Kabuki Actor: Onoe Kikugorō III [尾上菊五郎] (Japanese, 1784 – 1849); other names: Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I

Role: Nagoya Sanza (名古屋山三)

A half-length portrait of Onoe Kikugorō III (尾上菊五郎) in the role of Nagoya Sanza (名古屋山三), depicted in a three-quarter view, turned slightly to the right. His chonmage (丁髷) hairstyle, with a neatly tied topknot and wrapped hair cords, reflects his status as a samurai.

He wears a purple kimono decorated with swallows (燕, tsubame), bamboo umbrellas (唐傘, karakasa), and streaks of rain—a dynamic and symbolic pattern. Swallows are often associated with change, travel, and perseverance; the umbrellas and rain may evoke a sense of wandering and hardship, themes relevant to the character of Nagoya Sanza, a disgraced samurai seeking revenge. The inner collar features green and gold-striped layers, contrasting the outer robe.

The background is a muted yellow-green monochrome, highlighting the rich details of the actor’s costume and facial expression. To the left of the figure, the inscriptions identify the character’s name (名古屋山三, Nagoya Sanza) and the actor (尾上菊五郎, Onoe Kikugorō III). The artist’s signature, 應需國貞画 (Ōju Kunisada ga), appears in the lower left, indicating that the print was created on commission.

MFA Accession Number 11.43447a-c	Waseda 100-9683

Nagoya Sanza (名古屋山三) is a legendary samurai and a central figure in the classic kabuki and bunraku play Meiboku Sendai Hagi (伽羅先代萩). His story is rooted in historical events from the Date clan of Sendai, although it has been highly dramatized in Edo-period theatre.

Sanza is a loyal retainer falsely accused of stealing a valuable sword and subsequently banished. Stripped of his honour, he takes on the appearance of a wandering samurai dressed in a distinct kimono with a cloud and dragonfly pattern. Meanwhile, his rival, Fuwa Banzaemon (不破伴左衛門), flaunts the stolen sword and openly taunts him. Their encounters, particularly the famous rainy night duel scene, are among kabuki's most visually striking moments. Sanza’s story is of perseverance and revenge, as he ultimately seeks to restore his name and expose the true culprit behind the theft.

This uchiwa-e (fan print) by Utagawa Fusatane (房種画) depicts a scene from the kabuki dance-drama Kyō Ningyō (京人形), featuring the legendary sculptor Hidari Jingorō (左甚五郎) and his magically animated doll. In the scene, Nakamura Shikan (中村芝翫) portrays Hidari Jingorō, seated in a green kimono with a contemplative expression, possibly just after witnessing his doll come to life. He gently touches his face in a subtle gesture of astonishment. Standing behind him is Sawamura Tanosuke (沢村田之助) as Kyō Ningyō (京人形), dressed in a bright red kimono adorned with chrysanthemum motifs. The background features a screen with a woodgrain pattern on the left, inscribed with Kyō Ningyō (京人形), and a blossoming plum branch against a gradient sky.

Various kabuki plays based on this legend of Hidari Jingorō and the living doll were staged multiple times throughout the 19th century, with different adaptations and performances keeping the story alive on the Edo and Meiji-period stage. The popularity of this tale extended beyond the theatre, as it was also widely depicted in ukiyo-e prints by numerous artists, capturing both the kabuki productions and the legend itself in various visual interpretations.

Lyon Collection: Hidari Jingorō (左甚五郎) (role 1596 – 1644) Basil Hall Chamberlain called him "Japan's most famous sculptor... born in 1594."//"Hidari Jingorō (1596-1644), a master temple carpenter (miya-shi) by trade, who is reputed to have crafted life-sized ningyō on the side, is probably the earliest documented carver of what were later to be termed "iki ningyō." Legend has it that in order to accomplish all of the tasks assigned to him, Jingorō decided to create his own assis tants. [sic] To this end, he crafted a group of ningyō that were so realistic they actually came to life and helped him in all of his labors. When he was done with them, however, he threw them all into the river where they became kappa (water demons)." Quoted from: Ningyō: The Art of the Japanese Doll by Alan Scott Pate. The MET: “The Famous, Unrivaled Sculptor Hidari ‘Left-Handed’ Jingorō” (Meiyo: Migi ni teki nashi Hidari Jingorō) by Utagawa Kuniyoshi (1848) // “At the center of this complex triptych composition is the famous sculptor Hidari “Left-Handed” Jingorō at work in his studio, carving a statue of Shōtoku Taishi (574–622), one of the great proponents of Buddhism in ancient Japan”. Wikipedia: “Hidari Jingorō (左 甚五郎) was a possibly fictitious Japanese artist. Some people and sources state his real name was Itami Toshikatsu. A Renaissance man, he worked as a sculptor, carpenter, painter, architect, comedian, actor, kōdanshi (rhythmical storyteller) and professor of art. Although various studies suggest he was active in the early Edo period (around 1596–1644), there are controversies about the historical existence of the person. Jingorō is believed to have created many famous deity sculptures located throughout Japan, and many legends have been told about him”.

