In the Edo period, Yoshiwara (吉原) was famous as a place where yujo (遊女) engage in prostitution. What set it apart from other pleasure districts was that it was officially licensed by the shogunate. In other words, it was a place sanctioned by the government, and as such, one would not face reproach for engaging in activities there that would otherwise be considered contrary to public morals. While many large cities had brothels with yujo, Yoshiwara was not simply a brothel but was referred to as a ‘giro (妓楼; high-class brothel)’, distinguishing it from other establishments.
The characters in the 2025 historical drama ‘Berabo~Tsutaju eiga no yume banashi~ (べらぼう〜蔦重栄華乃夢噺〜 / UNBOUND)’ include the masters of brothels. Masana Bokuzo (正名僕蔵) plays the master of the ‘Matsubaya (松葉屋)’ brothel, which housed the famous courtesan ‘Segawa (瀬川),’ portrayed by Koshiba Fuka (小芝風花). Yamaji Kazuhiro (山路和弘) portrays the master of the ‘Ōgiya (扇屋),’ one of the two major brothels alongside Matsubaya. Ito Atsushi (伊藤淳史) plays the miserly master of the up-and-coming ‘Daimonjiya (大文字屋),’ a new brothel that moved from the low-class brothels to Yoshiwara. These performances have drawn significant attention.
Which famous warlord started the shogunate-approved brothels?
Yujo have appeared in historical texts such as the Manyoshu (万葉集) and ‘Ryojin Hisho (梁塵秘抄)’ since ancient times. It was none other than Toyotomi Hideyoshi (豊臣秀吉) who, in 1585, brought these yujo together in one place to create a shogunate-authorised pleasure quarter. Initially located in the Shimanouchi (島之内) area of Osaka, it was later relocated to Dotonbori (道頓堀) during the Keicho (慶長) era and eventually moved to Osaka’s Shinmachi (新町) district, becoming known as the Shinmachi brothel.
Furthermore, Hideyoshi established the Yanagimachi (柳町) brothel in Kyoto, a system later inherited by Tokugawa Ieyasu (徳川家康). In 1640, it developed into the Shimabara (島原) brothel. Alongside Osaka’s Shinmachi and Edo’s Yoshiwara, Kyoto’s Shimabara became one of the three great pleasure quarters of Japan. Ihara Saikaku (井原西鶴) ’s ‘Koshoku ichidaiotoko (好色一代男, 1682)’ famously describes them, noting, “ kyo no joroni, edo no hari wo motase, osaka no ageya de asobu (京の女郎に、江戸の張(はり)をもたせ、大坂の揚屋で遊ぶ; Visit Kyoto’s courtesans, add Edo’s flair, and enjoy the pleasure houses of Osaka.)” These districts became renowned nationwide.
‘Yoshiwarakeisei shimbijin jihitsukagami (吉原傾城新美人自筆鏡),’ Kitao Masanobu (Santo Kyoden; 山東京伝), The Metropolitan Museum of Art
What was Yukaku? What was the place Yoshiwara for? All you need to know about Yukaku in 3 minutes
Did the brothel also serve as a high-class salons in modern times?
During the peaceful Edo period, when wars became a thing of the past, even samurai engaged in literary pursuits and indulged in extravagant entertainment. Shogunate-authorised yukaku originally catered to elite patrons such as daimyo (大名), kuge (公家, court nobles), and gosho (豪商, wealthy merchants). To reach the pinnacle of high-class courtesanship, it was essential to possess not only literacy but also refined cultural skills, such as an appreciation for waka poetry and a deep knowledge of classics like ‘The Tale of Genji’. High levels of education and sophistication were indispensable.
The high-class brothels (omise; 大見世) that housed elite yujo were also expected to cultivate and develop such women. As a result, brothel masters were not merely proprietors but shrewd managers responsible for talent development and administration. They were often cultured individuals themselves. The master of Ogiya (扇屋), which housed renowned high-class yujo like Takigawa (滝川) and Hanaogi (花扇), was a haiku poet who went by the pen name ‘Bokuga (墨画)’ and maintained friendships with figures such as Santo Kyoden (山東京伝). Both he and his wife were disciples of Kato Chikage (加藤千蔭), a renowned poet and scholar of Japanese classics.
Similarly, the master of Daimonjiya (大文字屋), Ichibee (市兵衛), held the ‘kyoka (狂歌, comic poetry)’ name Kabocha Motonari (加保茶元就). He frequently hosted kyoka gatherings alongside cultural figures such as Tsutaya Juzaburo (蔦屋重三郎), Ota Nanpo (大田南畝), and Koikawa Harumachi (恋川春町), turning his brothel into a hub for cultural exchange. His name appears in kyoka anthologies published during the time.
The Light and Shadow of Yoshiwara, which gave birth to the splendor of Edo culture
In this way, many of the major cultural developments of the Edo period—such as theatre, music, sharebon (洒落本; humorous novels), and ukiyoe (浮世絵) — had deep ties to Yoshiwara. It would not be an overstatement to say that Edo culture cannot be discussed without Yoshiwara. Yujo frequently served as models for beauties depicted in kabuki performances and ukiyoe bijin-ga (美人画; beauty prints), and the wit and sophistication characteristic of Edo culture were further refined through the pleasures and interactions within the yukaku.
The annual publication of the ‘Yoshiwara Saiken (吉原細見)’, a guide to Yoshiwara that became a catalyst for Tsutaya Juzaburo (蔦屋重三郎)’s contributions to the development of publishing culture, further highlights the central role Yoshiwara played in capturing public interest.
However, it is important to acknowledge that, despite these positive aspects, the giro of Yoshiwara were fundamentally institutions of human trafficking. The treatment of yujo who failed to attract clients was often reportedly harsh. The masters of these establishments were sometimes referred to as ‘bohachi (忘八)’—a term meaning ‘those who have forgotten the eight virtues’, jin (仁; benevolence), gi (義; justice), rei (礼; courtesy), chi (智; wisdom), chu (忠; loyalty), shin (信; trust), ko (孝; filial piety), and tei (悌; brotherly affection). While this label likely reflected some degree of resentment from the common people, there is no doubt that these individuals were complex and not easily categorised.
It will be fascinating to see how these complex human dynamics are portrayed in the historical drama ‘Berabo~Tsutaju eiga no yume banashi~ (べらぼう〜蔦重栄華乃夢噺〜 / UNBOUND)’. Equally intriguing is how Tsutaya Juzaburo, who grew up in Yoshiwara, played a role in the flourishing of Edo culture. We can look forward to discovering these connections.
This article is translated from https://intojapanwaraku.com/rock/culture-rock/259175/