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#Edo-period
beif0ngs · 6 months
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BLUE EYE SAMURAI
I never said I was a samurai, you did. I’m on the path of revenge. There’s no place on it for love or friendship or weakness.
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nobrashfestivity · 7 months
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Covers for Satomi Hakkenden, a popular novel from the Edo period
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lionofchaeronea · 5 months
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Black Bear Cub, Mori Shūhō, 1799
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bestdressedchuuya · 5 months
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jareckiworld · 1 month
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Katsushika Hokusai (1760-1849) — The Dream of the Fishermans Wife [woodblock print, 1814]
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tanuki-kimono · 6 months
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Edo period types of hakama pants, fantastic chart by Edo-lover Nadeshico Rin. You can see here from left to right, top to bottom:
Fundomi hakama 踏込袴 - pants with a narrow bottom hem, a type of nobakama (see below)
Tattsuke hakama 裁付袴 - pants tight below the knee, sometimes refered as "ninja pants" (= Iga hakama). Those were worn by many, from samurai to servants and craftmen.
Umanoribakama 馬乗袴 - lit. "riding pants", wide hakama with high gusset split legs for confortable horse riding.
Nagabakama 長袴 - formal trailing hakama worn by samurai from late Muromachi era.
Andonbakama - skirt-like hakama worn by Meiji period female teachers and students (hence why it's sometimes called onna bakama). A boy version appeared after mid-Meiji.
Yamabakama 山袴 - daily-life work pants with narrow legs and sometimes a gathered bottom hem. Name greatly varies depending on areas and time. A direct descendant of this style are women's monpe もんぺ.
Nobakama 野袴 - shorter hakama with black velvet hem, worn by travelling samurai. It was also part of firefighters' gear.
Hirabakama 平袴 - the "classic" ankle lenght men hakama pants, with a low gusset which means it looks nice when sitting (tailoring is hence different from the umanori, see above). Also called hanbakama 半袴, those were longer than the ancient kobakama 小袴 and shorter than formal trailing nagabakama (see above).
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notwiselybuttoowell · 10 months
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Japanese hikeshibanten jacket depicting spider and go board, 19th Century, Seattle Art Museum
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the-evil-clergyman · 1 year
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Fireflies in the Early Summer by Watanabe Shoka (19th Century)
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artist-ellen · 1 year
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All the Historical Mermay’s together!
I had a lot of fun with this mermay prompt list by chloe.z.arts and they turned into a pretty cool collection of illustrations!
Prompt list by chloe.z.arts on instagram.
I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram.com/ellenartistic or tiktok: @ellenartistic
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eosvartauga · 1 year
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Edo era Sashiko-Embroidered Hanten
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fashionsfromhistory · 6 months
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Wedding Kimono (Uchikake)
Chiba Prefecture, Japan
c.1850 (Edo Period)
Denver Art Museum
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stromblessed · 6 months
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Mizu was wrong to let Akemi be taken because they both deserve better
First, a confession. When I saw this for the first time:
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I was relieved. I knew that was what Mizu was going to say and I felt like it's what I would have said in that situation too.
When Akemi does this:
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I cringed, because if we know anything about Mizu, it's that she (1) isn't quick to make friends (though to be fair, even though Akemi did try to kill Mizu, so did Taigen - multiple times! - and look how that turned out lol), and (2) doesn't take orders.
So when Akemi and Ringo and later Taigen get angry at Mizu, are they being unfair?
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Sure, Mizu isn't obligated to treat Akemi - or Taigen or Ringo or anybody else - nicely, or to serve them, or to be honorable, or be a hero to them, or whatever. No human being is obligated to any other human being. We all have the choice to do whatever we want to anybody else. But the point of flawed characters in storytelling is the tension between those characters and their potential. Their growth into someone who can choose the higher, harder path, who chooses to be obligated to others, who chooses kindness and compassion.
Because Mizu's problem isn't revenge. Nobody is preaching at Mizu that revenge isn't the answer. Her circumstances do suck, her life has been incredibly unfair, she is marginalized, and as far as we and Mizu know for most of the season, she is a child born of violence and no one is saying that that violence doesn't deserve to be repaid in kind.
Mizu's problem is isolation. And the fact that she thinks she has no responsibility toward her fellow human beings, because her hatred of her own circumstances and her having no life outside of her quest devours everything else. This is a problem because it turns Mizu into the worst version of herself. A version that hurts the people who like Mizu, the people who care about her.
