• Matsumoto Kōshirō V (松本幸四郎) as Fujihachi Gomon, actually (<i>Jitsu wa</i>) Naosuke Gonbei [藤八五もん実は直助権兵へ]
Matsumoto Kōshirō V (松本幸四郎) as Fujihachi Gomon, actually (<i>Jitsu wa</i>) Naosuke Gonbei [藤八五もん実は直助権兵へ]
Matsumoto Kōshirō V (松本幸四郎) as Fujihachi Gomon, actually (<i>Jitsu wa</i>) Naosuke Gonbei [藤八五もん実は直助権兵へ]
Matsumoto Kōshirō V (松本幸四郎) as Fujihachi Gomon, actually (<i>Jitsu wa</i>) Naosuke Gonbei [藤八五もん実は直助権兵へ]
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Utagawa Kunisada (歌川国貞) / Toyokuni III (三代豊国) (artist 1786 – 01/12/1865)

Matsumoto Kōshirō V (松本幸四郎) as Fujihachi Gomon, actually (Jitsu wa) Naosuke Gonbei [藤八五もん実は直助権兵へ]

Print

07/1825
9.375 in x 14 in (Overall dimensions) Japanese woodblock print
Signed: Gototei Kunisada ga (五渡亭国貞画)
Publisher: Mikawaya Seiemon (Marks 328 - seal 16-011)
Censor's seal: kiwame
Museum of Fine Arts, Boston
Waseda This is from a performance of 7/1825 of the Tōkaidō Yotsuya kaidan.

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We do not know the reason for the humorous juxtaposition of the inset image of the King of Hell receiving a moxa treatment in the upper left and the attitude of the main figure in this print. But, as we said, it must be humorous considering the role played in Japanese society of Enma (aka Emma-o and/or Yama, the King of Hell) who is meant to instill fear in the living because he is the one who can make a decision about a soul's place for the rest of eternity. Surely such a powerful figure would not be in need of such a therapeutic treatment.

It is interesting, because the earlier representations of Enma from the onset were meant to instill fear, but by the time of this print and later images this king he was being mocked, almost as though he didn't really exist. Kuniyoshi and Kyōsai often portrayed him in this irreverent way.

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Illustrated in color in Kunisada: The Kabuki Actor Portraits (Gototei Kunisada yakusha-e no sekai - 國貞:役者絵の世界) by Shigeru Shindō, 1993, p. 72.
Mikawaya Seiemon (三河屋清右衛門) (publisher)