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    Utagawa Toyokuni I. Kabuki actor Onoe Baikō III as Konjin Chōgorō / Fan print, 1815.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画] Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Gyōji Aratame Censor Seal: 行事改, 1810-18151 Media: Print (Uchiwa-e, うちわ絵, fan print), kira-zuri (きら摺り, mica printing); 222 × 250 mm

    Actor: Onoe Baikō III [三代目尾上梅幸] (Japanese, 1784–1849); Other names: Onoe Kikugorō III (尾上菊五郎), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Role: Konjin Chōgorō (金神長五郎) Play: Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) Theater: Nakamura-za (中村座), Edo, 1815 Half-length, three-quarter-view, facing to the left portrait of Onoe Baikō III as Konjin Chōgorō, in the play Ku Kyōdai Shōbu Katabira, staged at Nakamura-za in 1815. The actor wears a purple kimono with a plum blossom motif (梅, ume).

    A print from the Waseda University Tsubouchi Memorial Theatre Museum also depicts Onoe Baikō III as Konjin Chōgorō, showing him holding a box inscribed with 神金 (Kane no Kami). The name Konjin consists of the same kanji in reverse order – reading right to left (金神).

    Konjin Chōgorō is a legendary figure in Japanese folklore, renowned as a formidable sumo wrestler. His tales often depict him engaging in supernatural feats, such as vanquishing demons and showcasing extraordinary strength.

    In the realm of kabuki theatre, Konjin Chōgorō's character has been portrayed in various plays, though specific details about Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) remain unknown.

    Notes

    1. A certain confusion regarding the attribution of this print arises from the statement by Andreas Marks (Publishers, 2011, p. 488), which asserts that the gyōji aratame seal was used exclusively for fan prints between 1810 and 1814. However, it is known that Onoe Baikō III performed the role of Konjin Chōgorō at Nakamura-za in the 5th month of 1815. Marks also notes that the earliest known fan print bearing this seal dates to 1810; based on this new evidence, we may now consider the latest known instance to be the 5th month of 1815.

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    Utagawa Toyokuni I. Portrait of Onoe Kikugorō III without Stage Makeup / Fan print, 1822.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825)

    Signed: Toyokuni ga [豊国画]

    Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, c. 1797–1869); seal [十]; Marks 06-014 | 264a

    Date-Aratame Seal: 1822 (Bunsei 5, 文政五年)

    Media: Print (Uchiwa-e, うちわ絵, fan print); 223 × 250 mm

    Actor: Onoe Kikugorō III [三代目 尾上菊五郎] (Japanese, 1784–1849); other names: Onoe Baikō III (尾上梅幸), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Half-length, three-quarter-view portrait of Onoe Kikugorō III, depicted without stage makeup. The actor wears a kimono patterned with plum blossoms (梅, ume), symbolising perseverance and longevity. A neck scarf with a 格子 (kōshi) pattern is visible, and he holds a folding fan (扇, ōgi) decorated with chrysanthemums (菊, kiku).

    Above his head is the Onoe family crest (mon), embracing oak leaves on layered fans. This emblem, known as the crest of the Otowaya line, commemorates a shogunal gift of rice cakes wrapped in oak leaves, placed on a fan, and presented to Onoe Kikugorō I.

    The background features a radiating red-line pattern, possibly representing the bamboo structure of an uchiwa fan. The absence of kumadori (歌舞伎隈取, kabuki makeup) suggests that the actor is not portrayed in a specific role.

    In 1822, Onoe Kikugorō III performed at Kawarazaki-za before month 11 and at Ichimura-za and Nakamura-za afterwards.

    The print has been backed for preservation with a sheet of paper featuring calligraphy, likely contemporary to the print itself. The backing paper appears to have been repurposed, a common historical practice in the Edo period, where discarded documents or manuscripts were reused to reinforce delicate prints.

    Kunisada portrayed the same actor in 1815 as Rokusaburō, the Carpenter (Daiku Rokusaburō).

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    Begging Bowl (Kashkul) / Persia, 19th century.

    Material: Coco de Mer (Lodoicea maldivica) shell with metal chain
    Origin: Likely Persia (Iran) or the Indian subcontinent
    Date: 19th century
    Dimensions: 205 × 135 × 100 mm
    Weight: 324 g

    This begging bowl (kashkul) is crafted from the shell of a Coco de Mer (Lodoicea maldivica) seed, a rare and symbolic material historically associated with mysticism and exotic origins. The natural curvature of the shell has been hollowed and smoothed for functional use, preserving its organic ridged texture on the exterior. Metal rings are affixed at both ends, supporting a linked chain handle, allowing the bowl to be carried or hung.

    The kashkul was traditionally used by Sufi dervishes as a symbol of humility and asceticism, carried as a vessel for alms and spiritual offerings. The use of Coco de Mer for such objects was particularly esteemed due to its rarity, as the seed was believed to possess mystical properties and was highly valued in Indian Ocean trade networks.

    • Exotic and Sacred Material—Coco de Mer was once considered a fruit from an underwater tree, enhancing its mystical reputation.
    • Mystical Associations – In Sufi thought the empty bowl symbolizes detachment from material life and openness to divine sustenance.
    • Trade and Status – Such bowls were often prized possessions of high-ranking Sufi masters, symbolizing spiritual authority and renunciation of worldly wealth.

    While many kashkuls were crafted from metal (bronze, brass, or silver) and intricately decorated with Persian calligraphy and floral motifs, those made from Coco de Mer were rarer and more valued. The organic curves of the seed naturally complemented the aesthetic and spiritual function of the vessel, making it a highly desirable object.

