Latest news with #Tokugawa
Tokyo Weekender
6 hours ago
- General
- Tokyo Weekender
Honda Tadakatsu: The Indestructible Samurai
There's an interesting thing you start to notice while studying paintings depicting Japan's most famous battles from the 16th century. A lot of them seem to feature a samurai with deer antlers throwing himself into the fray with a look of fierce determination on his face. Who is this frightful figure? The personification of death? The Japanese devil perhaps? It was actually a real guy named Honda Tadakatsu. He was a veteran of nearly 60 battles during which he reportedly received no serious wounds. He may not have been the devil, but all signs point to him having made a deal with one. List of Contents: Tokugawa Ieyasu's Ride or Die A Revered Warrior and Skilled Administrator A Stylish Samurai Related Posts Portrait of Honda Tadakatsu, Chiba Prefectural Central Museum collections (c. 17th century) Tokugawa Ieyasu's Ride or Die Honda Tadakatsu was born in Mikawa Province in modern-day Aichi Prefecture to a clan that served the Matsudaira, who by then were split, surrounded by more powerful enemies and lacked military power or prestige. Tadakatsu, though, didn't concern himself with such things. He decided to stay loyal to the young head of the family, Matsudaira Motoyasu, for the rest of his life. This turned out to be an excellent decision since Motoyasu later became Tokugawa Ieyasu, the third great unifier of Japan who ended the Warring States period and created a military government that would rule the country for over 250 years. Ieyasu probably couldn't have done it without the help of Tadakatsu, who rode out into battle for him over 50 times and even changed his faith after the followers of his preferred school of Buddhism started opposing and fighting his lord. His loyalty, though, wasn't the reason why historians named him one of the Four Heavenly Kings of the Tokugawa. It was because of his skills on the battlefield. Image from The Battle of Nagashino folding screen (c. 18th century) with Honda Tadakatsu highlighted on the lower left A Revered Warrior and Skilled Administrator Tadakatsu allegedly participated in his first battle at just 13 and killed his first man when he was 14. Legend goes that his uncle offered to let him decapitate a man he'd just killed, but Tadakatsu was not interested in secondhand glory, so he charged the enemy and came back with a head of his own. Ieyasu noticed his talents and continued to promote him from soldier to vanguard commander to head of a cavalry unit and, ultimately, general. Tadakatsu more than earned the role. During the Battle of Anegawa in 1570, he fought a one-on-one duel with the gigantic figure of Magara Naotaka, who wielded an equally massive odachi sword . Three years later, Tadakatsu protected Ieyasu's retreat from the army of the legendary warrior Takeda Shingen (and specifically one unit led by Naito Masatoyo) after their loss at the Battle of Mikatagahara, saving his lord's life. This was also when Ieyasu allegedly received a dressing down from an innkeeper for not paying his bills and soiled his britches during the escape. Tadakatsu would have his revenge during the Battle of Nagashino in 1575, where he commanded a unit of musketeers that helped decimate Takeda's forces and captured the first enemy general of the day: Masatoyo. Because Tadakatsu does not forgive nor forget. Of course, he was also there during the famous Battle of Sekigahara in 1600, a decisive victory for Ieyasu, which effectively secured his dominance over Japan. During the conflict, Tadakatsu distinguished himself thanks to his strategies and battlefield bravery. He was subsequently made lord of Kuwana Castle. Tadakatsu turned out to be as skilled an administrator as he was a warrior, developing the area around the castle through public works and creating a prosperous post-town. He retired in 1609 and died peacefully the following year. Discover Tokyo, Every Week Get the city's best stories, under-the-radar spots and exclusive invites delivered straight to your inbox. By signing up, you agree to our Privacy Policy . A Stylish Samurai During the Battle of Komaki and Nagakute in 1584, Toyotomi Hideyoshi (Ieyasu's chief rival at the time) had a chance to attack and almost certainly kill Tadakatsu, but ordered his troops to leave him be because he thought it would be a waste to dispose of one of the bravest samurai in