2020 2021 and the spike in COVID-19 cases in Tokyo, you be the judge.

IMG_1652


The Tokyo Olympics were held between 23 July and 8 August 2021.

The Summer Paralympics were held between 24 August and 5 September 2021, 16 days after the completion of the Olympics.

The spike in COVID-19 cases in Tokyo started late June (when the contestants began to arrive in Tokyo), peaking around September 9th or 10th, and continuing its transmission through late August.


IMG_1653


AND YET, the politicians and the organizers, the International Olympic Committee (IOC) and the Tokyo Organising Committee, insist that there was no correlation, and the IOC even praised the Tokyo Olympics for its safety measures in preventing the spread of COVID-19 (?!).


_85315641_gettyimages-179472799


The Tokyo bid for the Olympics was riddled with disaster from the beginning.

The candidacy for Tokyo Olympics 2016 lost out to Rio, and while many thought this was fortunate due to the 2011 Tōhoku earthquake & tsunami and nuclear disaster, maybe had it been held in Tokyo then a percentage of the proceeds could have been donated to the recovery of Fukushima.

The beautiful "Blooming Logo" above was used for Tokyo's bid in 2011 for the 2020 Olympics, but unfortunately, it was not permitted to be used as the official logo for the "Tokyo Olympics 2020" proper.


IMG_1655



The "Tokyo Olympics 2020" Logo Controversy

In 2015, the Tokyo 2020 Organising Committee revealed the logos for the Olympic and Paralympic Games designed by Kenjiro Sano. But, oops, Belgian designer Olivier Debie claimed the logo was a copy of his design from 2013 for the Theatre de Liege. And, the Organising Committee was back to the drawing board, and decided to hold an open design competition to find the new logo. Out of nearly 15,000 submissions, of course, they chose the ugliest of the 4 finalists.

(For an excellent review of the controversy see: https://myfopinion.wordpress.com/2020/08/03/the-tokyo-2020-logo-controversy/ )

IMG_1654


Then there was the controversy over the "neo-futuristic, 80,000-seat stadium designed by British-Iraqi architect Zaha Hadid." Google it yourself.

OB-VJ277_hadid1_G_20121115065740



There were also the bribery and heat issues... Anyhow, ...


In March 2020, the organising committee decided to postpone the Tokyo Olympics 2020 by a year due to COVID-19.

Google it youself, but it is my understanding that while the Olympics have been cancelled previously, this is the first time they've been delayed by a year.


International Olympic Committee member says the Games will go on "barring Armageddon"

May 27: The head of a Japanese doctors' union says holding the Games in Tokyo could lead to the emergence of an "Olympic" coronavirus strain, but a senior International Olympic Committee member says the Games will go on "barring Armageddon".

July 8: Olympic organisers decide to hold the Tokyo Games without spectators under coronavirus restrictions as Japan struggles to stem a new wave of infections with a state of emergency in Tokyo.

-- https://www.reuters.com/lifestyle/sports/tokyo-2020-timeline-2021-06-22/


Tokyo Olympics 2020 NONO should have been cancelled, see the spike of COVID-19 cases in chart at top.

Tokyo did a really crappy job with its State of Emergency lockdown during 2021, which pretty much just consisted of an alcohol prohibition and limiting operating hours for restaurants.

The residents of Tokyo did a much better job in the previous spring of 2020, pretty much self-imposed, with reduced operating hours (part-time jobs paused, so for once my students actually studied, probably because they were bored out of their minds), social-distance was socially imposed and the numbers of people were limited in public spaces like department stores and museums, and businesses and universties went online reducing the numbers of commuters on trains.

Back to 2021, despite the alcohol prohibition, businesses and universities started to go back to normal with people back to work at the office and more in-person live classes at the universities, both causing more crowded trains. Since the two earlier spikes, in late Dec - early Jan and April, correspond to the periods when university class were being held "hybrid/flex" (limited in-person live classes), as opposed to online only, I suspect that too is not a coincidence.

See also: https://asia.nikkei.com/Spotlight/Tokyo-2020-Olympics/The-turbulent-journey-to-the-opening-of-Tokyo-2020










auberginefleur at 12:34|PermalinkComments(0) Japan News Briefs | Tsurezure Misc Notes

November 10, 2021

2021 AFs November Kimono Part 1

Now that the University is mostly back to live @university classes, I'm also back to being in kimono more often since I actually have to leave my house. (At home, I wear samue 作務衣 (kimono jacket&trousers work clothes).

11/07 (SUN) @ Bunkyo Campus, for "Open Campus"

This truly is the kimono & obi I can get on the fastest, for when I truly have no time and am running late, or just really not enthusiastic about braving the scary outside to leave my home.

IMG_1572



11/06 (SAT) @ Bunkyo Campus, for "Seminar Class"

Synthetic Hitoe Kimono & Chrysanthemum Nagoya Obi
(This synthetic hitoe was a bit chilly for this day...)

IMG_1567



11/05 (FRI) @ NIIZA Campus, for "MultiMedia PC class & ProZemi (1st yrs)"

Hard to tell from the photos, but a blush-pink Ōshima 大島 hitoe kimono and Hassun 八寸obi with grape motif

IMG_1554



11/04 (THU) @ Bunkyo Campus, for "Special Studies in Communication -- Material Studies & Kimono Communnication"

A gorgeous Tōkamachi 十日町 hitoe kimono and Hassun obi with Camelllia motif
(and newly sewed-on han'eri collar)

IMG_1578




auberginefleur at 08:56|PermalinkComments(0) Kimono Autumn (Hitoe) | AFs Kimono 2021