    This piece represents a rare intersection of natural rarity, spiritual tradition, and craftsmanship, making it a notable example of historical Sufi material culture.

    See Coco de Mer Seed (Lodoicea maldivica) [VO-0474.2024] in this collection.

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    Begging bowl (Kashkul) with engraved decoration / Persia, 19th century.

    Material: Coco de Mer (Lodoicea maldivica) shell with engraved decoration, bronze chain, metal fittings, and inlaid elements
    Origin: Likely Persia (Iran)
    Date: 19th century
    Dimensions: 270 × 150 × 130 mm
    Weight: 608 g

    This begging bowl (kashkul) is carved from the shell of a Coco de Mer (Lodoicea maldivica) seed, a material historically associated with mysticism and spiritual significance in Persian Sufi traditions. The exterior is intricately engraved with floral motifs, architectural elements, and figural depictions, while a bronze chain is attached via metal loops for carrying or suspension. The bowl retains its natural curvature with a scalloped rim and detailed craftsmanship.

    • Floral and Botanical Motifs: Engraved sunflowers, vines, and foliage patterns symbolizing divine wisdom and enlightenment.
    • Figural Depiction: One side features a standing figure in military attire, possibly a Persian warrior, historical figure, or Sufi dervish.
    • Architectural Details: Arches and ornamental borders suggest Persian or Mughal artistic influences.
    • Inlaid Accents: Small inlays of turquoise or glass enhance the visual appeal and craftsmanship.

    The kashkul was traditionally used by Sufi dervishes as a symbol of renunciation and humility, carried to receive alms and spiritual offerings. The use of Coco de Mer, a rare and exotic material, elevated the object's status, making it a prized possession among high-ranking Sufi mystics.

    Unlike plain metal kashkuls, which often bore inscriptions of Persian poetry or Quranic verses, this example features extensive figural and architectural designs, suggesting it may have been a presentation or ceremonial piece rather than a simple, functional object. The presence of a bronze chain reinforces its portability and use in daily Sufi practices.

    This piece is a rare blend of natural form and intricate artistic craftsmanship, making it a significant example of Persian Sufi material culture.

    See Coco de Mer Seed (Lodoicea maldivica) [VO-0474.2024] in this collection.

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    Utagawa Kuniyoshi. Courtesan Reading a Letter in Yoshiwara Pleasure District / Fan print, 1856.

    Artist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: 一勇斎 (Ichiyūsai) in a yellow cartouche, 國芳画 (Kuniyoshi ga) in a red cartouche Publisher: 未詳 (Yama-Ta), seal [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b Censor Seal: Aratame + Ansei 3 (3rd lunar month, 1856) Block Carver: 彫竹 (Hori Take), identified as Yokokawa Takejirō (横川竹二郎) (fl. 1845–1863) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 227 × 286 mm Half-length portrait of a high-ranking courtesan (oiran, 花魁) seated in a three-quarter view, holding a porcelain sake cup decorated with a blue mon of stylized oak leaves (kashiwa, 柏). She gazes downward at a partially unrolled letter resting on her lap. Her elaborate hairstyle, adorned with multiple kogai (ornamental hairpins) featuring golden floral motifs, signifies her elevated status within her profession. Her layered kimono displays a combination of red, blue, and black geometric patterns, emphasizing the luxurious textiles associated with courtesans of her rank. The stylized oak leaves on the sake cup may allude to the family mon of Onoe family of kabuki actors, evoking the overlap between theatre and the pleasure quarters. The background portrays a night scene in the Yoshiwara Pleasure District (吉原), where figures move beneath lantern-lit buildings, showing the vibrant nightlife of Edo.
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    Utagawa Toyokuni II (a.k.a. Toyoshige ). Ichikawa Danjūrō VII and two kabuki actors as anthropomorphic bats. / Fan print, 1829.

    Artist: Utagawa Toyokuni II [歌川豊国二代] a.k.a. Toyoshige [豊重] (Japanese, (1777 – 1835) Signed: 豊国狂筆 (Toyokuni kyō-hitsu, "mad brush of Toyokuni") Publisher: Maru-Jū (丸重), seal Jū (重), Marks reference 08-079 | U190a (1826–1829, only on fan prints) Censor Seal: Kiwame + Bunsei 12 (Year of the Ox [丑], 1829) Media: Uchiwa-e (fan print), color woodblock print, 230 × 293 mm

    A fantastical kabuki-themed scene depicting three anthropomorphic bats, dressed in Edo-period costumes. The central figure, likely Ichikawa Danjūrō VII (市川團十郎七, 1791–1859), is distinguished by his costume featuring a gourd motif (瓢箪, hyōtan)—a symbol closely linked to the Ichikawa family. He wears two swords, further identifying him as a kabuki hero, and carries a sake flask marked with what appears to be the publisher's emblem. His raised arm (or wing?) suggests a dramatic action, possibly striking or threatening the bat figure on the left, who recoils in response.

    The two side bats, also dressed in patterned kimono, display expressions contrasting with the central figure—one appearing startled, while the other remains cheerful. The oxidized lead-orange pigment used in the lower portions of their wings suggests depth and texture.

    This print reflects Danjūrō VII’s association with both the bat (蝙蝠, kōmori) and the double gourd. Bats were considered lucky symbols due to their resemblance to the character of "good fortune" (福, fuku), and Danjūrō VII often incorporated bat motifs into his stage costumes. The Ichikawa family's crest, the mimasu (三升, "three squares"), was more commonly used, but the double gourd and bat imagery appeared in promotional materials, reinforcing his theatrical identity.
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