Thus, the bakuhan system was firmly solidified by the second half of the 17th century. The establishment of a strict class structure of warriors, farmers, artisans, and merchants (shi-nō-kō-shō) represents the final consummation of the system. Distinctions between the statuses of warriors, farmers, artisans, and merchants were strictly enforced, but the distinction between the samurai and the other three classes was especially strict. Forming barely 7 percent of Japan’s total population, warriors levied taxes on the farmers, who formed more than four-fifths of the population and who thus provided the economic foundation of the system. Symbolizing their dominance of society by force of arms, samurai wore two swords; by law, the other classes were forbidden to wear them, thus carrying the policies of Nobunaga and Hideyoshi to their logical conclusion. Concern for strict status differentiation was evident even in family relationships, as absolute obedience was demanded from members of the family toward the house head (kachō). Among the family members, the status of women was especially low, and the idea of danson-johi (“respect for the male, contempt for the female”) was prevalent.

The establishment of the Tokugawa regime created a need for legitimation, a new worldview, and a system of ethics to support it. Neither the Shintō nor the Buddhist ideologies of the earlier medieval society was adequate. But the ideas of Neo-Confucianism, especially of the Sung dynasty Chu Hsi school (Shushigaku)—which had been well-known to political and ethical thinkers since the 13th century—provided an intellectual rationalization for the status-oriented social structure of the bakuhan system. Shushigaku appealed especially to the feudal rulers because, among the various schools of Confucianism, it was the most systematic doctrine. Fujiwara Seika is regarded as the father of Tokugawa Neo-Confucianism, lecturing even to Ieyasu himself. Seika’s student, the Chu Hsi scholar Hayashi Razan, served as advisor to the first three shoguns. He established what was to become the official Confucian school, which provided philosophical guidance to the shogunal house and high bakufu officials throughout the period. Razan is said to have had a hand in the drafting of all bakufu official documents and in the formulation of bakufu laws. His political ideas—as seen in such works as Honchō hennen-roku (“Chronological History of Japan”) and Honchō tsugan (“Survey History of Japan”), completed by his son Gahō—provided a historical justification for the establishment of the Tokugawa shogunate, based upon the concept of tendō (“way of heaven”). Tendō essentially took on the connotation of the Chinese term t’ien-ming (“mandate of heaven”; Japanese: tenmei), and Razan and other Confucian thinkers provided an explanation and justification for changes in rulers through the process of gekokujō (overthrow of superiors by inferiors) of the Sengoku period. But the role of Chu Hsi political-ethical thought in Tokugawa times was to repudiate the revolutionary idea of gekokujō by stressing the legitimacy of Ieyasu’s new regime, emphasizing instead the idea of kenshin (“devotion,” or “loyalty”), linking this to Confucian moral concepts. Razan stressed the Chinese idea that, just as there is order between heaven and earth, there needed to be order between rulers and subjects. Thus he argued that the separation of the four classes of society was in accord with the teachings of Confucius. The two central moral ideals of Confucianism were chū, or “loyalty,” and kō, or “filial piety.” But in contrast to China, Tokugawa thinkers like Razan placed more emphasis on chū as a support for feudal lord-vassal relations than on kō, which was a family ethic. Chu Hsi studies opposed the new worldview and logic introduced by Christianity, which gave more importance to God than to the ruler-subject relationship, and also bitterly criticized the other-worldly aspects of Buddhism, which had been the ideology of the medieval era. Orthodox Chu Hsi thought was a perfect conservative philosophy of statecraft that valued loyalty and order above all else.

Japanese thinkers of the 17th century could hardly have been expected to fully ingest a foreign political philosophy already several hundred years old, and challenges to orthodox Chu Hsi thought were many. Some argued for a return to the original teaching of Confucius himself, emulating a reform movement already under way in China. The philosophy of yet another Sung thinker, Wang Yang-ming, also held a special place in Confucian circles in the early Edo period. Wang Yang-ming studies (Ōyōmeigaku in Japanese) were characterized by a strong subjective idealism but, at the same time, were quite practical since they emphasized the unity of thought and deed. Virtue had to be not only cultivated in the abstract but practiced as well. Nakae Tōju, often regarded as the father of Japanese Wang Yang-ming studies, was so earnest in performing virtuous acts that he was called the sage of Ōmi. One of his followers, Kumazawa Banzan, who criticized the growing autocracy in the politics of his day, transformed Wang Yang-ming studies from a means for individual spiritual training into a method for political reformation.

