Deeper Analysis of Three Beauties of the Present Day (Kitagawa Utamaro) & Comparison with Tōshūsai Sharaku (Bijin-ga vs. Kabuki Actor Portraits)

 

Deeper Analysis of Three Beauties of the Present Day (Kitagawa Utamaro) & Comparison with Tōshūsai Sharaku (Bijin-ga vs. Kabuki Actor Portraits)

Kitagawa Utamaro (c. 1753–1806) and Tōshūsai Sharaku (active 1794–1795) were two of the most distinctive Ukiyo-e masters of the Edo period. While Utamaro was celebrated for his Bijin-ga (portraits of beautiful women), Sharaku became famous for his intense and exaggerated Kabuki actor portraits.

This comparison will first analyze Utamaro’s Three Beauties of the Present Day in detail and then contrast it with Sharaku’s dramatic actor portraits, highlighting their stylistic and thematic differences.

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I. Deep Analysis of Three Beauties of the Present Day (c. 1793)

Description:
This print by Utamaro is one of the most famous works in Bijin-ga, featuring three iconic women of Edo society, shown in an intimate and harmonious composition.

1. The Subjects – Three Famous Women of Edo

The artwork depicts:

• Tomimoto Toyohina (left) – A renowned geisha known for her musical talent.
• Naniwa Wakita (right) – A well-known courtesan (high-class entertainer).
• Takashima Hisa (center) – A tea house waitress, symbolizing common yet elegant beauty.

Unlike traditional idealized depictions of women, Utamaro made a subtle effort to distinguish their individual features, though they still share similar expressions.

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2. Composition & Style

Feature	Description
Close-up Portraits	The okubi-e (large-headed) format emphasizes faces and expressions rather than full figures.
Triangular Composition	The three women form a balanced triangular arrangement, creating harmony and elegance.
Facial Features	Soft oval-shaped faces, delicate arched eyebrows, thin lips, and a graceful gaze.
Expression & Emotion	The women appear calm and poised, with subtle variations in their expressions suggesting slight personality differences.
Fashion Details	Their intricately patterned kimonos display fine textile designs, reflecting status and beauty trends.
Use of Color	Light pastels and warm tones are used, giving the image a soft, refined atmosphere.

🔹 Key Artistic Innovation:
Utamaro subtly differentiates the three women by slightly altering their facial features, something that was uncommon in traditional Bijin-ga, which often presented an idealized beauty standard with identical faces.

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3. Symbolism & Cultural Context

• The print reflects Edo-period beauty standards, where high foreheads, delicate features, and elegant postures were highly admired.
• The three women belong to different social backgrounds, showcasing the widespread appreciation of female beauty across different classes.
• The delicate fan and patterned textiles symbolize refinement and elegance.
• Utamaro often depicted women in intimate, everyday moments, shifting away from the grandeur of mythological themes.

📌 Influence on Western Art:

• French Impressionists like Edgar Degas and Mary Cassatt admired Utamaro’s focus on feminine beauty and soft linework.
• His compositions influenced Art Nouveau, particularly in the depiction of graceful female figures.

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II. Comparison: Utamaro (Bijin-ga) vs. Sharaku (Kabuki Actor Portraits)

While Utamaro’s Bijin-ga captured graceful, elegant beauty, Sharaku’s portraits of Kabuki actors emphasized raw emotion and exaggerated expressions.

Aspect	Utamaro – Bijin-ga (Beautiful Women)	Sharaku – Kabuki Actor Portraits
Main Subject	Women of Edo (courtesans, geishas, tea-house waitresses).	Kabuki actors in dramatic roles.
Mood & Emotion	Soft, serene, and intimate.	Intense, dramatic, exaggerated.
Facial Expressions	Gentle, delicate, and calm.	Bold, aggressive, exaggerated emotions.
Line Work	Thin, flowing, elegant lines.	Thick, forceful, and bold outlines.
Composition	Balanced, harmonious, often using triangular or circular arrangements.	Asymmetrical, with sharp angles and close cropping.
Color Palette	Pastel tones, subtle shading, mica dust for highlights.	High contrast with bold blacks, reds, and yellows.

🔹 Key Difference:
Utamaro’s Bijin-ga focused on beauty and refinement, whereas Sharaku’s actor portraits captured intensity and theatricality.

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III. Example: Comparing Three Beauties of the Present Day with a Sharaku Print

A. Utamaro – Three Beauties of the Present Day

• Mood: Tranquil and graceful.
• Expression: Soft smiles, gentle gazes.
• Detail: Subtle kimono patterns and hair ornaments.
• Composition: Balanced triangular formation.

B. Sharaku – Ōtani Oniji III as Yakko Edobei (1794)

• Mood: Intense and aggressive.
• Expression: Exaggerated scowl, wide-open eyes, claw-like hands.
• Detail: Bold face lines and dramatic makeup.
• Composition: Asymmetrical, with a dynamic pose suggesting action.

🔹 Artistic Contrast:

• Utamaro’s beauties are idealized and poised; they embody refinement and composure.
• Sharaku’s actors are wild and expressive; they embody raw emotion and drama.

📌 Why This Matters:

• Utamaro’s work is gentle and harmonious, fitting the romanticized Edo ideal.
• Sharaku’s work is bold and confrontational, offering a realistic, theatrical perspective.
• Both artists challenged artistic norms—Utamaro by differentiating women’s expressions and Sharaku by emphasizing the theatrical energy of Kabuki actors.

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IV. Conclusion: Two Masters, Two Worlds

Aspect	Utamaro (Bijin-ga)	Sharaku (Kabuki Actor Portraits)
Focus	Beauty, elegance, and feminine grace.	Intensity, theatricality, and raw emotion.
Artistic Innovation	Subtle facial expressions, refined compositions.	Exaggerated expressions, dramatic poses.
Influence	Inspired Western portraiture and Art Nouveau.	Influenced caricature art and expressive portraiture.
Mood	Serene and intimate.	Dynamic and intense.

Both artists created highly recognizable and influential Ukiyo-e styles, but while Utamaro sought to capture beauty, Sharaku sought to reveal character.