We have come to know the image of the legendary Shimabara Tayuu relatively well over the last decades. Many mysterious traditions have been uncovered and a lot of information has been collected on modern Tayuu, the few ones that keep this unique legacy alive, and the historic Tayuu, the iconic artists that have left a deep impression on the flower and willow world.
This image is that of a stoic and regal lady, clad in precious robes, usually without a hint of emotion, everything she does is celebrated in solemn and royal silence and the slowest motions.
They are this archaic species, like looking at an ancient artefact, their whole existence makes a mockery of day to day life. And this image is one created not only by the people so affected by the Tayuu of yesteryear, we still have some photographs and postcards mirroring the last of the historic Tayuu, beacons of a different age.
At the dawn of photography in Japan, many Tayuu became popular models for this new medium. Rightly so with their outlandish and awe inspiring appearance and their rare status, they were considered a perfect choice to represent the exotic mysticism of the land of the rising sun, specially so to the potographers documenting the unknown and seclusive culture of Nippon to the courtly audience in Europe.
But early photography also had its limits, specially in translation of tradition. Models needed to hold still for long periods of time to create a crisp image and here too the composed and self controlled Tayuu made for excellent motifs and great models but it also reduced them to lifeless dolls, like the ningyo that became popular as part of the Japanoiserie movement of the time and again and again with progression of history outside of its native land.
Most pictures depict the Tayuu in full regalia with their entourage, standing around somewhere looking indifferent, unaffected and sometimes bored. Never would one imagine these girls to be the prophets of asobi entertainment and the muses for authors and painters, men of great stature.
But exactly this is what we have come to know of the historic Tayuu: They were considered great beauties, inside and out. Hand picked to be educated by other legendary Tayuu to become the ideal companions for the movers and shakers of their time. Since the procedure of scouting and grooming of Tayuu have been topic on this blog before, we will not be going too deep this time, but we do need to look into their artistic training to answer the question raised this time:
Did the Tayuu create Art?
They did. If classical dance is considered art, and professional singing is considered art, and musical accomplishment is considered art, then Tayuu can safely be considered artists.
But we don’t have records of this art because this was part of the fleeting beauty of the Karyukai in the days before modern acoustic and moving visual recording. But even if there were a way to examine the art of the Tayuu in retrospect, we would find ourselves empty handed. Instead of creating long lasting artefacts, the greatest Tayuu were the luminaries of creating stellar moments of pleasure and joy. They designed the settings for art to be created, they were the muses, the inspiration for many intelligent minds to produce art around the Tayuu.
Many accounts, including my own, describe the Tayuu actual work as offering her services as a one of a kind walking and breathing work of art instead of being the artist themselves. This because there is quite the evidence that Tayuu didn’t actually do anything at ozashiki or during their outings with a patron. So many Ukiyo-e depict the highest ranking Courtesans simply sitting around, looking ornamental, maybe, if ever, reading or writing a letter but never so with actual patrons present. When we see prints and paintings of ozashiki and parties, there are many people involved, seldom is the Tayuu the actual source of entertainment, rather she contributed by selecting and curating her favorite Bando Shinzo, her associated Taikomochi, her Kamuro and many other performances to enhance the gathering. In this sense one could compare the Tayuu to a curator of an Art museum or a Fashion editor: She defined the style and preference in entertainment for her patrons who trusted her sense of aesthetic and her intelligent input.
“Sakura Viewing Banquet” By Utagawa Toyohiro
There is hardly any art that depicts the Tayuu in a creative process exceptions being her playing the Koto, writing or reading and during the tea ceremony (which goes more into the practice of Zen to further her knowledge and wisdom). One notable artistic endeavor absolutely fitting for a great Tayuu and well documented is the art of Ikebana. Quite a few illustrations and even some old photos show the Courtesan before a flower arrangement, the later always paling in comparison with the outstanding beauty of the Tayuu, of course. The Flowers are meant to enhance the fragile beauty of the girl at hand specially since her lifespan was extremely limited being a part of the flower and willow world.
And even in performative artforms like Kabuki and their stories, the Tayuu are most oftentimes invited guests of a party or they themselves host gatherings like moon viewing sessions in their favorite ageya for their patrons. But they don’t pour sake, they don’t play instruments and they don’t sing or dance. Maybe this image is not as black and white as we make it out to be, maybe some of them would perform for the guests, but why would they with specialized entertainers present and handsomely payed for? I find it revealing that there are hardly any visual media depicting a great Tayuu actually performing arts compared to the many Ukiyo-e, paintings and drawings showing Geisha with Shamisen, a trait that became their hallmark.
And let’s talk about the Tayuu as a motif for art for a moment.
For anyone asking why these extraordinary women, past and present, made for great motifs, well the explanation can be reduced to some key words: Exotic, mystic, exclusive. Their appearance was, as is, something only a life of intense luxury could conceive. Ultimately it was their exclusive nature that made them interesting topics for art, the hero needed a worthy counterpart for his infatuations and a peasant oftentimes did not do. Since a simple girl from modest background usually had nothing or close to nothing to loose by running away with her lover, essentially defying all odds for love, for a queenly Tayuu much more was at stake: If a popular girl of the pleasure quarters wasn’t working, no matter her rank, she was effectively losing money by the minute. So needless to say this friction and the high stakes made for excellent drama. Something the Edo people longed for as part of the trends of the time.
So now we have established some key data on the Tayuu’s influence on the arts: She did not create art but curated it. One important Tayuu, with her connections, her knowledge and the wealth of her patrons could make or break the artists around her, the poets, the painters and designers in the pleasure quarters, all dependent on her approval to keep afloat in an industry of Edo pleasure and luxury. But a Tayuu could only influence the tastes of those around her by being the most prolific in the arts, by being the most knowledgeable, by being the most talented and beautiful. No daimyo would have taken the advice of a lowly girl with no training in her field so the Tayuu, trained from early childhood and having developed a keen eye for the indulgences of her regal patrons, knew exactly how to deal with these unique men.
In the end this all bubbles down to the one of a kind dynamic in a rare bubble in time: The wealth of men created these alien beings for their entertainment, these creations catalyzed a whole plane of aesthetic and artistic sesibility which in turn kept a whole industry oiled up and going for the profit of men, who essentially ran things.
Did Tayuu create art? Maybe not in the literal sense but they needed to be the best in their field, like a maestro of an orchestra needs to understand every instrument to create a perfect symphony, the Tayuu understood every aspect of the Karyukai to create perfect ozashiki for art to be created. In this sense, yes they created art and were the most influential of all artist.
Sources: Noel43 On Flickr / Noel43 On Flickr / Noel43 On Flickr / Noel43 On Flickr /
