Genroku culture

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Genroku culture was mainly centered in the Kamigata area, containing both Osaka and Kyoto.{{Cite web|title=げんろくぶんか【元禄文化】 {{!}} け {{!}} 辞典|url=https://kids.gakken.co.jp/jiten/dictionary02400425/|access-date=2020-12-16|website=学研キッズネット|language=ja}}{{Cite web|last=三訂版,世界大百科事典内言及|first=ブリタニカ国際大百科事典 小項目事典,百科事典マイペディア,日本大百科全書(ニッポニカ),旺文社日本史事典|title=元禄文化とは|url=https://kotobank.jp/word/%E5%85%83%E7%A6%84%E6%96%87%E5%8C%96-61192|access-date=2021-01-02|website=コトバンク|language=ja}} Genroku culture was defined by the fashions and lives of everyday townspeople, particularly those of the merchant classes, whose rising monetary wealth led developments in decorative art, theatre and clothing; however, the samurai classes were also involved in the development of Genroku culture.{{Cite web|last=Yu|first=A. C.|date=|title=Genroku Culture - Japanese Wiki Corpus|url=https://japanese-wiki-corpus.github.io/culture/Genroku%20Culture.html|archive-url=|archive-date=|access-date=2020-12-16|website=japanese-wiki-corpus.github.io (This is CC-BY licence)}}{{better source needed|reason=Website is merely a translated mirror of Japanese Wikipedia|date=July 2022}} Genroku culture would contribute to the development of Neo-Confucian thought, natural science, and classical study.{{clarify|reason=Study of what exactly?|date=June 2021}} In fine art, the Rinpa school, founded by Korin Ogata and others, and the Tosa school both played active roles; in ceramic art, Ninsei Nonomura, Hon'ami Kōetsu and others were key players. In music, a number of key instruments and musical styles were developed during the Genroku period, including the {{transliteration|ja|koto}} (a thirteen-stringed Japanese zither) music of the Ikuta-ryu school, {{transliteration|ja|jiuta}} (a genre of traditional songs with {{transliteration|ja|shamisen}} accompaniment) music of the Nogawa School, {{transliteration|ja|shin-jōruri}} (new ballad drama) such as {{transliteration|ja|gidayu-bushi}} (musical narrative of the puppet theatre) and {{transliteration|ja|icchu-bushi}} melodies, and {{transliteration|ja|nagauta}} ({{lit|long songs}}, ballads with {{transliteration|ja|shamisen}} accompaniment).

File:Ogata Korin - RED AND WHITE PLUM BLOSSOMS (National Treasure) - Google Art Project.jpg by Ogata Kōrin]]

It is generally felt that the Genroku period marks the highest point of Edo period culture. Two representative artists of Genroku culture are Rimpa school artists Ogata Kōrin and Hishikawa Moronobu, who is regarded as the founder of ukiyo-e. The term {{nihongo||琳派|rimpa}} is an amalgamation of the last syllable of "Kōrin". Torii Kiyonobu I was another influential ukiyo-e artist active within the Genroku period.

The printmaking of the Genroku period would later serve as the inspiration for manga. During this period, literacy in the pleasure quarters was truly significant for the geisha and {{transl|ja|oiran}} to entertain their patrons.{{Cite journal|last=STANLEY|first=AMY|date=2013|title=Enlightenment Geisha: The Sex Trade, Education, and Feminine Ideals in Early Meiji Japan|url=https://www.jstor.org/stable/43553525|journal=The Journal of Asian Studies|volume=72|issue=3|pages=539–562|doi=10.1017/S0021911813000570|jstor=43553525|s2cid=162791823|issn=0021-9118}} Literary wit and knowledge was highly valued, not only in the upper echelons of society but throughout multiple castes.