Japan. Even Oda Nobunaga, the Demon King himself , had a lot of respect for him. This was mainly due to his skills on the battlefield, though his distinctive attire also didn't hurt his reputation. Tadakatsu had a few different battle banners, including one depicting Shoki the Demon Queller, a powerful guardian deity. He also wielded the Tonbogiri (dragonfly-cutter) spear , considered one of the Three Great Spears of Japan, which was said to be sharp enough to cut a dragonfly in two if it landed on it. His other weapon was the Nakatsukasa sword by Masamune, the greatest swordsmith in Japanese history. Also rarely missing from Tadakatsu's getup was a large Buddhist rosary that he often slung over his shoulder during battles. But his most distinguishing feature was his helmet with massive deer antler crests. Deer are powerful symbols in Japanese mythology. They're said to be messengers of Amaterasu, the goddess of the Sun and arguably the most important deity in the Shinto pantheon. And because deer shed and regrow their horns, antlers are sometimes considered symbols of death and rebirth. Tadakatsu was usually associated with the former. But what an honor to be killed by a warrior of such caliber. Honestly, all of his victims on the battlefield would probably have thanked him if they hadn't had their heads cut off. Related Posts Junnosuke Date: The Wannabe Samurai Who Became a War Criminal Oda Ujiharu: Why the 'Weakest Samurai Warlord' Is Admired to This Day Who Was The Elusive Samurai? The Real Life of Hojo Tokiyuki
SoraNews24
30-06-2025
- Entertainment
- SoraNews24
See 400 years of Osaka's history in 10 minutes at housing museum's new VR exhibit
You can't keep a good city down. This year Osaka was once again ranked among the top 10 most livable cities in the world, but it's not something that just happened overnight. This city became what it is today through the hard work of generations of people overcoming adversity time and time again. Soon, an exhibit will come to the Osaka Museum of Housing and Living that can let you experience just what a rocky road it's been. The name of the exhibit is called Osaka Momoyo and it aims to put you right in the middle of history through a VR animation by award-winning director Jonathan Hagard. After donning the goggles, you'll be virtually transported to the intersection of Sakai-suji and Hirano-dori and watch as 400 years of history unfolds around you in that one spot. ▼ Sakai-suji and Hirano-dori The 10-minute experience starts in 1615, when the Summer Siege of Osaka took place. This was a series of skirmishes that took place all around Osaka, when Tokugawa Ieyasu launched an assault on Osaka Castle, after learning that its lord Toyotomi Hideyori was preparing a rebellion. Tokugawa was successful and his shogunate would remain in power for the next two and a half centuries. ▼ Osaka in 1615 You'll then move forward 50 years to 1665, after Osaka was rebuilt from the battles and began to prosper again under the rule of the Tokugawa shogunate. Since the buildings were all low at the time, you can even see the 'newly' rebuilt Osaka castle in the distance. ▼ Osaka in 1665 Another 59 years later, you'll be in the middle of The Great Fire of Myochi in 1724. Citizens run for their lives as firefighters struggle to contain the flames all around you that end up devastating two-thirds of the city. After that, you'll be whisked to 1832, to see that Osaka has recovered once again and has grown increasingly modern in its architecture. Next is a short jump to 1837, when philosopher Oshio Heihachiro led an ill-fated rebellion against the Tokugawa shogunate. He and his followers attempted to raise government offices after rising food prices and high taxes made it hard for people to eat — if that doesn't sound familiar. The rebellion was largely a failure but did help push forward the idea that Japan should open itself to the rest of the world. That ended up happening a few decades later as the Meiji Restoration closed the curtain on samurai rule and ushered in Western influences that can be seen in the fashions of 1882 and infrastructure set up by 1913. ▼ Osaka in 1913 This growth continued unabated and by 1932, Osaka was the most populous city in Japan. You can see how the streets have widened and buildings have grown taller to accommodate a booming Osaka. However, this all came crashing down in 1945, when American forces leveled most of