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Arashi Rikan II [嵐璃寛] as the shogun Tarō and on the left Nakamura Karoku I
as Takiyashi and Ichikawa Sukejurō IV as Yasukata in Sōma Tarō hyōbundan
[相馬太郎...]

Identifier: 1832 Shigeharu Taro
Description:

This diptych commemorates a performance at the Naka Theater in Osaka in 11th month of 1832.

"Soma Tarō hyōbundan (The story of Tarō, heir to the Soma clan) was an adaptation of the tale of Masakado. The story combines elements of history and legend set In the tenth century when the ambitious Taira Masakado (Soma no Kojirō, died 940), a general formerly with the regent Fujiwara Takahira, moved to take control of the eight eastern provinces and declare himself emperor. Takahira's warriors defeated Masakado and later his son Soma Tarō when he attempted to avenge his father's death.

Theatrical dramatizations featuring Masakado typically feature supernatural happenings and transformations. Masakado could create ghostly clones of himself, and his castle ln Soma (near Sendai) was said to be haunted by the spirits of his retainers. Both Soma Tarō and his sister Takiyashi-hime - the subject of the better known play Shinobi yoru koi wa kusemono (Appearing Concealed in the Guise of Love) premiering four years after Shigeharu's print was published - were also capable of sorcery. Takiyashi-hime takes the form of another human (a courtesan) and then, most famously, transfigures herself into a giant toad.

The figures are set within a Shijō-style landscape that, for single-sheet kamigata-e, comprises an unusually large percentage of the total composition. Heitarō is shown looking down upon Takiyashi and Yasukata as he leans against a most curiously shaped boulder -- one that emblemlzes the socerer's ability to take the form of a giant toad.

The narrow uncolored area at the far lower left edge of the right sheet is due to one of the color blocks not matching the width of the keyblock - a common occurrence in uklyo-e. These areas were usually trimmed off, which is why many polyptychs have slightly askew keyblock Ilnes where the sheels join. It ls preferable to have a more complete sheet, even when the colors blocks don‘t fill ln the edges of the keybock designs.

The impression in Waseda University (Tsubouchi Memorial Theater Museum collection) has the hand-stamped seal of the brilliant block cutter Kasuke, Identified as the surlmono hanglshl (surlmono woodblock master), confirming that the design was prepared with the greatest skill possible during this period of Osaka prlntmaking.

Ex. Okada collection (a celebrated private Japanese collection not seen in public for more than 70 years until its recent dispersal).

The above information was provided by OsakaPrints.com.

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This diptych is illustrated in color in Osaka Prints by Dean J. Schwaab, p. 157.

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