Collection | |
---|---|
Type purpose | |
Period | 19 AD, Bunka era (1804-1818), Early 19th century, Edo Period (1603 – 1868) |
Country | |
Media | |
Size | |
Subject | Actor print, Actors, Bando Mitsugoro, Dōjō-ji, Kabuki, Kabuki actors, Kabuki play, Kabuki theater, Shirabyōshi, Theatre |
Character/Sitter | Bandō Mitsugorō III [Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. (Japanese, 1775 – 1831), Ichikawa Danjūrō VII [Ichikawa Ebizō V, Ichikawa Shinnosuke I] (Japanese, 1791 – 1859), Onoe Kikugorō III (Japanese, 1784 – 1849) [Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I] |
Artist | |
Publisher | |
Publishing year | |
Acquisition year | |
Acquisition date |
Utagawa Toyokuni I. Ichikawa Danjūrō VII, Bandō Mitsugorō III, and Onoe Kikugorō III in ‘The Maiden at Dōjō Temple’ Performance / Ōban, 1816
$3,000.00
Artist: Utagawa Toyokuni I (歌川豊国, 1769–1825)
Signed: Toyokuni ga (豊国画)
Publisher: Mikawaya Seiemon (三河屋清右衛門), active c. 1805–1829. Marks 16-011 | 328
Censor’s seal: kiwame
Media: Vertical ōban (大判), woodblock print (nishiki-e, 錦絵); ink and colour on paper, 368 × 258 mm
Note: No date seal; performance unknown
Actors and Roles:
- Bandō Mitsugorō III (坂東三津五郎, 1775–1831)
→ Role: Hanako (花子), a shirabyōshi dancer (白拍子), in reality, the vengeful spirit of Kiyohime (清姫) - Ichikawa Danjūrō VII (市川團十郎, 1791–1859)
→ Role: Priest 1 (有縁坊, Uenbō), seated on the right, holding a kiseru (pipe) - Onoe Kikugorō III (尾上菊五郎, 1784–1849)
→ Role: Priest 2 (無縁坊, Muenbō), seated on the left, miming a fox
A scene from the kabuki dance drama Kyōganoko Musume Dōjōji (京鹿子娘道成寺, “The Maiden at Dōjō Temple”), performed at Nakamura-za in 1816 (Bunka 13). The shirabyōshi dancer Hanako appears at the centre under cherry blossoms and a suspended temple bell. She wears an ornate kimono and tall eboshi cap, striking a poised stance central to the dance’s climax. Hanako is, in fact, the disguised ghost of Kiyohime, a woman consumed by unrequited love for the monk Anchin.
Seated below her are two comic priest figures — Uenbō, on the right (Danjūrō), holding a pipe, and Muenbō, on the left (Kikugorō), gesturing with fingers miming a fox. Both have folding fans tucked comically into their collars. Their humorous appearance contrasts with the seriousness of their mistake: by allowing Hanako into the temple, they have set the stage for tragedy.
Detailed discussion on the topic can be seen at The Maiden at Dōjō Temple
1 in stock