the city in air raids. Here you can once again see Osaka Castle in the distance, only because the buildings between it and you have been reduced to rubble. But, by this time, Osaka had become rather adept at rebuilding and by 1969 was once again a bustling center of commerce. ▼ Osaka in 1969 The VR experience then carries you along through the modernization that went on until 2018 and finally 2024. As you can see, it's been a steady series of highs and lows for Osaka, which kind of makes me nervous because it looks like we're due for another catastrophe. Then again, that low could have just been the general economic malaise of the past 30 years, in which case we might be due for some good times. If you're interested in this kind of history, the Osaka Museum of Housing and Living has lots of other exhibits showing how lifestyles have changed over the years and lets you dress up in traditional Japanese clothing during your visit. The Osaka Momoyo VR exhibit will be added to its many attractions starting 14 July and will cost 1,500 yen (US$10) for adults and 600 yen for children, but Osaka residents can get in for two-thirds of the price. Check it out and become one with the past. Exhibit information Osaka Momoyo / 大阪百世 Osaka Museum of Housing and Living 大阪くらしの今昔館 Osaka Municipal Housing Information Center Building 8F 大阪市立住まい情報センター 8階 Osaka-fu, Osaka-shi, Kita-ku, Tenjinbashi 6-4-20 大阪府大阪市北区天神橋 6丁目 4-20 Open: From 14 July, 2025 Hours: 10 a.m. – 5 p.m. Exhibit Admission: General – Adults 1,500 yen, Children 600 yen / Osaka Residents – Adults 1,000 yen, Children 400 yen Museum Admission: Adults 600 yen, Children 300 yen Website Source, images: PR Times ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!
24-06-2025
- Entertainment
Kitagawa Utamaro: The Ukiyo-e Legend and His Prints of Edo Beauties
Kitagawa Utamaro (?–1806) was undoubtedly Japan's greatest artist of bijinga (pictures of beautiful women) in the ukiyo-e genre, but like many working in ukiyo-e , it took some time for him to establish himself. When he began his career in Edo (now Tokyo), he produced large numbers of pictures of actors in the small hosoban size, around 33 centimeters long by 15 wide. The woodblock printing of the day did not allow artists to follow their own creative paths. Instead, publishers came up with themes that were likely to be a hit, and artists, carvers, and printers worked together to turn these ideas into multicolored prints known as nishiki-e , which were sold in great quantities with tight profit margins. Pictures of actors sold for around a month while a particular play was showing, so making them small was a way of keeping down the costs of labor and materials. As these were also low-risk products suited perfectly to novice artists, this is where Utamaro got his start. This print of actor Ichikawa Yaozō as Gorō Tokimune was produced around 1776–77. (Courtesy Harvard Art Museums) Getting His Break Utamaro had the good fortune to be talent-spotted by the leading publisher Tsutaya Jūzaburō (1750–97), who was born and raised in Yoshiwara, the Edo pleasure quarters licensed by the Tokugawa shogunate. Tsutaya had a rare eye for beauty, having honed the aesthetic sense he initially developed in Yoshiwara into a high level of discernment. He gave Utamaro his first major job, illustrating the 1781 volume A Brief History of the Exploits of a Great Dandy . This was a yellow-backed kibyōshi , a kind of book that included many illustrations and was aimed at the popular market. The 1781 Minari daitsūjin ryakuengi (A Brief History of the Exploits of a Great Dandy), written by Shimizu Enjū with illustrations by Utamaro. (Courtesy Tokyo Metropolitan Central Library) Tsutaya recognized Utamaro's talent from this job and assigned him in 1783 to series covering Yoshiwara events and festivals, this time producing larger ōban pictures of around 38 centimeters long by 28 wide. One of these celebrations was the Niwaka Festival, held through the eighth month of the former lunar calendar, in which geisha paraded through the streets and performed elaborate pieces. Before Utamaro, pictures of the festival were generally handled by the well-established publisher Nishimuraya Yohachi, who made a kind of program combining illustrations with written information about the geisha and performances. Utamaro's pictures varied greatly from Nishimuraya's in that rather than focusing on the performances themselves