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Ebisu flirting with a courtesan, no. 3 from a series of 12 prints, c. 1708

Ebisu flirting with a courtesan, no. 3 from a series of 12 prints, c. 1708


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Ebisu flirting with a courtesan, no. 3 from a series of 12 prints, c. 1708

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Media ID 24375128

© Heritage Art/Heritage Images

Aquatic Life Carp Courtesan Feeling Fish Fishes Genpachi Groping Harassment Masanobu Okumura Oban Sumizuri E Okumura Masanobu Okumura Shinmyo Samisen Sexual Harassment Shamisen


FEATURES IN THESE COLLECTIONS

> Animals > Fishes > A > Asian Carps

> Animals > Fishes > C > Carp

> Animals > Fishes > Related Images

> Arts > Artists > J > Japanese School Japanese School

> Arts > Artists > M > Okumura Masanobu

> Arts > Artists > O > Masanobu Okumura

> Asia > Japan > Related Images

> Europe > United Kingdom > Scotland > Strathclyde > Oban


EDITORS COMMENTS
This print, titled "Ebisu flirting with a courtesan, no. 3 from a series of 12 prints, c. 1708" takes us back to the vibrant world of Edo period Japan. Created by renowned artist Okumura Masanobu, this woodblock print is an exquisite example of ukiyo-e art. The scene depicts Ebisu, one of the Seven Lucky Gods in Japanese folklore, engaging in playful flirtation with a courtesan. The delicate gestures and expressions captured in this artwork convey a sense of intrigue and romance that was prevalent during the Tokugawa period. Masanobu's attention to detail is evident as he skillfully portrays the flowing robes and intricate hairstyles characteristic of the era. The use of sumizuri-e technique adds depth and texture to the composition while maintaining its monochromatic beauty. The presence of musical instruments such as shamisen (samisen) further enhances the atmosphere, suggesting that music played an integral role in these encounters between men and women. While it is important to acknowledge that some elements depicted here may be seen as sexual harassment by today's standards, it is crucial to view this artwork within its historical context rather than imposing modern interpretations on it. As we admire this remarkable piece at the Art Institute Chicago or any other art center fortunate enough to house it, we are transported back in time to experience both the artistic mastery of Masanobu and gain insight into life during eighteenth

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