What Do We Have in Common with Edo Japan?

The Polish people know all too well what censorship is and how to outwit it. From the long decades under partitions through the times of the Polish People’s Republic, Polish artists managed to smuggle their messages in ways that slipped past the eyes of censors. Krasiński, Słowacki, and Prus – all used subtle allegory to criticize the destructive divisions and internal conflicts weakening the Polish nation, and to reveal the errors and injustices of the occupying powers. Through this veiled critique, their works became a voice for the future and unity of the nation. Similar clashes with censorship occurred in Edo-period Japan, where artists like Utagawa Kuniyoshi (歌川国芳) used metaphors to cleverly bypass the Tokugawa censors. The authorities sought to maintain total control over creators, threatening them with fines and imprisonment, but Kuniyoshi criticized the system, evading the sharp yet somewhat dulled eyes of the censors.

This is precisely why “Takiyasha the Witch and the Skeleton Specter” from 1847 deserves attention. At first glance, the painting depicts a fantastic scene: Princess Takiyasha summons a giant skeleton from the castle ruins. The story, based on the legend of a rebellion from the Heian period (10th century), seems like nothing more than a dramatic tale of revenge. However, beneath this mythical layer lies a sophisticated critique of the Edo government – encoded so the censor would miss its true meaning. Much like Polish creators under partitions and the People’s Republic, Kuniyoshi used symbols and subtlety to hide his message.

Did Japanese artists employ tactics similar to those in Poland? To some extent, yes – although both cultures developed unique ways of handling censorship. Today, looking at “Takiyasha the Witch and the Skeleton Specter,” we see not only a fascinating Japanese legend but also the portrait of a determined artist who refused to be intimidated and outsmarted the shogunate. Join me in uncovering the hidden meanings in this artwork and discovering how Japanese artists resisted authority over 200 years ago.

Scene in the Painting

Utagawa Kuniyoshi’s painting, “Takiyasha the Witch and the Skeleton Specter,” is a multi-panel scene (36.2 cm x 74.2 cm) that astonishes with its drama and remarkable detail. At first glance, the eye is drawn to the powerful, supernatural figure – a giant skeleton with realistic features that seems to emerge from the abyss. Its hollow, deep eye sockets and slightly open jaw give it a lifeless, sinister expression. The precisely drawn (etched) bones and anatomical accuracy of this apparition emphasize its physical, menacing presence.

The skeleton emerges from the right side of the painting (from the viewer's perspective), occupying more than half of its space, breaking through the ruins of the castle. The background around the skeleton also stands out, filled with dark shades and broken lines that introduce an atmosphere of destruction and dread.

On the left side, we see Princess Takiyasha – a young woman with delicate features, dressed in a long, elegant kimono. The expression on her face is a mix of focus and vengeful determination as she holds before her a magical scroll, from which she has apparently summoned the powerful skeleton. Her figure contrasts with the massive form of the skeleton, giving the scene dynamism and heightening the tension.

The composition of the painting is harmoniously balanced – Takiyasha occupies the lower-left corner, creating the impression that she is facing this enormous, elusive specter. Although the skeleton dominates in both scale and its terrifying form, Takiyasha draws the eye with her subtle appearance and inclined posture. Her delicacy contrasts with the brutality and power emanating from the skeleton, creating visual tension between the human and the supernatural.

In the center of the painting, between Princess Takiyasha and the giant skeleton, stand two warriors who attract attention with their unusual stance. One kneels, looking downward, as if in a gesture of surrender or resignation. Beside him stands another warrior, who holds a sword against the neck of the kneeling man while gazing upward at the giant skeleton emerging from the abyss with a look of astonishment. Their position indicates that an execution was to take place here, but the sight of the enormous specter disrupted this act, bringing a sudden sense of uncertainty and dread.