he depicted what was happening behind the scenes. For example, in his Lion Dance: Oito of the Tamaya from the Female Geisha Section of the Yoshiwara Niwaka Festival series, geisha in resplendent costumes are taking a break in a Yoshiwara tea house, watched with interest by their young attendants. Bijinga tended to emphasize formality, so this kind of casual scene was rare. The intricate carving also catches the eye, and the work serves to commemorate how Tsutaya brought out the superb talent of Utamaro, who was still a newcomer to the scene. In the ninth month of the year, Tsutaya relocated to Nihonbashi, which was the center of woodblock printing in Edo. Seirō niwaka onna geisha no bu: Shishi Tamaya Oito (Female Geisha Section of the Yoshiwara Niwaka Festival: Lion Dance: Oito of the Tamaya), 1783. (Courtesy Tokyo National Museum/Colbase) Tsutaya had connections with writers of humorous kyōka poems, leading to new opportunities for Utamaro to shine. Beginning with the Picture Book of Selected Insects in 1788, Tsutaya published seven kyōka books with gorgeous illustrations. Using the best printing techniques of the time, they required pictures with the high degree of skill of the versatile Utamaro. Ehon mushi erami (Picture Book of Selected Insects) with kyōka selected by Ishikawa Masamochi and illustrations by Utamaro, 1788. (Courtesy The Metropolitan Museum of Art) Beauties of the Age In 1791, the Kansei reforms, taking their name from the Kansei era (1789–1801), cracked down on the publishing industry. Three works by the author Santō Kyōden (1761–1816) were found to be improper, and he was made to wear manacles for 50 days, while Tsutaya had half of his assets confiscated. In an attempt to recover from this setback, around 1792 or 1793 Tsutaya hired Utamaro again and published a new style of bijinga known as ōkubie , which zoomed in on the head. This had a precedent in the pictures of actors, but was a first in the world of ukiyo-e . Utamaro picked out ordinary women to be the subjects of his ōkubie pictures. Only an artist of his talents had the sensitive expressiveness to convey what they were feeling to viewers through slight tilts of the head or minor gestures. With master works like The Fickle Type from Ten Types of Feminine Physiognomy and Obvious Love from Anthology of Poems: The Love Section , Utamaro demonstrated his true ability. Fujin sōgaku juttai: Uwaki no sō (Ten Types of Feminine Physiognomy: The Fickle Type), around 1792–93. (Courtesy New York Public Library) Kasen koi no bu: Arawaruru koi (Anthology of Poems: The Love Section: Obvious Love), around 1793–94. (Courtesy The Art Institute of Chicago) Published around this time were Utamaro's pictures of three young beauties. These real-life women, reputed as the most beautiful of the age, appeared in a variety of fictitious settings, winning Utamaro overwhelming popularity among the Edo masses. Tōji san bijin (Three Beauties of the Present Day), around 1792–93. (Courtesy New York Public Library) Targeted by Reforms As the Kansei reforms continued, however, the shogunate deemed it objectionable to create artworks depicting ordinary women, who were not in the sex or entertainment industries, and in 1793, it was forbidden to include their names in nishiki-e prints. Tsutaya, who had to maintain a publishing house in the prime location of Nihonbashi and had undergone shogunate punishment before, likely saw the crackdown as impossible to resist, and complied with conditions, including with the removal of names. However, women in the shogunate-licensed pleasure quarters of Yoshiwara were not off-limits. Tsutaya and Utamaro turned their attention to aspects of life for Yoshiwara women that were hidden to ordinary customers in a new series, A Day in the Pleasure Quarters . Seirō jūni toki tsuzuki: Uma no koku (A Day in the Pleasure Quarters: The Hour of the Horse), around 1794. (Courtesy The Art Institute of Chicago) From 1794, however, when Tsutaya tapped Tōshūsai Sharaku to create pictures of actors as a new focus of his business, Utamaro kept some distance from the publisher in his activities. Tsutaya may have felt he was reaching the limits of what he could do with bijinga during the Kansei reforms. Now a star painter in his own right, Utamaro took on work with a range of publishers. In a reaction against the prohibitions, from around 1795 to 1796 he produced a number of hanjie (pictorial puzzles) including