COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1932.1023
amicoid
AIC_.1932.1023
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 actor Nakamura Noshio I as the Fox-Wife from Furui, in a dance sequence (shosagoto) in part two of the play Izu-goyomi Shibai no Ganjitsu
otn
The actor Nakamura Noshio I as the Fox-Wife from Furui, in a dance sequence (shosagoto) in part two of the play Izu-goyomi Shibai no Ganjitsu
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, 1772. (First Performance Day of the Izu Calendar)
oct
Performed at the Morita Theater from the first day of the eleventh month, 1772. (First Performance Day of the Izu Calendar)
Creation Date
false
Creation Start Date:
1772
ocs
1772
Creation Start Date
false
Creation End Date:
1772
oce
1772
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:
1932.1023
ooa
1932.1023
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 ga
oin
SIGNATURE: Shunsho 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:
Hands raised and curled over like the forepaws of a fox, Nakamura Noshio I is shown bounding in a lively dance in the snow before an old plum tree. His brilliant over-kimono, decorated with red and green chrysanthemums, has been thrown back to reveal a red under-kimono patterned with the flaming jewel (yakara no tama) that seems to be an object of dispute in the play. The trailing robes and the long brocade sash fly upward and outward to the rhythm of the dance. Japanese folklore endows foxes with the magical power to assume human form and so trick and seduce human beings. Sometimes, however, in their human guise they betray their true animal nature with such gestures as the hands raised like paws. Notice also that the fox-woman thinks nothing of dancingbarefoot in the snow.Kabuki Nempyo simply records, without further description, that Noshio I played the role of a female fox on this occasion. The illustrated program (ehon banzuke) for the performance, however, shows us a little more of what went on (see 'The Actor's Image' catalogue, fig. 61.1, p.181). Noshio I is shown in a similar fox pose, dancing around the yakara no tama jewel, which is placed on the ground. He is joined by Nakamura Daitaro, in the role of a manservant, Tochihei, doing a handstand. This is likely a comic part of the dance, with the fox-woman using her magic to put Tochihei through his paces. The theme of a fox-woman seeking to recover a famous jewel in a snow scene at Mt. Yoshino was later standardized into the dance sequence (shosagoto) 'Meoto-gitsune' (Fox-Husband and Fox-Wife).This print may relate to another of the same play, showing Nakamura Juzo II as Kajiwara Genta no Kagetoki standing in the snow under an umbrella, holding a spool of thread. Kabuki Nempyo records that Juzo II made his entrance following Noshio I as the fox-wife by means of a cord attached to her skirts. Perhaps he was out to trap the fox.
cxd
Hands raised and curled over like the forepaws of a fox, Nakamura Noshio I is shown bounding in a lively dance in the snow before an old plum tree. His brilliant over-kimono, decorated with red and green chrysanthemums, has been thrown back to reveal a red under-kimono patterned with the flaming jewel (yakara no tama) that seems to be an object of dispute in the play. The trailing robes and the long brocade sash fly upward and outward to the rhythm of the dance. Japanese folklore endows foxes with the magical power to assume human form and so trick and seduce human beings. Sometimes, however, in their human guise they betray their true animal nature with such gestures as the hands raised like paws. Notice also that the fox-woman thinks nothing of dancingbarefoot in the snow.Kabuki Nempyo simply records, without further description, that Noshio I played the role of a female fox on this occasion. The illustrated program (ehon banzuke) for the performance, however, shows us a little more of what went on (see 'The Actor's Image' catalogue, fig. 61.1, p.181). Noshio I is shown in a similar fox pose, dancing around the yakara no tama jewel, which is placed on the ground. He is joined by Nakamura Daitaro, in the role of a manservant, Tochihei, doing a handstand. This is likely a comic part of the dance, with the fox-woman using her magic to put Tochihei through his paces. The theme of a fox-woman seeking to recover a famous jewel in a snow scene at Mt. Yoshino was later standardized into the dance sequence (shosagoto) 'Meoto-gitsune' (Fox-Husband and Fox-Wife).This print may relate to another of the same play, showing Nakamura Juzo II as Kajiwara Genta no Kagetoki standing in the snow under an umbrella, holding a spool of thread. Kabuki Nempyo records that Juzo II made his entrance following Noshio I as the fox-wife by means of a cord attached to her skirts. Perhaps he was out to trap the fox.
Context
false
Related Image Identifier Link:
AIC_.E19701.TIF
ril
AIC_.E19701.TIF
Related Image Identifier Link
false