The standing man is Ōya no Mitsukuni, an imperial envoy who arrived at the abandoned Sōma palace in search of surviving rebels after the failed uprising of Taira no Masakado. The kneeling man might be his companion or one of the rebels Mitsukuni was meant to interrogate or punish. The appearance of the giant skeleton, summoned by Princess Takiyasha, interrupts this encounter.

The 10th-Century Legend

The story of Princess Takiyasha, which inspired Kuniyoshi’s painting, has its roots in the Heian period when Taira no Masakado, a powerful warrior and leader, rebelled against the central authority in Japan. His rebellion, remembered in history as one of the most significant uprisings of that period, ended tragically – Masakado was defeated, and his family and supporters were punished by execution. The crucial fact is that Masakado's daughter, Princess Takiyasha, was deeply shaken and swore to avenge her father.

In the story, Takiyasha goes to the Kifune Shrine, located in the mountains near Kyoto, to seek power to fulfill her desire for revenge. In the shrine, she performs a complex ritual and prays for supernatural support. According to legend, she manages to establish contact with the spirit world, which allows her to summon the forces of onmyōdō, an ancient art of magic that gave her power over supernatural beings. Takiyasha embarks on the path of magic, becoming a witch capable of summoning yōkai – demons and spirits from Japanese folklore.

The princess uses her newfound powers to summon a giant skeleton, known in Japanese folklore as gashadokuro (餓者髑髏 – literally, “starving person’s skull”) – a spirit that takes the form of a skeleton composed of the remains of those who perished in battles or from starvation. She intended to use this dangerous entity as a weapon against the warriors who sought to destroy what remained of her father’s rebellious legacy. Summoning the gashadokuro was an act of symbolic defiance against authority, as well as an expression of desperation to gain an advantage in an uneven battle.

The legend of Princess Takiyasha has become a symbol in Japanese culture of resistance against oppression and of appealing to supernatural forces in defense of one’s cause. Kuniyoshi, in creating this painting, portrayed her as a tragic yet determined figure – a woman unafraid to stand against the odds, alone against the entire imperial power, calling upon the might of demons.

What Does the Painting Really Say?

Allegory from Edo to Heian

Kuniyoshi’s painting “Takiyasha the Witch and the Skeleton Specter” goes far beyond traditional ukiyo-e, using the legend of the fall of the Heian period as a complex metaphor for the political reality of the Edo period. Like the Heian period, the Edo period began with stability and development. Both periods earned the reputation of golden ages of Japanese culture, during which art, literature, and philosophy flourished. Heian was an era of aristocratic ideals of aesthetics, while Edo was characterized by a harmonious vision of society under Tokugawa rule, which, however, gradually lost its authority. Using the metaphor of the ultimate fall of the Masakado clan, Kuniyoshi suggested a similar fate for the shogunate – internal decay.

Princess Takiyasha, the daughter of Taira no Masakado, here symbolizes rebellion, evoking memories of uprisings and a quest for independence. The legend of her defiance and summoning of magical powers had strong references to the times in which Kuniyoshi lived. The censorship imposed by the shogunate was intense, and any criticism or satire directed at Edo authorities was severely punished. By using the ukiyo-e woodcut technique, Kuniyoshi was able to create allegorical works that smuggled in political messages under the guise of folklore – a protest against a repressive system. It is believed that the painting, reviving a dark legend, aimed to show how the ruling power could succumb to its own internal corruption and be destroyed by the forces it itself had summoned.

In creating this piece in 1847, Kuniyoshi engaged in a subtle but poignant critique of the shogunate. Each panel of the painting conveys not only a terrifying story of revenge but also the artist’s reflections on Japan’s fate. The skeleton in the painting, summoned by the princess in desperation, symbolizes the consequence of oppression and censorship, suggesting that suppressing discontent may lead to catastrophe. Ultimately, this painting becomes not just a tale of the Heian curse but also a warning to Edo – that any regime, no matter how powerful, can be annihilated by its own failings.

