COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1925.2410
amicoid
AIC_.1925.2410
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Katsukawa, Shunsho
crn
Katsukawa, Shunsho
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; 1726-1792 Asia,East Asia,Japan
cdt
Japanese; 1726-1792 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Katsukawa Shunsho
crt
Katsukawa Shunsho
Creator Name-CRT
false
Title:
The actors Sawamura Sojuro II as the priest Shunkan and Azuma Tozo II as Oyasu in act three of the play Hime Komatsu Ne no Hi Asobi (Outing to Pick Pine Seedlings on the Rat-Day of the New Year)
otn
The actors Sawamura Sojuro II as the priest Shunkan and Azuma Tozo II as Oyasu in act three of the play Hime Komatsu Ne no Hi Asobi (Outing to Pick Pine Seedlings on the Rat-Day of the New Year)
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
Performed at the Ichimura Theater from the ninth day of the ninth month, 1768
oct
Performed at the Ichimura Theater from the ninth day of the ninth month, 1768
Creation Date
false
Creation Start Date:
1768
ocs
1768
Creation Start Date
false
Creation End Date:
1768
oce
1768
Creation End Date
false
Materials and Techniques:
Woodblock print.
omd
Woodblock print.
Materials and Techniques
false
Classification Term:
Woodblock
clt
Woodblock
Classification Term
false
Creation Place:
Asia,East Asia,Japan
ocp
Asia,East Asia,Japan
Creation Place
false
Dimensions:
Hosoban; 31.7 x 14.3 cm
met
Hosoban; 31.7 x 14.3 cm
Dimensions
false
AMICA Contributor:
The Art Institute of Chicago
oon
The Art Institute of Chicago
AMICA Contributor
false
Owner Location:
Chicago, Illinois, USA
oop
Chicago, Illinois, USA
Owner Location
false
ID Number:
1925.2410
ooa
1925.2410
ID Number
false
Credit Line:
The Art Institute of Chicago, The Clarence Buckingham Collection
ooc
The Art Institute of Chicago, The Clarence Buckingham Collection
Credit Line
false
Inscriptions:
SIGNATURE: Shunsho gaARTIST'S SEAL: Hayashi in jar-shaped outline
oin
SIGNATURE: Shunsho gaARTIST'S SEAL: Hayashi in jar-shaped outline
Inscriptions
false
Rights:
orl
<a href="http://www.artic.edu/aic/rights/main.rights.html"target="_new">http://www.artic.edu/aic/rights/main.rights.html</a>
Rights
false
Context:
Shunkan, head monk of the Kyoto temple Hosho-ji, was a historical figure who in 1177 was exiled to the remote island of Kikaigajima for his part in an unsuccessful plot against the Taira clan's domination of court and government. Though his co-conspirators were soon pardoned, Shunkan was left on the island to die. This tragic episode became the basis for a medieval No play which was later reworked into much more elaborate Bunraku and Kabuki versions.In the Kabuki play Shunkan manages to escape his islandexile on a secret mission to guard the emperor's concubine Kogo no Tsubone while she gives birth to a royal heir in a remote retreat at Horagadake. Since they will need a midwife, Shunkan enlists the services of a village girl called Oyasu, who fortunately is a secret supporter of the Genji cause. Oyasu wishes to learn the true identity of Shunkan and the noblewoman who is to give birth. In order to demonstrate her trustworthiness, she is about to swear an oath of secrecy on a pair of metal hand-mirrors,just as a warrior would swear on his sword. Fearful of revealing his secret, Shunkan stays her hand, but as he catches sight of his aged features in one of the mirrors the story of his lonely banishment inadvertently slips out (the scene shown here). With Oyasu's assistance the little prince is born safely into the world.Though both figures are drawn with the somewhat stiff and unyielding line common in his earliest prints, Shunsho makes much of the contrast between them. Sojuro II, his stern, almost fierce expression accentuated by dramatic makeup and his sword gripped resolutely in one outflung hand, looms hugely over the small, white-faced Tozo II, who looks open and vulnerable and whose mirror dangles weakly from her hand. Gookin observes that this is probably Shunsho's earliest print showing a female character. Certainly actors in male roles must have been far easier to portray as recognizable individuals than actors in female roles - who tended to look very much alike under the necessary white powder and wig.
cxd
Shunkan, head monk of the Kyoto temple Hosho-ji, was a historical figure who in 1177 was exiled to the remote island of Kikaigajima for his part in an unsuccessful plot against the Taira clan's domination of court and government. Though his co-conspirators were soon pardoned, Shunkan was left on the island to die. This tragic episode became the basis for a medieval No play which was later reworked into much more elaborate Bunraku and Kabuki versions.In the Kabuki play Shunkan manages to escape his islandexile on a secret mission to guard the emperor's concubine Kogo no Tsubone while she gives birth to a royal heir in a remote retreat at Horagadake. Since they will need a midwife, Shunkan enlists the services of a village girl called Oyasu, who fortunately is a secret supporter of the Genji cause. Oyasu wishes to learn the true identity of Shunkan and the noblewoman who is to give birth. In order to demonstrate her trustworthiness, she is about to swear an oath of secrecy on a pair of metal hand-mirrors,just as a warrior would swear on his sword. Fearful of revealing his secret, Shunkan stays her hand, but as he catches sight of his aged features in one of the mirrors the story of his lonely banishment inadvertently slips out (the scene shown here). With Oyasu's assistance the little prince is born safely into the world.Though both figures are drawn with the somewhat stiff and unyielding line common in his earliest prints, Shunsho makes much of the contrast between them. Sojuro II, his stern, almost fierce expression accentuated by dramatic makeup and his sword gripped resolutely in one outflung hand, looms hugely over the small, white-faced Tozo II, who looks open and vulnerable and whose mirror dangles weakly from her hand. Gookin observes that this is probably Shunsho's earliest print showing a female character. Certainly actors in male roles must have been far easier to portray as recognizable individuals than actors in female roles - who tended to look very much alike under the necessary white powder and wig.
Context
false
Related Image Identifier Link:
AIC_.E19639.TIF
ril
AIC_.E19639.TIF
Related Image Identifier Link
false