In Part 1 of this series, we explored some examples of a proto-kawaii aesthetic showing up in Japan during the Heian Period (794-1185), and also discussed four points about Japanese culture that Dr. Joshua Dale argues underlines why Japan was uniquely positioned for a unique appreciation of cute: (1) valuing the diminutive; 2) treasuring the transient; 3)preference for simplicity, and 4)appreciating the playful.
Elements of proto-kawaii show up in an even wider variety of Japanese art during the Edo period (1603 – 1868). Rule under the Tokugawa shogunate was arguably repressive, however the relative stability of this period allowed arts and culture to flourish. In contrast to the Heian period in which indulgence in such cultural pursuits was limited to the court, the Edo period saw a growing class of merchants and craftsmen who could afford various niceties. Additionally, advances in woodblock printing techniques made art more affordable to a wider group of people, which increased the variety and range of motifs and styles.
Various puppies by Maruyama Okyo
One early example of Edo period proto-kawaii was the painter Maruyama Okyo (1733 – 1795). Maruyama studied Chinese, Japanese, and western art and was known for his unique combination of western realism with Japanese naturalism. While criticized by art critics for his devotion to more realistic representations, his work was quite popular with the public (a similarity with other later kawaii artists such as Yumeji and Takabatake). While often favoring motifs featuring mythological creatures, he also loved to express the charms of everyday scenes. In particular, his paintings featuring fluffy little puppies are cited as early examples of kawaii. Maruyama’s student, Nagasawa Rosetsu (1754-1799) was also quite famous for his paintings featuring playful puppies and other cute animals, amongst several other not-quite-so-kawaii topics and motifs.
More cute puppies!!! By Maruyama’s student Nagasawa Rosetsu
Another artist of the Edo period known both for his lighthearted and playful nature is Utagawa Kuniyoshi. Famous for his love of cats (even rumored to have a studio filled with them), Kuniyoshi’s prints often featured these beloved felines in a variety of situations and were often fully anthropomorphized. These prints of cats depicted as samurai, kabuki, or geisha were not just for play but also a creative way around newer strict and oppressive policies from the shogunate known as the Tempo Reforms. These reforms included a ban on depictions of famous kabuki actors, courtesans, and geisha. Using cats in place of these famous stars was a way around this ban. Similar to the bubbly handwriting of the 1970s shojo, kawaii was used as a way to protest against an oppressive society. Kuniyoshi’s anthropomorphic illustrations were not just limited to cats; there are numerous fun examples of his prints featuring goldfish or even corn on the cob that would without a doubt elicit a ‘kawaii!’ exclamation by today’s standards.
Various kawaii woodblock prints by Kuniyoshi
The Edo period also saw a growing love and appreciation of small things as cute. This can be seen in the evolution of netsuke, small charms used to fasten small boxes called inro to the waistband of a kimono.
Image showing how netsuke was used to hold and inro to the belt of a kimono
Netsuke date back to the 17th century, and while initially utilitarian soon evolved to be quite ornate. While many netsuke feature traditional adornments, their small size made them the perfect medium to feature cute animals or creatures, and most certainly kawaii by today’s standards. The tininess of these charms only added to their cuteness. Adorning one’s kimono with a cute, unique netsuke would lend an element of whimsy and personality to one’s fashion, similar to kawaii charms today. While the use of netsuke use declined throughout the 20th century as western style dress became more common, they continued to be made for artistic reasons and even had a resurgence as cell phone straps, which were all the craze in the late 90s till smartphones took over the market.
Examples of various Edo period kawaii netsuke
What’s particularly interesting to me about these examples of cuteness from the Edo period is that they are generally outside the realm of girl culture. While much of modern kawaii is commonly associated with femininity – i.e. frilly fashion, stationery goods decorated with hearts and flowers, and so.much.pink, many aspects of kawaii are not limited to just young girls. Cuteness shows up everywhere in Japan from local area mascots, decorative pothole covers, video game characters like Pac-Man to Pikachu, and even instructional videos and signs. These examples from the Edo period provide continuity for this side of Japanese kawaii and I feel fit well with the aesthetic values laid out by Dr. Dale, particularly the valuing of the diminutive and appreciation for playfulness.
The examples reviewed in this post and part 1 may not be what first pops to mind when hearing ‘kawaii’…nor would ‘kawaii’ necessary be the first word that comes to mind when viewing these pieces of art (well maybe for those puppies!!). However, the appreciation of playfulness and cuteness are clearly evident and suggest a type of proto-kawaii present in Japanese culture, which helps provide context for why Japan was so uniquely positioned to lead the kawaii boom of the 20th century.
