The Boshin civil war was unpopular with the Japanese people, and many unauthorized satiric prints were produced. Discover the different ways woodblock artists used to both hide and reveal identities of fighting groups, and reach a deeper understanding of this special art work, unique in Japanese history!
Japan has always been under the moral and legal authority of an emperor but, since the 12th century effective power was in the hands of families through shoguns they promoted. Several wars between powerful families (clans) took place over the centuries, leading to successive shogun dynasties but failing to unify Japan. In 1600, however, a clever and astute warlord, Tokugawa Ieyasu, won a decisive battle. He founded his own Shogunate which was to last about 250 years , with 15 Tokugawa Shoguns, and unified the country . It was the Edo era.
Ieyasu wins at the Sekigahara battle
Initially, Ieyasu and his descendants organized Japan by promoting rigorous and efficient administration in all classes of Society. Internal peace made all kinds of progress possible in agriculture, trade, handicrafts, construction… Edo, home of Tokugawa, became a large and prosperous city. However, as years passed by, Society changed.
The rigid direction of the Tokugawa and the closed status of Japan were being challenged. Moreover, the country was forced to open itself commercially to the West in the 1850’s (American black ships in Edo bay), and opposition of daimyos (warlords) from the southwest was enhanced by the weakness of the Shogunate.
New Japanese woodblock techniques were developed and multicolored woodblock prints (nishiki-e) became very popular during the Edo era. However, to be authorized for publication a new print had to pass censorship, and a censor seal was added on the print. Several types of seals were used over the years and this feature helps date prints now! Some prints, however, were banned by the Tokugawa, like representation of « current events » and « satirical prints ».
Yet, Japanese artists and publishers often refused to comply and produced unauthorized critical prints clandestinely! With neither censor seal nor artist signature, of course! If caught, punishment could be severe.
As the Boshin war was a « current event » in 1868, no print was authorized on this topic. Yet, over one hundred Boshin prints were produced and sold under the mantle. Most were unsigned diptychs, and they provided some visual or scenic hints to be understood as satirical works…but some passed censorship. Why?
Since each clan had his own crest (mon), showing crest or part of crest on a kimono was a way to help understand the scene in the context of the war. Also, some domains (regional unit) or clans (familial entity) known for a typical production were represented by that production, as shown below.
This censor seal says,
« aratame » (examined) and
includes the month (5th) of
the Boshin (dragon) year in the
sexagesimal calendar.
The seal was absent in most Boshin war prints
STRANGE SHOPS
In many satirical prints, the scene takes place in shops, restaurants or teahouses where customers and shopkeepers could be identified as Boshin warlords. Often, the print included also subtle clues about the stage of the Boshin war.
The next two prints show shops manufacturing and selling goods from the Aizu domain. The names of the shops can be read both ways: “toku yo” 用漉 and “toku gawa” 川漉, confirming their Shogunate political allegiance!
The Ou Candle Shop is known for its specialty candles. The shopmaster, Aizu, leads a group of workers from Nanbu, Nihonmatsu, Akita, and other northeastern domains. The print informs of preparations for war in the northeastern part of Japan and was probably issued shortly after the formation of the League of Northeastern Domains in the fifth month of 1868. Eventually, some 31 domains joined the league and fought for Tokugawa.
The prices of candles are exchanged at the storefront with the representants of the Chōshū domain from the Imperial coalition, but negotiations do not go well. The scene might represent the lasting battle between the new government and the old shogunate.
THE END OF THE STORY IS THE BEGINNING OF MODERN JAPAN
The Boshin war was finally a civil war with relatively few casualties. It lasted only a little over a year, and took place in rather limited areas in Japan, moving from Southwest to North with the progression of the Emperor coalition.
Yet, it induced the production of a large number of satiric prints despite Tokugawa laws. Some experts think they might have been largely produced in Osaka, outside the location of the main battles, but since publishing was also anonymous, it is difficult to know for sure.
All prints were two-page diptychs. It seems it would have been easier and less risky to produce single page prints. There must have been some reasons, though, for diptychs. Better visual impact and added space for storytelling might be some of them. Also, they are not without artistic qualities…
The abundance of satiric prints indicates there was a good market under the mantle, in Edo especially. Japanese society at this time was certainly ready for a major change, and customers were rebels of some sort…
Finally, these prints also underline the fact that urban Japanese people were educated enough to appreciate the humor around the use of "mon", of historical events, and enjoyed a good laugh, critical of authorities.
Thanks to:
Imre Nagy for his tremendous translations and his benevolent knowledge
Michael O’Clair
Lucienne Parkan
Francine Minvielle for photo credits and reading proof
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