The scene depicts a moment from the play Ume sakura aioi zōshi (梅桜松双紙), with Chiyo, Matsubei, and Umeroku confronting an unseen opponent. The three figures are positioned against a backdrop of rushing water and a large waterwheel, indicating a setting near a river. Chiyo, at the front, wears a brown kimono with pine needle motifs, a black obi, and red underlayers visible at the sleeves and hem. Her hair is arranged formally, and her arms are extended forward. Matsubei and Umeroku, standing behind her, wear checkered (plaid) kimonos in brown and beige tones with black borders, tied with wide yellow sashes. Matsubei wears a haori (羽織). Both men hold long wooden oars crossed in an X-shape.

Toyokuni depicts the same actors in the same performance in a series of ōban-size prints (images from Waseda University Cultural Resources Database)

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

Signed: 周延筆 (Chikanobu hitsu)

Publisher: Enshūya Ichibei [遠州屋市兵衛] (Japanese, before 1875–c.1887); Seal name En'ichi 遠市; family name Watari Ichibei 渡市兵衛; Address Tokyo Nihonbashi Horiechō Nichōme 10-banchi 日本橋堀江町二丁目十番地. Sealed as Watari Ichibei from 1876. Marks 26-165 | 056b

Date: No seal

Media: 団扇絵 (uchiwa-e, fan print), 190 × 175 mm

Play: No play, no performance/theatre identified.

Actors and Roles:

• 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: Watōnai (和藤内)
• Bandō Kakitsu I [初代 坂東 家橘] (Japanese, 1847 – 1893); other names: Ichimura Kakitsu V, Ichimura Uzaemon XIV, Ichimura Kakitsu V, Ichimura Uzaemon XIV, Ichimura Takematsu III.
  • Role: Kinshōjo (きんせう女)

Artist: Utagawa Kunisada (Toyokuni III) (歌川国貞) (1786–1865)

Signed: By the brush of the old Toyokuni (Toyokuni rō hitsu, 豊国老筆)

Publisher: Iseya Sōemon (伊勢屋惣右衛門), Marks reference 19-047 | 156d, seal Hanmoto, Ue (板元, 上)

Date/Kiwame Seal: 丑 極 (Year of the Ox & kiwame, Kieō 1, 1865)

Media: Uchiwa-e (fan print), color woodblock print, 218 × 280 mm

Title: Musashi (むさし)

Series: Collection of the Dinner Plates of Enchanting Appearances (艶色 さら づくし, Enshoku sara tsukushi), figuratively meaning "Collection of the Dinner Plates of Charming Looking Women."

Half-length portrait of a woman seated indoors, facing slightly right. She wears an elaborate hairstyle adorned with multiple kanzashi hairpins. Her kimono is red with a white tie-dye (shibori) pattern, similar to examples in museum collections. A deep purple background features cherry blossoms and flowing water motifs. The sleeves are adorned with embroidered gourd or squash flowers over green fabric. She rests her cheek on her left hand while frying tempura on a small stove with a wire mesh, using chopsticks in her right hand. A lacquered tray to her left holds a blue-and-white porcelain bowl and several pieces of cooked tempura. A candle on a stick stand burns to her left.

Musashi refers to the Musashiya restaurant in Susaki, a well-known establishment depicted by Hiroshige.

Sunrise on New Year's Day at the Musashiya Restaurant in Susaki

The print is trimmed on the left, partially cutting off the publisher and date/kiwame seals. It is possible that this print was published posthumously.

Round Nengō Seal: Year of the Ox, Meiji 15 (1882)

Media: Uchiwa-e (団扇絵), color woodblock print, 253 x 260 mm

Actors and Roles:

• Actor: Nakamura Shikan IV (中村芝翫)
  • Role: Ōtaku Tarō (大屋太郎)
• Actor: Suketakaya Takasuke IV (助高屋高助)
  • Role: Princess Takiyasha (滝夜叉姫)

Nakamura Shikan IV, as Ōtaku Tarō, wears a richly decorated kimono with floral patterns and grips a sword. Suketakaya Takasuke, as Princess Takiyasha, appears in a layered kimono with cloud motifs, her hair adorned with multiple ornaments. The actors are depicted in imagined roles.

Iwai Hanshirō VIII as Princess Tsuruhime, Onoe Kikugorō V as Ushiwakamaru

Onoe Kikugorō V as Princess Wakana, Ichikawa Sadanji I as Toriyama Shusaku

Iwai Hanshirō VIII as Tamagohime, Ichikawa Danjurō IX as Jiraiya

Here is Kunisada's print from 08/1856, featuring the same characters: The Syllable Ma（ま）as in Masakado (まさかど): Iwai Kumesaburō III (岩井粂三郎) as Takiyasha-hime (瀧夜叉姫) and Nakamura Fukusuke I (初代中村福助ヵ) as Ōtaku Tarō (大屋太郎) from the series Seven Calligraphic Models for Each Character in the Kana Syllabary (Seisho nanatsu iroha - 清書七伊呂波) – from Lyon Collection.