Ranshou has built a collection of objects and documents through various acquisitions, gifts, and deposits for the purpose of preservation and furthering research in the following principal areas:

- Objects and documents relating to kabuki dance, with a particular interest in the early onnagata (1700s-1800s).
- Objects and documents at the intersection of kabuki dance and other art forms, such as ukiyo-e or painting.
- Objects and documents relating to women and their relationship with society throughout history, as well as the aesthetic standards of the time.
- Objects and documents illustrating the power and humanity of women.

Yoshino Tayū, Takao Tayū, and Yūgiri Tayū were perhaps the most renowned women of Japan’s early modern period, which is why they are featured as protagonists in several classical kabuki plays and dances, including Takao Sange. Tayū (太夫) are the highest class of traditional entertainers in Japan. They are multitalented performers who are trained from a young age in song, dance, poetry, calligraphy, musical instruments, conversation, etc. Despite this, they are often described in English texts as simply "courtesans"―praised for their beauty and seductiveness, while their other skills are largely overlooked. A Western counterpart would be Phryne, an ancient Greek hetaira who is most known for her stunning looks despite also being a witty writer who socialized with the Athens’ philosophers. In addition, Tayū are often mistakenly conflated with keisei (傾城), yūjo (遊女), and oiran (花魁), despite the fact that they do not engage in sex work due to their high rank.

For example, Yoshino Tayū was a highly educated, independent woman who mastered everything from Japanese tea ceremony and flower arrangement to painting and the game of Go. The esteemed poet Ihara Saikaku portrayed her in his novel The Life of an Amorous Man, and early onnagata grandmasters like Yoshizawa Ayame, Segawa Kikunojō, and Nakamura Tomijūrō even tried to imitate her in daily life. It is said that she ran in the same cultural and creative circles as Hon’ami Kōetsu (本阿弥光悦), the founder of the Rinpa school of painting (琳派). Perhaps now is the time to shift our focus to these women’s intellect and artistry, which have historically been neglected or ignored.

This record is nowhere near comprehensive, and we hope it will be enriched by your contributions. If you have any relevant information or materials, please feel free to contact us.