COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1925.2368
amicoid
AIC_.1925.2368
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Katsukawa, Shunko
crn
Katsukawa, Shunko
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; 1743-1812 Asia,East Asia,Japan
cdt
Japanese; 1743-1812 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Katsukawa Shunko
crt
Katsukawa Shunko
Creator Name-CRT
false
Title:
The actors Iwai Hanshiro IV (right), Ichikawa Monnosuke II (center), and Sakata Hangoro III (left)
otn
The actors Iwai Hanshiro IV (right), Ichikawa Monnosuke II (center), and Sakata Hangoro III (left)
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
Performed at the Kiri Theater from the first day of the eleventh month, 1786
oct
Performed at the Kiri Theater from the first day of the eleventh month, 1786
Creation Date
false
Creation Start Date:
1786
ocs
1786
Creation Start Date
false
Creation End Date:
1786
oce
1786
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:
Oban; 36.3 x 25.8 cm
met
Oban; 36.3 x 25.8 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:
1925.2368
ooa
1925.2368
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: Shunko ga
oin
SIGNATURE: Shunko ga
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:
Beginning about 1784, Shunko designed oban prints showing the grand, flamboyant dance sequences with onstage musicians (shosagoto joruri) which closed each day's performance in opening-of-the-season (kaomise) plays, and which were such a feature of Kabuki in the Temmei era (1781-1789). In this he was following the lead of Torii Kiyonaga (1752-1815), who first designed such prints several years earlier. Unlike Kiyonaga, however, Shunko did not include the musicians in the print, nor did he necessarily depict a precise moment from the dance sequence but rather his own imagined grouping of the actors involved.Although the libretto does not survive, making a definite identification difficult, comparison with the illustrated program (ehon banzuke) suggests that this print may depict the final joruri 'Iwai-zuki Neya no Obitoki,' performed at the Kiri Theater in the eleventh month of 1786. The title of the joruri contains a punning reference to the actor Iwai Hanshiro IV (Iwai-zuki can mean 'a fan of Iwai'), who had just returned to Edo after a two-year absence in Osaka. The program illustration shows him in a female role and pose similar to that in Shunko's print - wearing a kimono with long hanging sleeves (furisode) and holding a child swaddled in his own tiny costume. Kabuki Nempyo mentions that in this scene he played the woman Manazuru, who longs to see her child and goes to Hojo Munetoki (played by Monnosuke II) to find him.Kabuki Nempyo also records that Hanshiro IV was joined in the dance sequence by Ichikawa Monnosuke II as Munetoki and Sakata Hangoro III as Kawanaya Tashiro, who made his entrance 'half-drunk.' The scene was a great hit ('o-atari'). The only discrepancies between the present print and the illustrated program are that the latter shows the two male characters in armor and lacks snow. As we have noted, however, Shunko characteristically grouped characters from different stages in a dance scene; furthermore the plays themselves very commonly featured multiple disguises.The three actors intheir dazzlingly patterned costumes form a tight, self-enclosed group. Tasselled fans cascade down Hanshiro IV's scarlet kimono sleeve, surrounded by fans amid swirling waves on the over-kimono. Strong black stripes in Monnosuke II's robe contrast with the narrower black, yellow, and red bands of Hangoro III's costume. Hangoro III stands beneath a dandyish snake's eye umbrella and, inexplicably, carries two frogfish (anko) suspended from a piece of string. One could not hope for a richer evocation of thecolorful stage spectacle afforded by Kabuki dance sequences.
cxd
Beginning about 1784, Shunko designed oban prints showing the grand, flamboyant dance sequences with onstage musicians (shosagoto joruri) which closed each day's performance in opening-of-the-season (kaomise) plays, and which were such a feature of Kabuki in the Temmei era (1781-1789). In this he was following the lead of Torii Kiyonaga (1752-1815), who first designed such prints several years earlier. Unlike Kiyonaga, however, Shunko did not include the musicians in the print, nor did he necessarily depict a precise moment from the dance sequence but rather his own imagined grouping of the actors involved.Although the libretto does not survive, making a definite identification difficult, comparison with the illustrated program (ehon banzuke) suggests that this print may depict the final joruri 'Iwai-zuki Neya no Obitoki,' performed at the Kiri Theater in the eleventh month of 1786. The title of the joruri contains a punning reference to the actor Iwai Hanshiro IV (Iwai-zuki can mean 'a fan of Iwai'), who had just returned to Edo after a two-year absence in Osaka. The program illustration shows him in a female role and pose similar to that in Shunko's print - wearing a kimono with long hanging sleeves (furisode) and holding a child swaddled in his own tiny costume. Kabuki Nempyo mentions that in this scene he played the woman Manazuru, who longs to see her child and goes to Hojo Munetoki (played by Monnosuke II) to find him.Kabuki Nempyo also records that Hanshiro IV was joined in the dance sequence by Ichikawa Monnosuke II as Munetoki and Sakata Hangoro III as Kawanaya Tashiro, who made his entrance 'half-drunk.' The scene was a great hit ('o-atari'). The only discrepancies between the present print and the illustrated program are that the latter shows the two male characters in armor and lacks snow. As we have noted, however, Shunko characteristically grouped characters from different stages in a dance scene; furthermore the plays themselves very commonly featured multiple disguises.The three actors intheir dazzlingly patterned costumes form a tight, self-enclosed group. Tasselled fans cascade down Hanshiro IV's scarlet kimono sleeve, surrounded by fans amid swirling waves on the over-kimono. Strong black stripes in Monnosuke II's robe contrast with the narrower black, yellow, and red bands of Hangoro III's costume. Hangoro III stands beneath a dandyish snake's eye umbrella and, inexplicably, carries two frogfish (anko) suspended from a piece of string. One could not hope for a richer evocation of thecolorful stage spectacle afforded by Kabuki dance sequences.
Context
false
Related Image Identifier Link:
AIC_.E19843.TIF
ril
AIC_.E19843.TIF
Related Image Identifier Link
false