COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1958.159
amicoid
AIC_.1958.159
AMICA ID
false
AMICA Library Year:
1999
aly
1999
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Katsukawa, Shun'ei
crn
Katsukawa, Shun'ei
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; 1762-1819 Asia,East Asia,Japan
cdt
Japanese; 1762-1819 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Katsukawa Shun'ei
crt
Katsukawa Shun'ei
Creator Name-CRT
false
Title:
The sumo wrestler Kurogumo Otozo with the teahouse waitress Naniwaya Okita
otn
The sumo wrestler Kurogumo Otozo with the teahouse waitress Naniwaya Okita
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
Edo period, early 1790s
oct
Edo period, early 1790s
Creation Date
false
Creation Start Date:
1790
ocs
1790
Creation Start Date
false
Creation End Date:
1790
oce
1790
Creation End Date
false
Materials and Techniques:
Woodblock print.
omd
Woodblock print.
Materials and Techniques
false
Classification Term:
Woodblock
clt
Woodblock
Classification Term
false
Subject Description:
The early years of the '90s saw a fashion among several ukiyo-e artists (Kitagawa Utamaro, Shuncho, Shun'ei) for pairing celebrated beauties-Yoshiwara courtesans or pretty shop girls-with hulking wrestlers. Shun'ei took up this vogue with enthusiasm, showing us here the young wrestler Otozo escorted by the waitress Okita of the Naniwaya Teahouse, who wears a wave-patterned apron and carries a paper lantern decorated with the vine-leaf crest of the teahouse. By setting her figure slightly behind the wrestler, he emphasizes their disparity in size. Okita holds up her hand to her mouth in a gesture that might express surprise, or even admiration. For although we may be tempted to interpret this print as a pairing of-beauty and the beast,'in fact the youngersumo wrestlers, despite their massive bulk, were often popular heartthrobs among women. It is doubtful, however, that Otozo and Okita would ever actually have met: their implied relationship is an artistic conceit.A handbill (banzuke) for the sumo match held in the precincts of Kanda Myojin Shrine in the third month of 1792 lists Otozo in the ninth level of maegashira rank in the Western Group and mentions that he came from Iyo Province. The comic kyoka poem by Engi Kanenari printed in the cartouche in the top left-hand corner of the print suggests that he was very popular:Sajiki yoriame arare zohana furitehiiki mo tsuyoku Kurogumomiyuru KurogumoFlowers shower liketo Rain and hailFrom the gallery:looks as strongAs his supporters.('The Actor's Image', 1994)
sup
The early years of the '90s saw a fashion among several ukiyo-e artists (Kitagawa Utamaro, Shuncho, Shun'ei) for pairing celebrated beauties-Yoshiwara courtesans or pretty shop girls-with hulking wrestlers. Shun'ei took up this vogue with enthusiasm, showing us here the young wrestler Otozo escorted by the waitress Okita of the Naniwaya Teahouse, who wears a wave-patterned apron and carries a paper lantern decorated with the vine-leaf crest of the teahouse. By setting her figure slightly behind the wrestler, he emphasizes their disparity in size. Okita holds up her hand to her mouth in a gesture that might express surprise, or even admiration. For although we may be tempted to interpret this print as a pairing of-beauty and the beast,'in fact the youngersumo wrestlers, despite their massive bulk, were often popular heartthrobs among women. It is doubtful, however, that Otozo and Okita would ever actually have met: their implied relationship is an artistic conceit.A handbill (banzuke) for the sumo match held in the precincts of Kanda Myojin Shrine in the third month of 1792 lists Otozo in the ninth level of maegashira rank in the Western Group and mentions that he came from Iyo Province. The comic kyoka poem by Engi Kanenari printed in the cartouche in the top left-hand corner of the print suggests that he was very popular:Sajiki yoriame arare zohana furitehiiki mo tsuyoku Kurogumomiyuru KurogumoFlowers shower liketo Rain and hailFrom the gallery:looks as strongAs his supporters.('The Actor's Image', 1994)
Subject Description
false
Creation Place:
Asia,East Asia,Japan
ocp
Asia,East Asia,Japan
Creation Place
false
Dimensions:
Oban; 39.0 x 26.0 cm
met
Oban; 39.0 x 26.0 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:
1958.159
ooa
1958.159
ID Number
false
Credit Line:
The Art Institute of Chicago, Gift of Mr. and Mrs. James A. Michener.
ooc
The Art Institute of Chicago, Gift of Mr. and Mrs. James A. Michener.
Credit Line
false
Inscriptions:
SIGNATURE Shun'ei gaCENSOR'S SEAL Kiwame
oin
SIGNATURE Shun'ei gaCENSOR'S SEAL Kiwame
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
Related Image Identifier Link:
AIC_.E19847.TIF
ril
AIC_.E19847.TIF
Related Image Identifier Link
false