Accusations

Kuniyoshi’s painting, “Takiyasha the Witch and the Skeleton Specter,” is filled with symbolism and subtle messages that serve as a critique of the Edo shogunate. Above all, it uses the legend of the fall of the Heian period as an allegory that points to a similar process of decadence and corruption affecting the Tokugawa government of Kuniyoshi’s time. He clearly suggests that the shogunate, like the ancient aristocratic clans, has become increasingly disconnected from reality, ignoring the needs and sentiments of society, which could lead to its downfall. He compares the current government to the “castles in the air” of Heian palace life and foresees a swift rebellion and destruction (just as happened to the imperial Heian-kyo palace when the Kamakura shogunate was established).

The central motif of the painting—the summoning of a giant gashadokuro by Princess Takiyasha—acts as a metaphor for the consequences of suppressing dissent. The skeleton represents dormant but powerful social and political forces that can awaken when an oppressive system stifles expression. The summoning of the skeleton serves as a warning to the Tokugawa shogunate that ignoring the anger of the people can awaken “phantom” forces that will ultimately turn against the rulers. Kuniyoshi thereby suggests that by suppressing freedom of speech, enforcing isolation, and repressing its citizens, the shogunate risks provoking unforeseen and destructive outcomes.

Another aspect of his critique lies in the introduction of supernatural and chaotic elements into traditional ukiyo-e, which typically depicted serene scenes. Kuniyoshi breaks this convention by introducing phenomena like ghosts and battle scenes. By portraying Princess Takiyasha summoning a terrifying gashadokuro, Kuniyoshi suggests that governmental repression carries inevitable consequences. The skeleton, symbolizing a spectral force, embodies the might of anger and discontent ignored by the shogunate. Kuniyoshi warns that these forces, repressed and hidden by the authorities, may eventually explode and turn against the shogunate itself.

In this way, the artist critiques the Tokugawas for their authoritarian actions, implying that repression and censorship create an illusionary stability that, in reality, is dangerously unstable.

Moreover, the painting also serves as a critique of censorship and repression of artists. During the Edo period, the government imposed numerous restrictions on creators, who were allowed to address only government-approved subjects. Kuniyoshi, by taking up themes of rebellion and depicting the story of Takiyasha, who summons spirits as an act of revenge, shows that art can be a tool of resistance. Unable to openly criticize the government, Kuniyoshi used a metaphor of supernatural vengeance to suggest that the shogunate’s suppression of freedom of expression was like casting a spell that would ultimately bring ruin upon itself.

Ultimately, “Takiyasha the Witch and the Skeleton Specter” is a complex critique of power that, through censorship, repression, and ignoring societal voices, seeks authoritarian control. Kuniyoshi subtly conveys that a system that disallows any form of dissent and strives to retain power at all costs is inevitably on a path to self-destruction.

Kuniyoshi’s Troubles

Kuniyoshi, like many other artists of the Edo period, struggled with restrictive censorship regulations. Censorship at that time was a tool of Tokugawa power, meant to maintain order and stability, especially amid growing social and political tensions. Censorship rules were introduced sporadically, but when enforced, they were applied with great severity. Censors closely observed all forms of artistic expression, with banned themes including criticism of the government, satire of rulers, and references to Christianity.

One of the harshest periods of censorship came in 1843 when Kuniyoshi found himself at the center of conflict with the authorities. During this time, he dared to create several satirical works that subtly but clearly criticized the shogunate. This series depicted officials in a satirical manner, provoking the ire of the censors. When the authorities realized that Kuniyoshi was using art as a medium for dissent, they took decisive action—the artist was heavily fined, and the blocks for his works were destroyed.

This punishment was a severe blow for Kuniyoshi, both financially and artistically. However, it did not entirely discourage him but instead forced him to find more subtle ways to express his opposition. It was at this time that he created “Takiyasha the Witch and the Skeleton Specter”—a work based on a Japanese legend but filled with hidden symbolism criticizing the shogunate. Kuniyoshi used the character of Princess Takiyasha, a rebel from the past, to signal that any authority suppressing dissenting voices may be destroyed by its own repression.