Commerce, cities, and culture

By reducing Ōsaka Castle and quelling the Shimabara Rebellion, the Tokugawa regime brought to an end the period of violence and ushered in an era of unprecedented domestic peace. As a result, commerce was promoted and cities developed. Widespread commercialization occurred in the latter half of the 17th century, centered in the Kinki region, where productive capacity was the most advanced. Now the nationwide farming populace (hyakushō) of independent landowners, although subject to heavy taxes and various kinds of labor services, sought the means to enjoy a better standard of living. In addition to their primary efforts as cultivators, they reclaimed new lands and produced various commercial crops and handicraft goods for sale in the city and town markets. Among these commercial crops were cotton and rapeseed oil in the Kinki region and silk in eastern Japan. Communications and transportation also developed for the circulation of such goods, thanks to the earlier efforts of various daimyo to maximize production in their domains and to the increased mobility caused by the sankin kōtai system. As a result of the development of commerce and communications, new-style merchants such as wholesalers and brokers to handle commercial crops came to the fore, and powerful financiers also appeared.

There was a massive growth of urban centers in the first half of the Edo period, mainly represented by the castle towns of the various daimyo. These daimyo, numbering some 250 for most of the period, were allowed by the bakufu to have but one castle, and thus there was a move to pull down other castles and concentrate the samurai of each han in a capital castle town. These castle towns gradually came to acquire the character of commercial cities, as some farmers abandoned the countryside and merchants emerged to serve the needs of the burgeoning urban population. Purely commercial cities and post towns (towns along highways) also arose throughout the country as part of this massive urbanization. While most cities averaged between 10,000 and 20,000 inhabitants, many had populations exceeding 100,000. The three main cities of Edo, Ōsaka, and Kyōto, under the direct control of the bakufu, were especially developed. When its warrior inhabitants are included, Edo in the early years of the 18th century had a population of more than one million and thus became one of the largest cities in the world.

The early and mid-Edo periods produced many remarkable figures in the fine arts and crafts. Perhaps the three artists most representative of the culture were Ihara Saikaku in ukiyo-zōshi (“tales of the floating world”) genre novels, Chikamatsu Monzaemon in jōruri (“puppet play”) drama, and Matsuo Bashō in haiku poetry. All three flourished during the Genroku era (1688–1704), the name more broadly denoting a golden age of cultural development roughly 50 years long during the late 17th and early 18th centuries. Saikaku was an Ōsaka townsman who first aspired to write haikai—humorous renga (linked-verse) poetry from which the more serious haiku was derived—and for more than 30 years he was active as a haikai composer. He was especially skilled at yakazu haikai, a competition to compose as many haikai as possible within a fixed period of time that derived its name from a popular arrow-shooting competition (yakazu). Saikaku set a new record by composing 23,500 haikai in a single day and night—one verse every four seconds. By 1682 Saikaku largely had given up haikai, however, and began to write ukiyo-zōshi, producing about 20 masterpieces in succession, beginning with Kōshoku ichidai otoko (1682; The Life of an Amorous Man). The ukiyo-zōshi developed out of the so-called kana-zōshi (storybooks written in kana script) into a more thoroughly urban commoner’s form of literature after the latter had themselves replaced the previous otogi-zōshi (“fairy-tale books”) in popularity. The unique urban spirit of the age can be seen in the word ukiyo, which had meant “sad world” in Buddhist terms during medieval times. Written with a different Chinese ideogram in Edo times, it now came to mean “floating world” and implied pleasure—specifically from the pleasure quarters of the great Edo cities. Saikaku consistently attempted to create an accurate depiction of the human desire for love and profit. His works offer sharp criticism of the Edo samurai as men so bound by social status and moral principles that they could not live a free life.

Matsuo Bashō became closely attached to haiku (although the word itself was not coined until the 19th century) and fashioned it into a popular form of poetry. Bashō was born into a warrior family, but after becoming a rōnin he devoted himself to the development of haiku as a literary form. Bashō found the existing haikai style unsatisfying. He began writing hokku (17-syllable opening verses for renga) as separate poems, developing a new style called shōfū or “Bashō style.” Bashō proclaimed what he called makoto no (“true”) haiku, seeking the spirit of this poetic form in sincerity and truthfulness. He also introduced a new beauty to haiku by using simple words. Bashō essentially grafted the aristocratic conceptions of medieval poetry onto the more mundane feelings of Tokugawa urban culture, creating a highly popular poetic form. Rather than repudiating tradition, Bashō’s haiku brought it to completion.

About the turn of the 17th century, the Jōrurihime monogatari (a type of romantic ballad), which drew on the traditions of the medieval narrative story, was for the first time arranged as a form of dramatic literature accompanied by puppetry and the samisen (a lutelike musical instrument). It continued to develop until the three great masters—Takemoto Gidayū as narrator, Chikamatsu Monzaemon as composer, and Tatsumatsu Hachirobei as puppeteer—made jōruri into a highly popular Tokugawa performing art, enjoyed by all classes of society.

