COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1929.735
amicoid
AIC_.1929.735
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Ippitsusai Buncho
crn
Ippitsusai Buncho
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; fl. c.1755-1790 Asia,East Asia,Japan
cdt
Japanese; fl. c.1755-1790 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Ippitsusai Buncho
crt
Ippitsusai Buncho
Creator Name-CRT
false
Title:
The actor Nakamura Noshio I as the Third Princess (Nyosan no Miya) in the play Fuki Kaere Tsuki mo Yoshiwara (Rethatched Roof: The Moon also Shines Over the Yoshiwara Pleasure District)
otn
The actor Nakamura Noshio I as the Third Princess (Nyosan no Miya) in the play Fuki Kaere Tsuki mo Yoshiwara (Rethatched Roof: The Moon also Shines Over the Yoshiwara Pleasure District)
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
Performed at the Morita Theater from the first day of the eleventh month, 1771
oct
Performed at the Morita Theater from the first day of the eleventh month, 1771
Creation Date
false
Creation Start Date:
1771
ocs
1771
Creation Start Date
false
Creation End Date:
1771
oce
1771
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; 32.5 x 15.0 cm
met
Hosoban; 32.5 x 15.0 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:
1929.735
ooa
1929.735
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: Ippitsusai Buncho gaARTIST'S SEAL: Mori uji
oin
SIGNATURE: Ippitsusai Buncho gaARTIST'S SEAL: Mori uji
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:
A pivotal moment in Tale of Genji (Lady Murasaki's famous novel written about A.D. 1000) occurs when the young courtier Kashiwagi accidentally glimpses the Third Princess (Nyosan no Miya), Prince Genji's wife, and instantly falls passionately in love with her. The scene occurs in chapter 34, 'New Herbs: Part One' (Wakana no Jo), at Prince Genji's mansion. Young courtiers, led by Kashiwagi and Yugiris are playing a kind of football (kemari) under blossoming cherry trees, while Genji watches from the verandah. Suddenly there is a commotion: a pet cat on a lead, chased by a larger cat, runs out onto the verandah, with ladies-in-waiting in pursuit. The cat's lead catches in one of the hanging blinds, pulling the blind aside just long enough for Kashiwagi to catch sight of the Third Princess standing inside the room. For such a high-ranking woman to allow herself to be seen by a man was a grave lapse of propriety, made even worse by the fact that she was standing rather than seated. Lady Murasaki describes how Kashiwagi sees her:'A lady in informal dress stood just inside the curtains beyond the second pillar to the west. Her robe seemed to be of red lined with lavender, and at the sleeves and throat the colors were as bright and varied as a book of paper samples. Her cloak was of white figured satin lined with red. Her hair fell as cleanly as sheaves of thread and fanned out towards the neatly trimmed edges some ten inches beyond her feet. In the rich billowing of her skirts the lady scarcely seemed present at all. The white profile framed by masses of black hair was pretty and elegant - though unfortunately the room was dark and he could not see her as well in the evening light as he would have wished. The women had been too delighted with the game, young gentlemen heedless of how they scattered the blossoms, to worry about blinds and concealment. The lady turned to look at the cat, which was mewing piteously, and in her face and figure was an abundance of quiet, unpretending young charm.'Doubtless because the ensuing love affair was both illicit and tragic, and because the scene afforded artists the chance to depict a beautiful woman with a charming pet, the Third Princess and her cat became a popular subject for mitate-e (allusive or travestied versions, by ukiyo-e artists, of serious or classical painting subjects).As Buncho's print illustrates, the story was also adapted for the Kabuki stage in 1771, with Nakamura Noshio I as the Third Princess and Bando Mitsugoro I as Kashiwagi no Emon. A page from that production's illustrated program (ehon banzuke) shows the Third Princess almost at the verandah and only slightly concealed behind a blind, with her kitten on the end of its leash (see 'The Actor's Image' catalogue, fig. 18. 1, p.84). The latter-day Third Princess depicted here, totally unencumbered by Heian courtly decorum, affects no concealment whatever but stands right out on the verandah, well in front of the blinds: no Kabuki actor could ever resist the limelight.This performance marked Ichikawa Danjuro V's first appearance after his promotion to head of the acting troupe (za-gashira).
cxd
A pivotal moment in Tale of Genji (Lady Murasaki's famous novel written about A.D. 1000) occurs when the young courtier Kashiwagi accidentally glimpses the Third Princess (Nyosan no Miya), Prince Genji's wife, and instantly falls passionately in love with her. The scene occurs in chapter 34, 'New Herbs: Part One' (Wakana no Jo), at Prince Genji's mansion. Young courtiers, led by Kashiwagi and Yugiris are playing a kind of football (kemari) under blossoming cherry trees, while Genji watches from the verandah. Suddenly there is a commotion: a pet cat on a lead, chased by a larger cat, runs out onto the verandah, with ladies-in-waiting in pursuit. The cat's lead catches in one of the hanging blinds, pulling the blind aside just long enough for Kashiwagi to catch sight of the Third Princess standing inside the room. For such a high-ranking woman to allow herself to be seen by a man was a grave lapse of propriety, made even worse by the fact that she was standing rather than seated. Lady Murasaki describes how Kashiwagi sees her:'A lady in informal dress stood just inside the curtains beyond the second pillar to the west. Her robe seemed to be of red lined with lavender, and at the sleeves and throat the colors were as bright and varied as a book of paper samples. Her cloak was of white figured satin lined with red. Her hair fell as cleanly as sheaves of thread and fanned out towards the neatly trimmed edges some ten inches beyond her feet. In the rich billowing of her skirts the lady scarcely seemed present at all. The white profile framed by masses of black hair was pretty and elegant - though unfortunately the room was dark and he could not see her as well in the evening light as he would have wished. The women had been too delighted with the game, young gentlemen heedless of how they scattered the blossoms, to worry about blinds and concealment. The lady turned to look at the cat, which was mewing piteously, and in her face and figure was an abundance of quiet, unpretending young charm.'Doubtless because the ensuing love affair was both illicit and tragic, and because the scene afforded artists the chance to depict a beautiful woman with a charming pet, the Third Princess and her cat became a popular subject for mitate-e (allusive or travestied versions, by ukiyo-e artists, of serious or classical painting subjects).As Buncho's print illustrates, the story was also adapted for the Kabuki stage in 1771, with Nakamura Noshio I as the Third Princess and Bando Mitsugoro I as Kashiwagi no Emon. A page from that production's illustrated program (ehon banzuke) shows the Third Princess almost at the verandah and only slightly concealed behind a blind, with her kitten on the end of its leash (see 'The Actor's Image' catalogue, fig. 18. 1, p.84). The latter-day Third Princess depicted here, totally unencumbered by Heian courtly decorum, affects no concealment whatever but stands right out on the verandah, well in front of the blinds: no Kabuki actor could ever resist the limelight.This performance marked Ichikawa Danjuro V's first appearance after his promotion to head of the acting troupe (za-gashira).
Context
false
Related Image Identifier Link:
AIC_.E19791.TIF
ril
AIC_.E19791.TIF
Related Image Identifier Link
false