A half-length portrait of a young woman in three-quarter view, turned slightly to the right. She is elegantly dressed in a blue kimono adorned with floral motifs, worn over a red under-kimono with a blue collar featuring a lattice pattern. Her elaborately styled hair is adorned with kanzashi hairpins and a comb, indicative of her status, possibly as a courtesan or geisha. The background is filled with intricate textile patterns, including a central pink scroll embellished with golden embroidery of waves and plovers. She holds a rolled scroll featuring a snowflake-like pattern, possibly a stencil used for dyeing fabrics. The blue cartouche on the right reads: 新形美人好 (Shingata bijin konomi) – the series title.

Artist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)

Media: 団扇絵 (uchiwa-e, fan print), 185 x 170 mm

Play: No play, no performance/theatre identified.

Actors and Roles:

• Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
  • Role: Kuemon (九右衛門)
• Onoe Taganojō II 尾上多賀之丞 (Japanese, 1849-1899); other names: Onoe Kikumatsu [尾上菊松].
  • Role: Kojorō (小女郎)

Play: While the specific play isn't explicitly mentioned, the character names suggest it could be 恋湊博多諷 (Koi Minato Hakata no Hitofushi) or a related version such as 博多小女郎浪枕 (Hakata Kojorō Nami Makura) or 和訓水滸伝 (Yamato Kotoba Suikoden).

The print captures a dramatic scene featuring the pirate chief 毛剃九右衛門 (Kezori Kuemon) and the courtesan 博多小女郎 (Hakata Kojorō). Kuemon, portrayed by Ichikawa Danjūrō IX, is depicted with a commanding presence adorned in elaborate attire befitting a smuggler leader. Kojorō, played by Onoe Taganojō II, is shown in elegant courtesan garments, reflecting her status in the Hakata pleasure quarters. The background features maritime elements, hinting at the seafaring aspects of the narrative.

The story centres on 毛剃九右衛門 (Kezori Kuemon), a notorious smuggler, and 博多小女郎 (Hakata Kojorō), a courtesan of the Okudaya brothel in Hakata. A young merchant from Kyoto, 小松屋宗七 (Komatsuya Sōshichi), becomes entangled with Kuemon during a voyage. Unaware of the ship's illicit activities, Sōshichi refuses Kuemon's invitation to join the smuggling operations and is cast overboard. Surviving the ordeal but losing his funds intended to ransom Kojorō, Sōshichi faces despair. In a twist, Kuemon, recognizing the genuine affection between Sōshichi and Kojorō, decides to assist them. He offers to ransom Kojorō on the condition that Sōshichi joins his crew. Reluctantly, Sōshichi agrees, leading to a series of events where they amass wealth through smuggling. However, their activities draw the attention of authorities. As they attempt to escape, Sōshichi is apprehended and takes his own life. Kojorō, seeking to join him in death, is instead pardoned by imperial decree upon the emperor's accession, as she is deemed innocent of any crime.

Artist: 楊洲周延 (Yōshū Chikanobu, 1838–1912)

• Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
  • Role: Omiwa (おみわ)
• Ichikawa Sadanji I [市川左団次, old writing 市川左團次] (Japanese, 1842 – 1904); other names: Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō.
• • Role: Kanawa Gorō (金輪五郎)

Play: Imoseyama onna teikin (妹背山婦女庭訓), Shintomi-za, Tokyo, 10/1883

Half-length view of two actors. The female figure on the left is identified as Ichikawa Danjūrō IX, shown in a richly decorated kimono, slightly turning her face. The male figure on the right is identified as Nakamura Shikan IV, dressed in a bold-patterned outfit, gazing forward with an intense expression. His face is adorned with kumadori (隈取) makeup, emphasizing his dramatic role and reinforcing his imposing stage presence.

Lyon Collection: Roger Keyes in The Theatrical World of Osaka Prints wrote on page 74: "Act IV of Imoseyama is a domestic subplot. Omiwa, the daughter of a sake seller, falls in love with the son of Kamatari, one of the leaders of the anti-Soga party. When he refuses to reveal his identity, she attaches a spool of thread to his cloak and follows him, winding the reel. Her lover is following an unidentified princess with the same device, and all finally find themselves at Iruka's palace. Omiwa is noticed by one of Kamatari's subjects, Kanawa Gorō, who is loitering nearby disguised as Fukashichi, the fisherman. He stabs her. As she dies, he reveals that her lover was a courtier and that she will now be helping him to overthrow Iruka. Fukashichi then mixes her blood with the blood of a black-toed deer and smears it on his magic flute, making it possible to recover a certain Sacred Sword from Iruka at last, and sap his power."

