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TWO KAKIEMON BIJIN IN THE PRINCESSEHOF MUSEUM: THE EROTIC APPEAL OF ROBES AND HAIRSTYLES

TWO KAKIEMON BIJIN IN THE PRINCESSEHOF MUSEUM: THE EROTIC APPEAL OF ROBES AND HAIRSTYLES Eva Stroeber* TWo KAKIEMoN BIJIN IN THE PRINCESSEHoF MUSEUM: THE ERoTIC APPEAL oF RoBES AND HAIRSTYLES In 2015, with the generous support of the Rembrandt Association (Vereniging Rembrandt), the Princessehof National Museum of Ceramics (Keramiekmuseum Princessehof) in Leeuwarden acquired two Kakiemon figures of bijin (beautiful ladies) made in Japan around 1680 (fig. 1). They are not only a wonderful new addition to the permanent display of the Princessehof’s collection, but because of their extraordinary refinement and rarity are also a highlight of the Memory of the Netherlands Collection (Geheugen van Nederland), a most charming ‘National Treasure’. These two porcelain figures represent courtesans. They have extravagant coiffures and are clothed with layer upon layer of the finest robes. My remarks centre on questions probably typical for a Westerner looking at these fine figures more than 300 years after they were made in Japan and exported to Europe: what makes these figures of courtesans, or high class prostitutes, sexually appealing? The Kakiemon bijin are fine examples Fig. 1 (left) to use to present a few reflections on the culturally defined concepts of Two standing Kakiemon bijin figures, idealised feminine beauty and eroticism in the East and West. It seems Hizen ware, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Aziatische Kunst Brill

TWO KAKIEMON BIJIN IN THE PRINCESSEHOF MUSEUM: THE EROTIC APPEAL OF ROBES AND HAIRSTYLES

Stroeber, Eva
Aziatische Kunst , Volume 46 (3): 8 – Jul 11, 2016
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References (5)

Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
eISSN
2543-1749
DOI
10.1163/25431749-90000323
Publisher site
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Abstract

Eva Stroeber* TWo KAKIEMoN BIJIN IN THE PRINCESSEHoF MUSEUM: THE ERoTIC APPEAL oF RoBES AND HAIRSTYLES In 2015, with the generous support of the Rembrandt Association (Vereniging Rembrandt), the Princessehof National Museum of Ceramics (Keramiekmuseum Princessehof) in Leeuwarden acquired two Kakiemon figures of bijin (beautiful ladies) made in Japan around 1680 (fig. 1). They are not only a wonderful new addition to the permanent display of the Princessehof’s collection, but because of their extraordinary refinement and rarity are also a highlight of the Memory of the Netherlands Collection (Geheugen van Nederland), a most charming ‘National Treasure’. These two porcelain figures represent courtesans. They have extravagant coiffures and are clothed with layer upon layer of the finest robes. My remarks centre on questions probably typical for a Westerner looking at these fine figures more than 300 years after they were made in Japan and exported to Europe: what makes these figures of courtesans, or high class prostitutes, sexually appealing? The Kakiemon bijin are fine examples Fig. 1 (left) to use to present a few reflections on the culturally defined concepts of Two standing Kakiemon bijin figures, idealised feminine beauty and eroticism in the East and West. It seems Hizen ware,

Journal

Aziatische Kunst – Brill

Published: Jul 11, 2016

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