井原西鶴
Three distinct cultural traditions operated during the Tokugawa era, having little to do with each other. In the villages the peasants had their own rituals and localistic traditions. In the high society of the imperial court, daimyō and samurai, Chinese cultural influence was paramount, especially in the areas of ethics and political ideals. Neo-Confucianism became the approved philosophy, and was taught in official schools; Confucian norms regarding personal duty and family honor became deeply implanted in elite thought. Equally pervasive was the Chinese influence in painting, decorative arts and history, economics, and natural science. One exception came in religion, where there was a revival of Shinto, which had originated in Japan. Motoori Norinaga (1730–1801) freed Shinto from centuries of Buddhist accretions and gave a new emphasis to the myth of imperial divine descent, which later became a political tool for imperialist conquest until it was destroyed in 1945. The third cultural level was the popular art of the low-status artisans, merchants and entertainers, especially in Edo and other cities. It revolved around "ukiyo", the floating world of the city pleasure quarters and theaters that was officially off-limits to samurai. Its actors and courtesans were favorite subjects of the woodblock color prints that reached high levels of technical and artistic achievement in the 18th century. They also appeared in the novels and short stories of popular prose writers of the age like Ihara Saikaku (1642–1693). The theater itself, both in the puppet drama and the newer kabuki, as written by the greatest dramatist, Chikamatsu Monzaemon (1653–1724), relied on the clash between duty and inclination in the context of revenge and love.