The painting “Takiyasha the Witch and the Skeleton Specter” was one of the last works in which Kuniyoshi attempted to bypass censorship and express his discontent. Although the theme appeared safe—it depicted a Japanese legend—the composition and dark symbolism held a sophisticated message. The gashadokuro, a massive skeleton composed of the bones of dead warriors, symbolized the social forces repressed by the authorities that could rise in response to oppression. Thus, by seemingly adhering to a safe legend, Kuniyoshi created a work that subtly yet unmistakably conveyed his critique of the Tokugawas.

The Edo Society’s Reaction to Kuniyoshi’s Works

Utagawa Kuniyoshi’s work was like a silent but unsettling whisper that echoed in the shadowed streets of Edo. To some, his works represented inspiration and a bold expression of rebellion against the shogunate, while for others, they remained full of mysteries that only a few could interpret. In a time when any open criticism of the government could lead to imprisonment or worse, Kuniyoshi’s works earned respect as a symbol of artistic courage and independence. His subtle allusions to repression and tyranny in the shogunate caught the attention of viewers ready to see in art something beyond beauty—those prepared to find hidden meanings and social commentary.

Kuniyoshi also inspired other ukiyo-e artists who saw in him a master of not only technique but also subtle messaging. Although not everyone had the courage or the opportunity to take similar bold steps, Kuniyoshi’s influence made ukiyo-e art a tool that could affect social consciousness. His work gave hope that traditional Japanese art could become a form of resistance rather than merely aesthetic decoration. By depicting figures of rebels, spirits, and supernatural beings, Kuniyoshi suggested that even the most enduring social order is not immutable, and his artistic blade could cut deep, reaching the hearts and minds of viewers.

Kuniyoshi’s example showed other artists that it was possible to bypass censorship and express criticism in a veiled way. His work thus encouraged a bolder approach and the hiding of ideas, which was not only an expression of individual creativity but also an act of solidarity with those who sought change. Thanks to artists like him, Edo society had a chance to see that art could be a realm of expressing dissent against injustice.

The Legacy of the Work and Its Influence on Contemporary Art

Utagawa Kuniyoshi’s painting “Takiyasha the Witch and the Skeleton Specter” has had a significant impact on contemporary culture and art in Japan and worldwide. Its dark, dramatic vision of a giant skeleton summoned by Princess Takiyasha has become a symbol of Japanese imagination and fascination with supernatural themes.

The motif of supernatural skeletons and spirits appears in many contemporary works—from visual arts to video games and anime. For example, the giant skeleton motif inspired directly by Kuniyoshi’s painting appears in the popular manga “GeGeGe no Kitarō” by Shigeru Mizuki, where the gashadokuro is portrayed as one of the terrifying yōkai. Similarly, in “Yu Yu Hakusho.”

Kuniyoshi and his works are regularly showcased in museums worldwide, attracting not only ukiyo-e enthusiasts but also a broad audience fascinated by Japanese culture and art. His works are displayed in institutions such as the Tokyo National Museum, the Metropolitan Museum of Art in the United States, and art museums in Europe. Kuniyoshi’s works are appreciated for their masterful combination of drama, detailed woodcut technique, and hidden meanings, drawing crowds captivated by the blend of beauty and dark symbolism.

“Takiyasha the Witch and the Skeleton Specter” remains one of the most recognizable works of Japanese art on supernatural themes, and its mystical symbolism and haunting atmosphere continue to inspire the imagination of modern creators. This piece serves as a timeless bridge between Edo art and the contemporary understanding of Japanese culture, where spirits, demons, and hidden emotions find expression in iconic images and narratives.

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 A connoisseur of Asian culture with a deep-seated appreciation for various philosophies of the world. By education, psychologist and Korean philologist. By heart, an Android developer and an ardent tech aficionado. In tranquil moments, he champions a disciplined way of life, firmly believing that steadfastness, perpetual self-enhancement, and a dedication to one's passions is a sensible path for life.

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