Introducing Bijin-ga: Eizan & Eisen Vertical Diptych Beauty

What is "Bijinga" (Paintings of Beautiful Women)?

When you hear the phrase "Ukiyo-e Bijinga," you might imagine highbrow art hanging in a museum, feeling a bit out of reach. But for the people of the Edo period, it was a completely different story.

In short, Bijinga were the "fashion magazines" and "celebrity pin-ups" of their day.

Back then, the subjects weren't just fictional beauties. The true stars were real-life trendsetters, like the highly talked-about shop girls working the streets of Edo, or the top-tier Oiran (courtesans) of Yoshiwara. Edo’s women avidly checked Bijinga as a form of media to catch the latest trends, asking themselves, "What kind of kimono patterns are in style right now?" or "What’s the coolest new hairstyle?"

The Evolution of Beauty in Ukiyo-e

Throughout the history of Ukiyo-e, the standard of beauty shifted drastically with the times:

• Early to Mid-Edo Period: Dainty, elegant, doll-like beauties who looked like they might break, as famously depicted by Suzuki Harunobu and others.

• Late Edo Period (The Golden Age): Slender, tall, and mature beauties exuding sophisticated sensuality, famously depicted by Kitagawa Utamaro and others.

Following Utamaro’s death, the city of Edo was left searching for the next big trend in beauty. Emerging like comets to spark a brand-new boom were two artists: Kikukawa Eizan and Keisai Eisen.

Let’s take a closer look at these two masterminds who drove the street culture of the late Edo period.

About Kikukawa Eizan

Eizan grew up in an era where "Utamaro" was synonymous with Bijinga. However, in 1806, Utamaro passed away suddenly. This became the ultimate turning point in Eizan’s career. Since Eizan had already been painting in Utamaro’s style, his work naturally bore a close resemblance. Because of this, he rose to popularity in Bijinga and book illustrations, essentially becoming Utamaro's "successor" in the eyes of the public.

What truly defines Eizan, however, is how he vastly expanded the boundaries of Ukiyo-e expression:

• The Kakemono-e Trend: He is credited with creating the vertical, two-sheet diptych (Kakemono-e) that became a massive trend around the mid-Tenpo era. Its striking, powerful beauty was so popular that other artists rushed to copy it.

• The "6-Head" Proportion: While the trend at the time favored tall, slender figures with exaggerated "12-head" body proportions, Eizan painted more true-to-life, 6-head tall beauties. The people of Edo embraced this style, finding it sweet, charming, and relatable.

While Eizan achieved great fame as the founder of the Kikukawa school, the tables turned completely with the arrival of his pupil, Eisen. In a twist of irony, as his student Eisen skyrocketed to overwhelming popularity, Eizan gradually lost work. Forced to pass the crown of top artist to his pupil, Eizan spent his final years living in Fujioka City, Gunma Prefecture.

About Keisai Eisen

Eisen began his artistic journey at the age of 12, apprenticing under the Kano school painter Kano Hakkeisai to learn the fundamentals. Hakkeisai was an exceptionally prestigious artist whose studio constantly bustled with 50 to 60 students, Eisen being one of them.

At age 17, he worked as an apprentice in Kabuki theater production, and by 20, he joined the studio of Ukiyo-e master Kikukawa Eizan to begin his career in earnest. Living nearby was none other than Katsushika Hokusai, allowing Eisen to study his techniques. He is also said to have shared a close friendship with Hokusai’s daughter, Katsushika Oi. While Eisen initially painted in his master's style, he gradually carved out a unique aesthetic of his own.

Interestingly, records suggest that Eisen wasn't particularly fond of painting. Around 1829, he even managed a brothel called "Wakatakeya" in Senju-Kozukahara. However, the venture didn't last long, and he sold it shortly after.

Furthermore, the Tenpo Reforms (1841–1843) hit the Ukiyo-e industry with strict censorship, banning prints depicting erotica (Shunga), courtesans, and Kabuki actors. Affected by these restrictions, Eisen shifted his focus from printmaking to writing. This history leads many to believe that Eisen lacked a deep obsession with painting, viewing it primarily as a means to make a living.

Shortly after the Tenpo Reforms ended and Nishiki-e prints began making a comeback, Eisen passed away on August 20, 1848.

Featured Acquisitions

Kikukawa Eizan

(Left: "Beauty with an Oil-Lamp Dish" / Right: "Beauty with a Lantern")

Both pieces showcase Eizan’s signature style: slender, 6-head tall figures with striking, large pupils. The props they hold—the lantern and the oil-lamp dish—add a touch of innocence and charm to the composition. Despite being nearly 200 years old, these prints are in remarkable condition, a testament to how lovingly they have been preserved over generations.

See more work of Eizan here.

Keisai Eisen

("Beauty with an Umbrella in the Snow")

This piece features a stunning woman holding an umbrella amidst falling snow. The hallmarks of Eisen’s Bijinga are highly visible here: long, almond-shaped, slightly wide-set eyes, a sharp nose bridge, and a distinctively protruding lower lip. The woman’s posture is slightly hunched, capturing a rounded, voluptuous feminine allure, while simultaneously exuding a delicate, melancholic air.

See more work of Eisen here.

 

See more example of work through which you can experience the world of Bijn-ga here.

- J