Fujin Sōgaku Jittai and Fujo Ninsō Juppin

Fujin Sōgaku Jittai (婦人相学十躰, "Ten physiognomies of women") and Fujo Ninsō Juppin (婦女人相十品, "Ten classes of women's physiognomy") are the titles of what may have been two series of ukiyo-e prints designed by the Japanese artist Utamaro and published c. 1792–93.

Ukiyo-e art flourished in Japan during the Edo period from the 17th to 19th centuries, and took as its primary subjects courtesans, kabuki actors, and others associated with the "floating world" lifestyle of the pleasure districts.

[2] A prominent genre was bijin-ga ("pictures of beauties"), which depicted most often courtesans and geisha at leisure, and promoted the entertainments of the pleasure districts.

[4] Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background.

[9] Eiji Yoshida recorded the title of another print in the Fujo Ninsō Juppin series, Kasō no Bijin no Hanshin Zu (下層の美人の半身図, "Half-length picture of lower-class beauty"), in the last volume of Ukiyo-e Jiten, but no details of its composition are known.

Yoshida also noted that a catalogue from 1915 for the Yamanaka Shōkai [ja] trading company lists a Chawan o Noseta Chataku o Motsu Onna (茶碗をのせた茶托を持つ女, "Woman holding a saucer with a teacup on it") from the Fujin Sōgaku Jittai series.

[12] In Uchiwa o Sakasa ni Motsu Onna (団扇を逆さに持つ女, "Woman holding a hand-fan upside-down"), a young woman holds a round uchiwa hand fan upside-down with both hands, possible turning it in circles;[13] she appears lost in thought.

The grey haori[14] is of silk gauze, and its sleeves have slid down the woman's arms, revealing their white skin at the centre of the composition.

[15] In the brightly-coloured Sensu o Mochi Higasa o Sasu Onna (扇子を持ち日傘をさす女, "Woman holding a hand-fan and parasol"), a woman stands in a leisurely, relaxed posture carryin a parasol and hand fan and wearing an age-bōshi[c] head-dress to keep dirt from the hair.

The arch in her posture and her squeezing grip on the letter suggest a conflicted emotional state brought on by a likely tangled relationship.

[6] In Popen o Fuku Musume (ポペンを吹く娘, "Young woman blowing a poppen glass"), a young woman plays with a popen [ja][d]—a glass toy that changes sounds depending on whether the breath is blown or sucked through it; the change makes an onomatopoeic po–pen sound.

To Japanese art historian Tadashi Kobayshi, "Utamaro has marvelously captured her just when she seems about to achieve a more mature, voluptuous beauty but has yet to lose the innocence and naïveté of childhood.

[17] The vertical ōban-size, full-colour nishiki-e prints[17] were published by two firms: those of Tsuruya Kiemon[18] and Yamashiroya Tōemon.

The inscription reads:[18] Kanetsuke (鉄漿付け, "Applying ohaguro") Enkan wo Motsu Onna (煙管を持つ女, "Woman holding a pipe") Kazaguruma (風車, "Pinwheel") Mayusori (眉そり, "Shaving eyebrows") In Usu wo Hiku Onna (臼をひく女, "Woman grinding a mortar"), also called Hiki-usu (石臼, "stone mortar; millstone"), a woman with her hair wrapped in a towel works a millstone while laughing at something.

The inscription reads:[19] In Nozoki-megane (のぞき眼鏡, "Peep-box"), also called Kawayurashiki no sō (かはゆらしき相), a woman looks inside a magic lantern–like device.