The accessibility to literary arts came through a plethora of mediums. One integral form of literature, often considered the parent of manga, was {{transl|ja|kibyōshi}}, a form of woodblock printed adult comicbook typically spanning no more than 30 pages. Although this genre in its initial stages focused on the Yoshiwara pleasure quarters, later it was used as a tool to represent iconographic figures and satirize various classics and issues of the time. Due to the use of illustrations, this form of art appealed to the humble-ranked samurai and the common people. One notable {{transl|ja|kibyoshi}} author was {{nihongo|Santō Kyōden|山東京伝}}, who generated sales of over ten thousand copies, with his compositions considered the most read literature during the Genroku era.{{Cite journal|last=Miura|first=Takashi|date=2017|title=The Buddha in Yoshiwara: Religion and Visual Entertainment in Tokugawa Japan as Seen through Kibyōshi|journal=Japanese Journal of Religious Studies|volume=44|issue=2|pages=225–254|doi=10.18874/jjrs.44.2.2017.225-254|jstor=90017697|issn=0304-1042|doi-access=free|hdl=10150/626559|hdl-access=free}}

The main elements of the emerging bourgeois culture were developed during the Genroku period within the Kamigata region. Examples are the {{transl|ja|bunraku}} and kabuki plays of Chikamatsu Monzaemon, the {{transl|ja|Ukiyozōshi}} of Ihara Saikaku, and the poetic essays and haiku of Matsuo Bashō.

Kabuki and {{transl|ja|bunraku}} (puppet theater) emerged at the heart of urban cultural life during the Genroku period.

{{main|Kabuki}}

It is widely believed that kabuki was founded by female dancer Izumo no Okuni.{{Cite journal|last=Gabrovska|first=Galia Todorova|date=2015|title=Onna Mono: The "Female Presence" on the Stage of the All-Male Traditional Japanese Theatre|url=https://www.jstor.org/stable/24737038|journal=Asian Theatre Journal|volume=32|issue=2|pages=387–415|doi=10.1353/atj.2015.0027|jstor=24737038|s2cid=162806745|issn=0742-5457}} Kabuki originated as a means for prostitutes, majority female, to draw crowds and entice them to purchase sexual services. Performances were often held in outdoor theaters in dry riverbeds and alongside carnival entertainments such as bear and tiger acts or sumo wrestling.

In 1629, the Tokugawa shogunate banned female actors from kabuki in an effort to suppress prostitution, leaving to the development of {{transl|ja|onnagata}} (female roles) entirely played by men, a defining aspect of kabuki that has lasted to the modern day.{{Cite book|last=Gordon|first=Andrew|title=A Modern History of Japan: From Tokugawa Times to the Present|publisher=Oxford University Press|year=2020|isbn=978-0190920555|pages=39|language=English}}

{{transl|ja|Aragoto}}-style actor Ichikawa Danjūrō I, {{transl|ja|wagoto}}-style actor Sakata Tōjūrō I, and {{transl|ja|onnagata}} actor Yoshizawa Ayame I are famous kabuki actors of the Genroku era.

{{main|Bunraku}}

{{transl|ja|Bunraku}} (puppet theater) is a form of theater that emerged in the Genroku period. Featuring puppets of roughly two-thirds human size, each puppet was controlled by a maximum of three men. A highly skilled singer-actor chanted the several parts and the narration alongside musical accompanists. Puppet theater was attractive to writers, and many famous {{transl|ja|bunraku}} plays, such as {{nihongo||伊達娘恋緋鹿子|Date Musume Koi no Higanoko}}, would later be adapted for kabuki. {{transl|ja|Bunraku}} also provided a development of beautiful literary qualities within the theater genre.

The greatest {{transl|ja|bunraku}} playwright was Chikamatsu Monzaemon (1653–1725). His works offered a source of escapism for the common people, including scandalous contemporary events such as domestic murders.

{{main|Noh}}

Noh emerged from a host of ancient folk and popular performing arts, both indigenous and imported. During the early Edo period, Noh was frequently performed by women of the Kyoto pleasure quarters.

Unlike kabuki or {{transl|ja|bunraku}}, the development of Noh drama is usually portrayed as one of steady ascent, and was typically seen as an upper-class style of theater, frequently drawing from Shinto legend. Noh was refined and supported by both the shogunate and imperial courts. By the height of the Edo period, Noh had climbed beyond the reaches of the Japanese masses, preserving its exalted position until the Meiji period.{{Cite journal|last=Groemer|first=Gerald|date=1998|title=Nō at the Crossroads: Commoner Performance during the Edo Period|url=https://www.jstor.org/stable/1124102|journal=Asian Theatre Journal|volume=15|issue=1|pages=117–141|doi=10.2307/1124102|jstor=1124102}}

• Kasei culture

• {{commons category-inline}}
• [https://www.britannica.com/event/Genroku-period Genroku-period] - britanica
• [https://kotobank.jp/word/元禄文化-61192 元禄文化] - Kotobank

Category:Cultural history of Japan

Category:Edo period

Category:Kabuki