Hairpins Collection (#2)

Head of a Woman (colour woodblock print)
XIR182112 Head of a Woman (colour woodblock print) by Utamaro, Kitagawa (1753-1806); Musee Guimet, Paris, France; Japanese, out of copyright

Yotsumeya uchi kinshA, The Courtesan KinshA of Yotsumei-ya. Isoda, KoryA'sai, active 1764-1788, artist, [between 1775 and 1777], 1 print : woodcut, color; 37.6 x 25.7 cm

Hana, Flower. Utagawa, Toyokuni, 1769-1825, artist, [between 1804 and 1810], 1 print : woodcut, color; 35.6 x 23.2 cm. Print shows a woman, full-length portrait

Andon, Lantern. Utagawa, Toyokuni, 1786-1865, artist, [between 1830 and 1844], 1 print : woodcut, color; 37.6 x 25.8 cm. Print shows a woman, full-length portrait, standing, facing left

Wakanaya uchi Shiratsuyu, The courtesan Shiratsuyu of Wakana-ya. Hosoda, Eishi, 1756-1829, artist, [between 1791 and 1795], 1 print : woodcut, color; 37.4 x 25.4 cm

Matsubaya uchi Yachiyo, The courtesan Yachiyo of Matsuba-ya. Kikukawa, Eizan, 1787-1867, artist, [between 1809 and 1812], 1 print : woodcut, color; 36 x 23.5 cm

Nihonzutsumi no rakugan tamaya uchi Tamagushi, Descending geese on the Nihon embankment - the courtesan Tamagushi of Tama-ya

RAcka no geigi, Entertainer standing on a veranda. Kikukawa, Eizan, 1787-1867, artist, [between 1809 and 1813], 1 print : woodcut, color; 38.9 x 26.5 cm

Nenrei, New Years greetings. Utagawa, Toyokuni, 1786-1865, artist, [between 1818 and 1830], 1 print : woodcut, color; 37.9 x 25.9 cm

Tsuruya uchi kashiku, The courtesan Kashiku of the house of Tsuru. Utagawa, Kuniyasu, 1794-1832, artist, [181-], 1 print : woodcut, color; 38.8 x 26.1 cm

EdochAc echizenya uchi morokoshi, The courtesan Morokoshi of the house of Ichizen on EdochAc. Utagawa, Kuninaga, -1829, artist, [between 1804 and 1808], 1 print : woodcut, color; 38.8 x 26.3 cm

1842?-1894 1868 1894 21. 5 7. 1 Hiroshige Ushiro
Ushiro muki oiran zu, Oiran [high class courtesan]. Utagawa, Hiroshige, 1842?-1894, artist, [between 1868 and 1894], 1 print : woodcut, color ; 21.5 x 7.1 cm

Kukimanjiya uchi Takimoto, The courtesan Takimoto of the Kukimanji house. Utagawa, Kunitomi, active 1830, artist, [between 1818 and 1835], 1 print : woodcut, color; 37.2 x 25.6 cm

A woman, possibly a courtesan, seated, facing right, with her head turned to look back over her right shoulder, wearing several hairpins. Date between 1830 and 1850

Mountain pass with hairpin bends on road, Dades Gorge, Atlas Mountains, Morocco, january

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"Hairpins: A Cultural Journey from Central Africa to Europe and Beyond" In the heart of Central Africa, Queen Nenzima of the Belgian Congo adorned her majestic locks with exquisite hairpins. These delicate accessories were not just mere adornments but symbols of power and beauty. Across the continent, Roman women in ancient times used hairpins to create intricate hairstyles that complemented their veils, bonnets, and elaborate headpieces. These tiny tools played a significant role in shaping their identity and expressing their femininity. Venturing into the picturesque landscapes of Selva di Cadore in Belluno, Veneto, Italy, we witness a mother scolding her son while his mischievous hands playfully tangle with her hairpin-adorned locks. Even in this mundane moment, these small objects connect generations through shared experiences. Traveling further east to Japan's Ryogoku River, we encounter "Returning Sails, " an artistic masterpiece capturing the essence of Japanese culture. Amidst this scene unfolds a woman gracefully adjusting her hairpin as she awaits her loved one's return. The pain embedded within this image reminds us that beauty often comes at a price. Delving deeper into Edo-period Japan's pleasure quarters reveals an enchanting world where courtesans like Takigawa and Kisegawa captivated hearts with their elegance. Their meticulously styled hair held together by ornate hairpins became synonymous with allure and sophistication. Hosoda Eishi's masterful creations transport us back to those opulent days when geishas read letters or indulged in moments of introspection while wearing intricately designed hairpins. Each stroke on canvas immortalizes these beauties who graced the pleasure quarters with grace and charm. Finally, Osumi emerges as a Tayu from Osaka's Shinmachi Quarter—a symbol of resilience amidst societal constraints. Her captivating presence showcases how even marginalized individuals found solace through artistry expressed in their hairpins.