the names of famous women concealed in riddle form. These were immediately banned. Kōmei bijin rokkasen: Takashima Hisa (Six Renowned Beauties: Takashima Hisa), around 1795–96. In the top right of the picture is a rebus revealing the name of the woman (see detailed view to right). A hawk ( taka ), island ( shima ), fire ( hi ), and half a heron (the sa of sagi ) combine to spell out Takashima Hisa. (Courtesy The Art Institute of Chicago) In 1800, Utamaro's signature ōkubie style was banned, and in 1804 he was sentenced to 50 days in manacles for his nishiki-e in an illustrated biography of the sixteenth-century leader Toyotomi Hideyoshi. Everyday Art Utamaro also often took everyday life as his theme. Taiboku no shita no amayadori (Sheltering from the Rain Under a Tree), around 1799–1800. (Courtesy Tokyo National Museum/Colbase) At the end of the eighteenth and the start of the nineteenth century, he produced many excellent pictures displaying mothers' love for their children. Utamaro likely chose the topic as inoffensive to the shogunate, but the great demand to purchase such works opened up a new aspect of ukiyo-e . Satisfied with their city Edo and their lives there, the native-born Edokko saw the healthy growth of their children as a source of pride, leading to their great affection for Utamaro's new works. Nozoki (Peeping), around 1799–1800. (Courtesy The Metropolitan Museum of Art) Outside Approval To escape the increasing pressures on the publishing industry, in his later years Utamaro created a number of hand-painted works for individual supporters. While these artworks for his patrons were long appreciated, his nishiki-e were seen as ephemeral, and once their time was past, nobody wanted to buy them. Many of Utamaro's pictures suffered the fate of other woodblock prints, and were boiled up to recycle the paper. In the early Meiji era (1868–1912), Yoshida Kinbei, who later became a dealer in ukiyo-e , was selling some nishiki-e , which he had collected out of interest, at his night stall. He found a British customer willing to pay large sums of money for Utamaro's work over around two years. This keen Utamaro fan was Francis Brinkley (1841–1912), who took the first step in spreading appreciation for the artist, then largely forgotten in Japan, around the world. Brinkley's collection is now owned by the New York Public Library. (Originally published in Japanese on April 7, 2025. Banner image: Detail from Kōmei bijin mitate chūshingura: jūichi danme [The Chūshingura Drama Parodied by Famous Beauties: Act Eleven]. Courtesy Tokyo National Museum/Colbase.)
Japan Forward
13-06-2025
- Entertainment
- Japan Forward
EXHIBITION: Rare Edo Robes Unveil the Power and Beauty of Women at Court
このページを 日本語 で読む Countless novels and TV dramas have vividly portrayed the Ooku, the secluded women's quarters of Edo Castle. Yet, the real garments that its inhabitants wore were even more opulent than those seen on screen. Opening July 19 at the Tokyo National Museum in Ueno, the special exhibition Ooku: Women of Power in Edo Castle offers a rare glimpse into the true world of the Ooku through the treasured belongings of women connected to the Tokugawa shogunate. Among the highlights are uchikake and kosode robes. Adorned with richly detailed embroidery, these masterpieces are so intricate that recreating them today would be nearly impossible. The Ooku was an exclusive, women-only enclave deep within Edo Castle. Here, the shogun's wife and concubines lived, entrusted with bearing and raising heirs to the Tokugawa shogunate. Their elaborate attire served not only as personal adornment but also as a powerful display of political authority and wealth. According to records, the shogun's wife was required to change outfits as many as five times a day. The exhibition showcases garments associated with Tensho-in, a samurai-born wife of the 13th shogun, Iesada, and Princess Kazu, the imperial-born wife of the 14th shogun, Iemochi. Their clothing reveals distinct personal traits and highlights the cultural contrasts between their backgrounds. Also on display are kabuki costumes worn by okyogen-shi , female performers who staged kabuki-style theater within the walls of the Ooku. Haori and Undergarment in Bright Green Satin with Target Motif, a kabuki costume from the Oku (Tokyo National Museum collection) Among them, one dazzling piece stands out: the Haori and Undergarment in Bright