Another of the popular late 17th century “critique books” (see #2), this one focuses on young male kabuki actors, each paired with comic poems incorporating their name. An assessment of their beauty and “charm” follows the 24 illustrations. The book’s title is derived from the 14th-century Essays in Idleness [Tsurezuregusa] by the Buddhist monk, Kenkō. By referencing his musings on ephemerality, the publisher hints at the fleeting nature of the actors’ youth and beauty and—possibly—the need to own this book that captures both. This is the only extant copy.

Imported Chinese books were greatly admired, but expensive and hard to obtain. Savvy publishers would therefore copy and more cost-effectively reprint them for the mass market. This is the Japanese edition of the original title: Tang shi hua pu [Picture Book of Tang Dynasty Poems 唐诗画谱] (1620-28). It features poems from the Tang dynasty (618-907) and a complete collection of classical Chinese painting models. While sold as painting manuals (gafu), books like these were also purchased by the general public for viewing pleasure.

Considered a masterpiece of floating world literature (ukiyo-zōshi 浮世草子), this book is a collection of 40 tales about the romantic relationships between men and adolescent boys. Illustrations are not erotic, but depict key dramatic moments in the stories. Here, a boy is forced to commit ritual suicide (seppuku 切腹) for killing the samurai suitor who threatened his life. Breaking all records in 17th-century publishing, the book appeared in many editions. This is one of only two known copies of the first deluxe printing.

A Yoshiwara courtesan and a young samurai (identified by the two swords) make love under a robe elaborately decorated with a phoenix design. Early publishers produced prints like this in sets of 12 to mirror the 12-scene format of erotic handscrolls that were hand-painted by ukiyo-e artists for an elite clientele. Printed on high-quality paper and professionally hand-colored with fine pigments, this set (of which nine prints survive) would also have been created for a wealthy customer.

Books and prints by Jihē were influenced by and were often attributed to his older contemporary, Hishikawa Moronobu, the “father of ukiyo-e.” In the early 20th century, however, Jihē’s name was found to be hidden within some of his designs, changing the authorship of many works. Here, for example, in this print, the name Sugimura (his last name–not his artist name, Jihē) is worked into the design of the obi sash worn by the reclining courtesan.

A member of the samurai class, Jihē was the cousin of Sugimura Kihē, one of the legendary 47 Ronin and, based on a court deposition, he was probably still alive when their trial took place in 1703. Two-thirds of Jihē’s output is believed to have been shunga (春画 “spring pictures” or erotica). In this print, an embrace between a courtesan and her samurai lover is observed by her yarite (遣手), typically the job of a retired courtesan or the tea house (brothel) owner.