Chikamatsu, like Bashō, came from a warrior family. Chikamatsu, a prolific writer, wrote more than 80 jidaimono (historical dramas) and 20 sewamono (domestic dramas focusing on urban society), both for jōruri. He also wrote more than 30 kabuki plays. The chief theme running through Chikamatsu’s works is the idea of giri (“duty”), which is to be understood not so much as feudal morality enforced from above but rather as the traditional consciousness of honor and dignity in one’s motives and of social consciousness in human relations. The compositions of Chikamatsu’s later years seek the motif of tragedy in the fact that this giri, while proof that people have humanity, cannot be thoroughly achieved because of their immorality and lack of principle. Giri is constantly in conflict with ninjō (“human feelings,” especially love), and this tension provides the drama in many of his works. Beginning with his Shinjū ten no Amijima (1720; The Love Suicide of Amijima), the leading male and female characters in his sewamono dramas are unable to resolve the contradictions between giri and ninjō in this world and so die by shinjū (a suicide pact between lovers) in order to realize their love in a future life. While Buddhist elements can be detected in these tragic endings, they also graphically capture the unresolvable contradictions that faced townspeople in Genroku society.

Besides the licensed quarters for prostitutes, theatrical districts also flourished in the Genroku era. Kabuki drama also developed in the early Edo period. Okuni kabuki, named for the female dancing troupe led by Izumo Okuni, became popular at the turn of the 17th century and is conventionally regarded as the origin of this dramatic form. Other troupes imitated her work, developing into yūjo (“prostitutes’ ”) kabuki, run by brothel owners. Ultimately, women were banned from kabuki, and actors and prostitutes separated into distinct quarters. A further development was the wakashū (“young-man style”) kabuki, in which the young men were also available as sexual partners; this also was prohibited because of widespread homosexuality. All kabuki was banned following the death of the shogun Iemitsu in 1652. It was allowed once again, but only after substantial reform, in which even women’s parts were played by adult males (who were distinguished from the wakashū by shaved forelocks). Kabuki now developed from its previous dancing-act form into a theatrical form centered on a dramatic plot with realistic acting. In western Japan (Kyōto and Ōsaka), the style that emerged was called wagoto (“tender business”), which had a pronounced comical element and concentrated on love; by contrast, the popular form of Edo kabuki was aragoto (“rough business”), which focused on the rash actions of historical heroes. This Edo form of kabuki seemed to suit the rowdy elements of society; indeed the word kabuki itself (using different Chinese ideograms), meaning “inclined,” was first used by wild gangs of outrageously dressed young men called kabukimono.

Despite the popularity of these new theatrical forms, traditional arts of nō drama, the tea ceremony, and flower arrangement also reached new stages of development in the period. The tea ceremony (cha-no-yu) in particular became popular and was practiced not only by the shogun and daimyo but also by the newly risen merchants, who used their wealth to become eager collectors of famous antique tea-ceremony utensils. As the tea ceremony became popular, many schools emerged, most notably the Sen-ke (Sen house), the school of Sen Rikyū. The art of the tea ceremony came to be monopolized by the house heads of the various schools, fostering the development of the “profession” of tea master. This “house head” (iemoto) system also spread to flower arrangement and to other arts and became a distinguishing feature of the Edo period. One result of this segmentation into tradition-conscious schools was that it inhibited further development of these artistic forms. Often, it was only by breaking away from the iemoto that innovation could proceed.

Distinctive development also occurred in the fine arts and crafts. Ogata Kōrin, for example, brought decorative painting to its highest stage of perfection, bequeathing to posterity many splendid masterpieces in gold lacquer (maki-e) and other media. Techniques of dyeing and weaving were also improved in the Edo period. In Kyōto, Miyazaki Yūzen developed the splendid techniques of yūzen-zome (a rice-paste batik method of dyeing), and the weaving and decorating of the traditional kimono became even more colorful. In Edo, drawing in traditional styles was further developed by Hishikawa Moronobu, who not only depicted the usual courtesans and actors but also vividly portrayed various aspects of the lives of ordinary people. But Moronobu’s real contribution was to develop the Chinese technique of wood-block printing to produce the ukiyo-e (“pictures of the floating world”) style, which met a growing popular demand. Many great Edo-period artists—e.g., Andō Hiroshige and Katsushika Hokusai—developed the ukiyo-e genre into a unique Japanese art form. Famous centers of pottery production also flourished at various places throughout the country, some ancient, like Seto, but others, like Hagi, stimulated by the influence of Korean potters captured during Hideyoshi’s invasions.

Both the old ceremonies of the imperial court and the various forms of warrior etiquette developed by the successive bakufu were codified, studied, and even extended to the common people, helping to shape manners throughout the country. Indeed, Japanese customs in dress, food, and housing became established and somewhat standardized during the Edo period. Even eating habits changed from two to three meals a day; in the cities rice became the standard food, and a rich variety of cakes and sweets were consumed by urban dwellers.