Green Satin with Target Motif , boldly designed with arrows piercing a target. Embellished with lavish gold thread, it captures the vivid spectacle and theatrical flair emblematic of kabuki. Yuzuruha Oyama, Head of Research at the Tokyo National Museum, remarks: "The women of the Ooku depicted in television dramas don't wear uchikake like these, richly adorned with intricate embroidery. That's likely because faithfully recreating such garments today would be prohibitively expensive. We hope visitors will take this opportunity to appreciate the beauty of the originals." Also featured in the exhibition are kakefukusa , ornate embroidered cloths traditionally placed over gifts. A complete set of 31 pieces, now held at Kofuku-in Temple in Nara and designated as Important Cultural Properties, showcases the height of Edo-period embroidery. Commissioned by the 5th Tokugawa shogun Tsunayoshi, the set is believed to have been presented to his concubine, Zuishun'in. Embroidered Kakefukusa: Light Blue Satin with Iris, Pink, and Sake Vessel Motif Featuring the Character for "Longevity" (Designated Important Cultural Property, Kofuku-in Temple, Nara) The exhibition is divided into four sections: Highlights include the 40-panel woodblock print series Chiyoda Inner Palace by ukiyo-e master Yoshu Chikanobu, offering a vivid, imagined portrayal of Ooku life during the reign of the 11th Tokugawa shogun, Ienari. Also on view is the Ooku Path to Power Game, a board game that humorously charts the path to status within the inner palace. For many daughters of affluent townspeople, serving in the Ooku was a coveted opportunity. With the chance to win the shogun's favor, even a woman without noble lineage could, as the saying went, "ride in a gilded palanquin." Features figures like Lady Kasuga, Eshima, and Takiyama, powerful senior attendants who helped shape the Ooku. Also on display is a comprehensive map of the Edo Castle Honmaru Ooku area, offering insight into the layout and workings of the inner palace. Showcases the belongings of shoguns' wives, the biological mothers of heirs, and Tokugawa princesses. Presents items that reflect the elegant lifestyle of the Ooku, including lavish seasonal garments, bridal furnishings, traditional games like karuta , and Gosho dolls. The exhibition runs through September 21. Author: Keiko Mizunuma , The Sankei Shimbun このページを 日本語 で読む
Digital Trends
04-06-2025
- Entertainment
- Digital Trends
Nioh 3 brings open zones and ninjas in 2026
A third entry in the Nioh series was revealed at the PlayStation State of Play showcase. We got a good look at the gameplay ahead of its 2026 release, but there's a demo available now for you to test it out for yourself. Nioh was Koei Tecmo's take on the popular Souls-like genre of games, but with a distinctly Japanese twist. The first two games are each set in historical Japanese eras, and Nioh 3 is no different, with the trailer closing on the introduction of a young Tokugawa. This would place the game in the unstable Sengoku period. The only other plot details shared were that our protagonist is on a quest to become the next Shogun and is fiercely dedicated to defeating the yokai for a mysterious reason. Recommended Videos The announcement trailer was packed with high-speed and brutal action that set the original games apart from others in the genre. Monstrous and magical Yokai are heavily featured, but there are some new tricks up our sleeves to combat them. Chief among them is the new styles players will pick from: Samurai and Ninja. Samurai style will be familiar to past games, focusing on Arts, parries, and an aggressive playstyle. The new Ninja style focuses on dodges, taking advantage of elevation, and Ninjitsu techniques like Mist, which leaves an afterimage clone after attacking. You won't have to choose just one style, though. In Nioh 3 you will be able to swap back and forth between both styles on the fly. We see this in action as the samurai class parries blows before slipping into the Ninja form to leap away and attack from above with a ranged weapon. Where previous games were level-based, Nioh 3 now features wide open fields to explore, said to be filled with enemies, secrets, and challenges in something called 'The Crucible.' Nioh 3 will launch sometime in early 2026 and is currently only announced for PS5, but you can play the demo right now. Act fast, because the demo will only be up until June 18.
