COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1939.699
amicoid
AIC_.1939.699
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 Ichikawa Danjuro V as the Buddhist deity Fudo in the final scene from part one of the play Fuki Kaete Tsuki mo Yoshiwara (Rethatched Roof: The Moon also Shines Over the Yoshiwara Pleasure District)
otn
The actor Ichikawa Danjuro V as the Buddhist deity Fudo in the final scene from part one of the play Fuki Kaete 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; 31.2 x 14.8 cm
met
Hosoban; 31.2 x 14.8 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:
1939.699
ooa
1939.699
ID Number
false
Credit Line:
Frederick W. Gookin Collection
ooc
Frederick W. Gookin Collection
Credit Line
false
Inscriptions:
UNSIGNED
oin
UNSIGNED
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:
Danjuro V is shown in the awesome aspect of the Esoteric Buddhist deity Fudo (the 'Immovable One'), one of the fierce Wisdom Kings (Myo-o) who were emanations of the Buddha Dainichi. The presentation is iconographically orthodox: Fudo stands on a rock surrounded by an aureole of angry red flames, holding in one hand a demon-quelling sword (riken) and in the other a five-colored rope with which he checks iniquity (kensaku). Fearsome of aspect, Fudo is the implacable enemy of evil and the protector of those engaged in Buddhist ascetic practices.An illustration (see 'The Actor's Image' catalogue, No. 56C, p.168) from Yakusha Kuni no Hana (Prominent Actors of Japan) shows the spectacular tableau of actor-deities that composed the finale of the first part of the opening-of-the-season (kaomise) production at the Morita Theater in 1771: Danjuro V, on the central cloud, is accompanied by his child-attendants Kongara Doji (right, played by Bando Mitsugoro I) and Seitaka Doji (left, played by Nakamura Sukegoro II). The evil courtier they have come to punish is Ikazuchi Shinno, Prince of Thunder, played by Sawamura Kijuro I (far left). This suggests that the present hosoban print of Danjuro V as Fudo may originally have formed part of a multisheet composition, perhaps flanked by Kongara and Seitaka in a triptych.We today may experience a slight sense of disjunction at seeing a familiar Buddhist deity, posed and accoutered like a thirteenth-century temple statue, but bearing Danjuro V's utterly distinctive features,familiar from so many other stage portrayals. But to theater-goers of the eighteenth century this would not have seemed anomalous. The association between the Danjuro acting line and Fudo is said to have originated with a pledge to serve the deity made by Danjuro I at the Fudo temple in Narita, upon the birth of his son Danjuro II in 1688. Danjuro I indeed regarded himself as a living embodiment of Fudo Myo-o; furthermore, this deity provided a perfect vehicle for the aragoto (rough stuff) acting techniques that were the specialty of the Ichikawa family. The role was performed by all subsequent generations of Danjuro actors, and the play Fudo was selected as one of the Eighteen Great Plays of the Danjuro lineage (Kabuki J?hachiban) by Danjuro VII in 183.The performance at the Morita Theater in the eleventh month of 1771 marked Danjuro V's first appearance after his promotion to head of the theater troupe (za-gashira), and Kabuki Nempyo records that the occasion was celebrated by the rhythmic hand-clapping of groups of Danjuro's fans in different parts of the theater.The orange lead pigment (tan) of the rock and Danjuro V's hair and jewels has tarnished, but otherwise the colors are relatively fresh and unfaded.
cxd
Danjuro V is shown in the awesome aspect of the Esoteric Buddhist deity Fudo (the 'Immovable One'), one of the fierce Wisdom Kings (Myo-o) who were emanations of the Buddha Dainichi. The presentation is iconographically orthodox: Fudo stands on a rock surrounded by an aureole of angry red flames, holding in one hand a demon-quelling sword (riken) and in the other a five-colored rope with which he checks iniquity (kensaku). Fearsome of aspect, Fudo is the implacable enemy of evil and the protector of those engaged in Buddhist ascetic practices.An illustration (see 'The Actor's Image' catalogue, No. 56C, p.168) from Yakusha Kuni no Hana (Prominent Actors of Japan) shows the spectacular tableau of actor-deities that composed the finale of the first part of the opening-of-the-season (kaomise) production at the Morita Theater in 1771: Danjuro V, on the central cloud, is accompanied by his child-attendants Kongara Doji (right, played by Bando Mitsugoro I) and Seitaka Doji (left, played by Nakamura Sukegoro II). The evil courtier they have come to punish is Ikazuchi Shinno, Prince of Thunder, played by Sawamura Kijuro I (far left). This suggests that the present hosoban print of Danjuro V as Fudo may originally have formed part of a multisheet composition, perhaps flanked by Kongara and Seitaka in a triptych.We today may experience a slight sense of disjunction at seeing a familiar Buddhist deity, posed and accoutered like a thirteenth-century temple statue, but bearing Danjuro V's utterly distinctive features,familiar from so many other stage portrayals. But to theater-goers of the eighteenth century this would not have seemed anomalous. The association between the Danjuro acting line and Fudo is said to have originated with a pledge to serve the deity made by Danjuro I at the Fudo temple in Narita, upon the birth of his son Danjuro II in 1688. Danjuro I indeed regarded himself as a living embodiment of Fudo Myo-o; furthermore, this deity provided a perfect vehicle for the aragoto (rough stuff) acting techniques that were the specialty of the Ichikawa family. The role was performed by all subsequent generations of Danjuro actors, and the play Fudo was selected as one of the Eighteen Great Plays of the Danjuro lineage (Kabuki J?hachiban) by Danjuro VII in 183.The performance at the Morita Theater in the eleventh month of 1771 marked Danjuro V's first appearance after his promotion to head of the theater troupe (za-gashira), and Kabuki Nempyo records that the occasion was celebrated by the rhythmic hand-clapping of groups of Danjuro's fans in different parts of the theater.The orange lead pigment (tan) of the rock and Danjuro V's hair and jewels has tarnished, but otherwise the colors are relatively fresh and unfaded.
Context
false
Related Image Identifier Link:
AIC_.E19680.TIF
ril
AIC_.E19680.TIF
Related Image Identifier Link
false