An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Hell Courtesan1871–89
Kawanabe Kyōsai
Kawanabe Kyōsai repeated this large-scale composition with variations a number of times. In this version, a famous 15th-century courtesan known for wearing a robe with images of the Buddhist hells stands before a folding screen. Legend has it that she was abducted by bandits, and wore the garment to symbolize her belief that her suffering in her current life was punishment for sins committed in a former life. Here, in a parody depiction of the garment, the courtesan stands in for Benzaiten, the goddess of everything that flows, while the remaining members of the Seven Gods of Good Fortune appear on her outer robe. One of them reports sins to Enma, the King of Hell, who is writing out his judgments on the recently deceased.
The word for longevity appears multiple times in gold and silver on her outer robe.
Hanging scroll; ink, color, gold, and silver on silk
Image: 144.2 x 67.6 cm (56 3/4 x 26 5/8 in.); Overall: 233.7 x 92.1 cm (92 x 36 1/4 in.)
The Kelvin Smith Collection, given by Mrs. Kelvin Smith
In the dim light of a gallery, an artwork stretches across the wall, its colors whispering secrets of another time. The large-scale composition, a piece by the innovative Kawanabe Kyōsai, invites viewers into a world where stories and legends mingle like clouds on a gentle breeze. This particular version stands out, not just for its striking visuals, but for the poignant tale it unfolds.
In the center of this vivid tapestry is a courtesan, a figure from the 15th century, captured in a moment that teeters between beauty and despair. She wears a striking robe, adorned with haunting images of Buddhist hells. Each depiction serves as a reminder of the suffering that can arise from past sins. According to legend, this woman was once abducted by bandits, and in her desperate journey, she wore this garment—a symbol of her belief that the agony of her current life was a reflection of the misdeeds of her previous existence.
The courtesan’s demeanor is a blend of grace and melancholy, her presence commanding yet vulnerable. Around her, the folding screen provides an architectural frame, suggesting the boundaries of her world but also hinting at the cosmic forces that envelop her. Here, she transcends her tragic past; she becomes a vessel for Benzaiten, the goddess of all that flows, embodying the interplay of fate and liberation.
As we look closer, the outer edges of her robe reveal the seven deities from the pantheon of good fortune, woven seamlessly into the fabric of her suffering. Among them, one stands out—a figure burdened with the task of reporting sins to Enma, the King of Hell. In this solemn act, Enma is depicted, quill in hand, recording the judgments of the recently departed, each mark a testament to life’s choices echoing through eternity.
In the presence of this art, we are drawn into a reflection on the nature of suffering, redemption, and the stories that define us. Through Kyōsai’s lens, we witness not just the courtesan’s plight, but also the intricate tapestry of human experiences—woven from pain, yet shimmering with the possibility of renewal. It reminds us that every life carries a story, and every suffering has a purpose, illuminating the shadows of our existence with the flickering light of hope and understanding.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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