Images from Hankyu Culture Archive:

Ichikawa Sadanji I as Fukashichi; Ichikawa Danjūrō IX as Omiwa; Nakamura Shikan IV Tōfu Goyō (とうふ御用)	Ichikawa Danjūrō IX as as Omiwa	Ichikawa Sadanji I as Fukashichi (ふか七)

Artist: Toyohara Kunichika (豊原国周, 1835–1900)

Signed: 豊原国周筆 (Toyohara Kunichika hitsu) with a red toshidama seal

Publisher: Ibaya Senzaburō (伊場屋仙三郎)

Censor seal: kiwame (極), no date seal

• Nakamura Kanjaku III [中村翫雀] (Japanese, 1841-1881), a.k.a. Arashi Kakuzô I [嵐珏蔵]
  • as Saijō Kichinojō [最上吉之丞]
• Sawamura Tosshō II [沢村訥升] (Japanese, 1854 – 1879); other names: Sawamura Genpei II, Sawamura Sōjūrō, Suketakaya Takasuke IV, Sawamura Tosshi VI ; Poetry names: Kōga, Tosshi VI, Tosshō
  • as Keisei Takao (けいせい高尾)

Sawamura Tosshō II as Keisei Takao

Nakamura Kanjaku as Saijō Kichinojō

Actors and Roles:

• Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775–1831); other names: Bandō Minosuke I, Morita Kanjirō II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I.
  • Played Nowaki-hime no Yūkon (野分姫のゆうこん), disguised as a Shinobu seller (しのふ売り), performing a shosagoto (tari shosagoto, たり所作事).
• Seki Sanjūrō II [関三十郎] (Japanese, 1786–1839); other names: Seki Utasuke I, Nakamura Utasuke, Arashi Sōtarō.
  • Played Watashimori (ferryman) Jinzō (渡し守甚三), also referred to as Dōguya Jinzō (道具屋甚三), a merchant.

1. Tsuji banzuke (辻番付, street playbill) – A printed advertisement listing the plays and performers.
2. Yakuwari-bon (役割本, role listing) – A document detailing actor-role assignments.
3. Illustrated playbill pages – Containing scenes from the performances.
4. Crest record (kamon, 家紋) – Indicating actor affiliations.

Performance Overview

• Theater: Ichimura-za, Edo
• Date: March 22, 1831 (Tenpō 2, 3rd month)
• Plays Performed:
  1. 楼門五山桐 (Rōmon Gojō no Kiri) – A historical drama (jidaimono), possibly the first-ranking large performance (ichibanme ōdai, 一番目大切).
  2. 鐘渕劇場故 (Kanegafuchi Shibai no Furugoto) – Likely a domestic drama (sewamono) forming the middle section of the program.
  3. 染分忍彩色 (Somewake te Shinobu no Irozashi) – A second-ranking large performance (nibanme ōdai, 二番目大切), potentially a concluding dance (shosagoto, 所作事).

Waseda Archive

Signed: 国貞画 (Kunisada ga) with red toshidama

Title: Hana Chiru Sato (花ちる里, The Village of Falling Flowers – Chapter 11 of The Tale of Genji), in yellow-green cartouche, left

Publisher: Enshūya Matabei (遠州屋又兵衛); Marks reference 22-009 | 057c; seal To, Hori Ni Enmata (ト堀貳遠又) (active 1845–1860s)

Block Carver: Matsushima Fusajirō (松島房次郎), seal Matsushima Hori Fusa (松嶋彫房) (Gordon Friese, 2009, № 137)

Censor Seal: Combined date and kiwame (極) seal; 1867 (Keiō 3, 慶応三年)

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 233 × 294 mm

The composition is inspired by Chapter 11, Hana Chiru Sato (花散里, The Village of Falling Flowers) from The Tale of Genji. The title cartouche (花ちる里, Hanachirusato) confirms this reference. The series title, Genji Karuta (げんじかるた, Genji Cards), refers to a traditional matching game based on Genji Monogatari. Genji Karuta sets were used for literary and poetic matching games, where players paired cards featuring text, poetry, or symbolic motifs from The Tale of Genji. These games were part of aristocratic culture, reinforcing familiarity with the novel and classical poetry. Genji Cards feature Genji-mon (源氏紋), stylized crests representing each chapter of The Tale of Genji, which were historically associated with the incense-matching game Genji-kō (源氏香).

The elegantly dressed woman, likely the younger sister of Nyōgo Reikeiden (女御麗景殿), holds a blue double-gourd-shaped sake bottle. Her indigo black (藍黒, Aiguro) haori (羽織) is adorned with white wisteria mon and hollyhock leaves and blossoms (葵, Aoi)—the latter motif being closely associated with Chapter 11.

The man, likely Genji himself, referenced in Chapter 11 as Daishō (大将), wears a red under-kimono with hexagons enclosing blossoms, a blue outer garment with large tsuba motifs, and an obi featuring waves and wheels. He offers the woman a red lacquered sake cup.

A delicate pink tint between the man’s and woman’s eyes and eyebrows hints at mutual tender emotions.

The background features a pink fabric design incorporating Genji-mon (源氏紋, stylized crests representing chapters of The Tale of Genji, historically associated with Genji-kō) and asanoha (麻の葉, hemp-leaf motifs), reinforcing the Heian court aesthetic. At the lower right, a black lacquer hexagonal container holds an assortment of unknown items, possibly sweets or ritual objects.