Practically, Mizu has just taken on an entire army almost by herself. She's hurt. She's exhausted. If she were to defend Akemi now, it'd be yet ANOTHER fight, this time against horsed and armored samurai.
But that's not the reason Mizu gives Ringo. Mizu's ability or willingness to fight isn't even on her mind. All she says is, "She's better off."
"She's better off" is Mizu deciding what's best for Akemi. Akemi's entire story is about her being a caged bird longing to fly free.
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One after the other, every man and woman in Akemi's life makes her decisions for her. She has to grovel and smile prettily and lie through her teeth just for the chance to be heard. Mizu judges Akemi for being a rich princess who isn't being more grateful for what she has, all without understanding Akemi's situation, and without any curiosity for why Akemi feels the way she does. From Akemi's perspective, Mizu is just one more person (one more man!) in a long lineup who ignores Akemi's wishes and (casually!) makes a decision for her that impacts Akemi's life greatly.
In the end, even Seki concludes that Akemi should get to decide what's best for Akemi. What others think that Akemi SHOULD want does not matter compared to what Akemi wants for her own life. As Madame Kaji said - Madame Kaji, who despite calling out the weirdness of Akemi's situation as well as the childishness of her decision to run away - is the only person Akemi meets who doesn't try to make decisions for Akemi, but instead only challenges Akemi to work for and be worthy of what she wants - she needs to decide what she wants for her own fucking self, and then take it.
Mizu being born female does not make her automatically wiser for letting Akemi be taken, and it does not preclude her from having a hand in giving Akemi back to her jailers. A patriarchy that Mizu knows full well would stop Mizu from achieving her own goals if she didn't present as male.
Mizu is still understandable here. She just had to kill Kinuyo, a disabled girl sold by her father into prostitution, a girl in a situation so far beyond Akemi's worst imaginings that I can practically feel Mizu's world being rocked just by comparing them in her mind the way she most likely is. That still doesn't make it right for Mizu to let Akemi be carried off to be sold into marriage by her father against her wishes. Those "good options" Mizu thinks Akemi has don't exist, no more than they ever existed for Mizu. Akemi and Mizu both have to get creative, make the best of their circumstances, take dangerous risks, and break rules in order to have any control over their own lives.
Even on my first watch, when at first I thought that Mizu had made the right decision and that Akemi was being unreasonable, Akemi screaming Mizu's name while being dragged, LITERALLY DRAGGED, back to her father was haunting as hell.
Mizu had the power to help Akemi, and simply chose not to.
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Mizu lets Akemi be taken, Akemi who has just begun to trust Mizu. Mizu calls Ringo weak and quickly - seemingly easily - turns her back on him. Mizu values her quest over Taigen's life, after Taigen has endured days of torture to protect her, and she not only risks his life in the process, but doesn't tell him that Akemi is engaged to someone else, or that she came looking for Taigen, or that she is in danger.
Mizu's sword breaks because it is too brittle. Too pure. Too singleminded. Mizu only melts down the meteorite metal when she mixes the metal with objects from parts of her life that have nothing to do with her quest. Objects from the people she cares about, and who care about her.
All I'm saying is - Mizu doesn't have to be a hero. But she is the better version of herself when she reaches out to help and connect with others. When she's just a decent, kinder human being. And I think that's what this story is telling us that we should want for Mizu.
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nobrashfestivity · 5 months
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Isoda Koryusai Crow and Heron, Mid Edo period, circa 1772
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lionofchaeronea · 6 days
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Kingfisher, Ogata Kōrin (1658-1716)
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quona · 1 month
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alone in kyoto -------------------------------------------
prints | ko-fi | commission [edit: prints available for this one] Crowley in Edo period Japan on her way to the beach to find out what the Fisherman's Wife was going on about. This piece is the second of THREE that I painted for the VERY FIRST ISSUE EVER of /r/GoodOmensAfterDark's WINGZ Magazine, a filthy smut rag that all of us---editors, directors, writers, and visual artists alike---are very proud to present to you. Check it out here: WINGZ Mag Spring '24 (Reddit) Direct link (PDF, 90MB) Direct link for Mobile (PDF, 8MB)
Detail shots in full res after the jumppppppp
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@goodomensafterdark
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teal-eyedronin378 · 26 days
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"I'm nobody's wife."
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