Mitate-e
In Japanese art, mitate-e is a subgenre of ukiyo-e that employs allusions, puns, and incongruities, often to parody classical art or events.
The term derives from two roots: mitateru and e. The mitate technique arose first in poetry and became prominent during the Heian period. Haiku poets revived the technique during the Edo period, from which it spread to the other arts of the era. Such works typically employ allusions, puns, and incongruities, and frequently recall classical artworks.
In the context of ukiyo-e, mitate-e is often translated into English as "parody picture". This usage of the term arose much later; the term itself was used in different ways during the Edo period. Those works today called mitate-e used different labels at the time, such as fūryū which appeared frequently in the 18th century in works by Okumura Masanobu and Suzuki Harunobu.
History and origins
The concept of mitate originated in Japanese poetry before making its way into the visual arts. The word combines miru and tateru, and became known by the Heian period as an act of comparison in which one thing was "seen as something else." In early literature such as waka and renga poetry, poets used mitate to layer meanings though puns and homophones. This poetic technique was later further expanded in Haikai poetry during the Edo period, where it developed a more humorous and subversive tone.The adaptation from verses to visual art reflected the growing trends of parody and allusion across popular art at the time. As commercial printmaking broadened, artists began using the poetic device in imagery to compare modern people like courtesans, actors, and townspeople to classical figures of literature and legends. The term mitate-e did not become standardized until after the Edo period, likely during the eighteenth century, and similar works were often labeled as fūryū (風流.'' "elegant" or "up-to-date."
Themes and characterizations
Mitate-e is defined by its use of analogy, substitution, and layered references to create visual and cultural associations. These veiled associations were intended for Edo-period urban audiences familiar with both classical literature and contemporary popular culture. This allowed viewers to recognize and interpret layered allusions. Mitate involves presenting one subject in the terms of another, producing a complex contrast between image and meaning. This exists in reality as a "seeing-as" process where the viewer can hold multiple interpretations at once, often evoking humor or irony.Compositions often use subjects such as courtesans, kabuki actors, or townspeople reinterpreted as classic heroes and poets.