COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1939.580
amicoid
AIC_.1939.580
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 Sukegoro II in the role of a chivalrous commoner (otokodate)
otn
The actor Nakamura Sukegoro II in the role of a chivalrous commoner (otokodate)
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
1768/70
oct
1768/70
Creation Date
false
Creation Start Date:
1768
ocs
1768
Creation Start Date
false
Creation End Date:
1770
oce
1770
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; 32.3 x 14.5 cm
met
Hosoban; 32.3 x 14.5 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:
1939.580
ooa
1939.580
ID Number
false
Credit Line:
Frederick W. Gookin Collection
ooc
Frederick W. Gookin 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:
Stripped to the waist and brandishing his sword, Sukegoro II has clambered up among the fresh green tresses of a willow overhanging a river. His kimono is still tied around his waist, but he has pushed it behind him for greater mobility. Grasping a branch for balance, he manages a fierce stage pose (mie) in what is presumably a scene of nighttime ambush (implied by the dark blue of the sky and the fact that such attacks generally occurred at night).The complexity of the style and the combination of this particular form of Shunsho's signature with the jar-shaped Hayashi seal suggest that the print was issued between 1768 and 1770. Suzuki has suggested that the nearly bare body and cooling river setting imply a summer performance, but he is unable to identify the scene with any role recorded for Sukegoro II in the summers of these years. A similar pose is depicted in the illustrated program (ehon banzuke) for the play Kagami-ga-ike Omokage Soga (Mirror Pond: Vestiges of Soga), performed at the Nakamura Theater at the New Year in 1770, in which Sukegoro II (as Dozaburo) is set upon by two ruffians played by Nakamura Konozo and Bando Zenji I (see 'The Actor's Image' catalogue, fig. 38.1, p.127). The settings, however, are very different and as Suzuki has further pointed out, this pose was part of Sukegoro II's acting style and was employed by him in many different roles A picture book of actors in characteristic mie, Himo Kagami, published in 1771, describes it as follows: ' . . . a stage pose in which he half raises his hips, bends his elbow, and twists his body' - precisely the attitude we see here.The contrast between the gracefully curving willow fronds and the assertive angularity of Sukegoro II's posture makes this a particularly satisfying design, even further enhanced by the sharp clarity and fresh, unfaded colors of this impression.
cxd
Stripped to the waist and brandishing his sword, Sukegoro II has clambered up among the fresh green tresses of a willow overhanging a river. His kimono is still tied around his waist, but he has pushed it behind him for greater mobility. Grasping a branch for balance, he manages a fierce stage pose (mie) in what is presumably a scene of nighttime ambush (implied by the dark blue of the sky and the fact that such attacks generally occurred at night).The complexity of the style and the combination of this particular form of Shunsho's signature with the jar-shaped Hayashi seal suggest that the print was issued between 1768 and 1770. Suzuki has suggested that the nearly bare body and cooling river setting imply a summer performance, but he is unable to identify the scene with any role recorded for Sukegoro II in the summers of these years. A similar pose is depicted in the illustrated program (ehon banzuke) for the play Kagami-ga-ike Omokage Soga (Mirror Pond: Vestiges of Soga), performed at the Nakamura Theater at the New Year in 1770, in which Sukegoro II (as Dozaburo) is set upon by two ruffians played by Nakamura Konozo and Bando Zenji I (see 'The Actor's Image' catalogue, fig. 38.1, p.127). The settings, however, are very different and as Suzuki has further pointed out, this pose was part of Sukegoro II's acting style and was employed by him in many different roles A picture book of actors in characteristic mie, Himo Kagami, published in 1771, describes it as follows: ' . . . a stage pose in which he half raises his hips, bends his elbow, and twists his body' - precisely the attitude we see here.The contrast between the gracefully curving willow fronds and the assertive angularity of Sukegoro II's posture makes this a particularly satisfying design, even further enhanced by the sharp clarity and fresh, unfaded colors of this impression.
Context
false
Related Image Identifier Link:
AIC_.E19649.TIF
ril
AIC_.E19649.TIF
Related Image Identifier Link
false