Takashima Ohisa Using Two Mirrors to Observe Her Coiffure

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Like Harunobu, Utamaro exploited reflection as a means of interaction between figures and to show two views simultaneously. These prints reveal his earliest stylistic devices for manipulating space. In the print to the right, Ohisa of the Takashima teahouse assumes the awase kagami position, in which she holds two hand mirrors at once. She can see both her face and the back of her head, and her use of the two mirrors gives the viewer the same advantage. Utamaro plays with the nature of representation by revealing an inaccurate reflection, which is actually a reversal of the left side of Ohisa's head.Just as a mirror is selective in what it reflects, Utamaro was selective in his innovative cropping of images to reveal only their barest essentials. The image to the left, of the waitress Okita of the Naniwa teahouse, is almost a close-up of the other print. By placing mica on the mirror to create a shiny surface\u2014a technique Utamaro was the first to exploit fully\u2014the artist enhanced the illusion of his image.

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