Three Beauties of the Present Day (当時三美人, Tōji San Bijin) is a nishiki-e colour woodblock print from c. 1792–93 by Japanese ukiyo-e artist Kitagawa Utamaro (c. 1753–1806).

The triangular composition depicts the profiles of three celebrity beauties of the time: geisha Tomimoto Toyohina, and teahouse waitresses Naniwaya Kita and Takashima Hisa.

The portraits are idealized, and at first glance their faces seem similar, but subtle differences in their features and expressions can be detected—a level of realism at the time unusual in ukiyo-e, and a contrast with the stereotyped beauties in earlier masters such as Harunobu and Kiyonaga.

The luxurious print was published by Tsutaya Jūzaburō and made with multiple woodblocks—one for each colour—and the background was dusted with muscovite to produce a glimmering effect.

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.

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

She is said to have been fifteen[c] in the portrait,[19] in which she wears a patterned[12] black kimono[17] and holds an uchiwa hand fan printed with her family emblem, a paulownia crest.

[21] She was the eldest daughter of Takashima Chōbei, the owner of a roadside teahouse at his home called Senbeiya[14] in which Hisa worked attracting customers.

[19] Tradition places her age at sixteen[e] when the portrait was made, and there is a subtly discernible difference in maturity in the faces of the two teahouse girls.

[22] Hisa holds a hand towel over her left shoulder[17] and an identifying three-leaved daimyo oak crest decorates her kimono.

[22] Fumito Kondō considered the print revolutionary; such expressive, individualized faces are not seen in the stereotyped figures in the works of Utamaro's predecessors such as Harunobu and Kiyonaga,[19] and it was the first time in ukiyo-e history that the beauties were drawn from the general urban population rather than the pleasure quarters.

Hisa ranked lower, though still appears to have been quite popular—a wealthy merchant offered 1500 ryō for her, but her parents refused and she continued to work at the teahouse.

The "Three Beauties of the Kansei Era" normally refer to the three who appear in this print; on occasion, Utamaro replaced Toyohina with Kikumoto O-Han.

Yoshida thought less of the further undifferentiated personalities of a later print with the same triangular composition, Three Beauties Holding Bags of Snacks,[h] published by Yamaguchiya.