Remembering Sōgoro

Woodblock print of Sakura Sōgoro, created by Tokioka Yositoshi. 

BOG

The Sakura Sōgo no hanashi, a Nishiki-e, multi-colored woodblock print, created by Tsukioka Yositoshi between 1885 and 1886, depicts a scene from the story of Sakura Sōgoro, a peasant martyr. Sakura Sōgoro, sometimes referred to as Kiuchi Sōgo, was a peasant who lived in the Sakura domain who took action against an Official that had been levying excessive and harsh taxes among the peasant population, leading to starvation[1]. At this point in time in the Tokugawa era, the appeal process for peasants was formatted so that any appeals went to the immediate official, who in this district was corrupt[2]. Sōgoro decided to bypass the appeal process and went directly to the Shogun, committing an illegal act and thereby forfeiting his life, but also saving the lives of his peers[3].  By doing so Sōgoro became the “archetype of the peasant martyr” and can be seen to “represent the entire body of peasant uprisings in the Tokugawa period”[4].

The legend of Sakura Sōgoro would have been known throughout Japan. When analyzing the woodblock print, it is necessary to highlight the importance of the creator, Yositoshi, and Yositoshi’s chosen scene.  First, Yoshitoshi was a famous artist and is recognized as the “last great master of the Japanese woodblock print”[5]. He produced many prints throughout his career, which lasted throughout the transition between feudal Japan and the beginning of modern Japan[6]. Yositoshi’s position as a highly respected artist and his chosen profession and medium are highly important. As a respected woodblock artist, Yositoshi’s work would have been reminiscent of traditional Japan. At the time of printing, the art of woodblock printing was slowly being replaced by new techonology such as photography[7]. The conscious decision to depict a scene from the story Japanese legend in a traditional Japanese art form reinforces the idea that the print was meant to link the Japanese population to its roots.

When examining the context surrounding the time period of this print, the need for Japanese society to have a link to the past becomes evident. Around the creation of the print, Japan was undergoing a period of transition and modernization. Over the past several years since the opening of Japan to the west by Perry, Japan had had to adapt to an influx of different cultures and influences. The print, an object that would have been easy to produce and distribute to the public, is an attempt to hearken back to traditional Japanese values, reflecting a sentiment that Japan may be changing too much, too fast.

Finally, the scene chosen by Yositoshi gives a glimpse into the specific aspects of traditional Japanese culture and values the viewer would be reminded of. The scene depicted by Yositoshi is not the scene of defiance, where Sōgoro breaks the law and addresses the Shogun to save his people, but rather the scene of acceptance. Sōgoro is shown saying goodbye to his wife and children, accepting his fate for going against the status quo. The scene portrays a message of calm and subservience. Sōgoro does not wish to overthrow Japanese society; He believes that the Shogun will hear his appeal and act in the good of the people. Yositoshi’s decision to depict this scene could imply that there was a fear of revolt following the tensions of the Meiji Restoration. The message of the print counteracts the subversive and emphasizes trust in the government, since Sōgoro accepts the illegality of his actions.