Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Kabuki actors Ichikawa Danjūrō VIII and Arashi Rikan III as sumo wrestlers Nuregami Chōgorō (L) and Hanaregoma Chōkichi (R), respectively. Signed: Ichiyûsai Kuniyoshi ga (一勇斎 國芳 画) in a double gourd-shaped cartouche with Yoshi Kiri seal. Publisher: No seal. Date seal and double nanushi censor seal: Mera & Watanabe, 1852. Media: Fan print (uchiwa-e, 団扇絵), 231 x 295 mm. Theme: Nine-act drama (11 scenes) Futatsu Chōchō Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters) written by Takeda Izumo II, Namiki Senryū I, Miyoshi Shōraku (7/1749) as puppet play Bunraku [文楽], adopted for Kabuki theatre by Arashi San'emon IV. “The sumo wrestler Nuregami Chōgorō is trying to ransom the courtesan Azuma for Yogoro, in whose debt he stands. Hiraoka Goemon, who is at odds with Yogorō and Azuma, is the patron of the amateur wrestler Hanaregoma Chōkichi. Chōgorō purposely loses to Chōkichi and then asks the latter to stop Goemon's ransoming of Azuma; Chōkichi refuses, however, and they quarrel. Admonished for his dissipation by his sister Oseki, Chōkichi is going to commit ritual suicide (seppuku) as an apology for his behavior, but Chōgorō, who happens along just then, prevents him. The two men swear blood brotherhood. […]  The confrontation between Chōgorō and Chōkichi in the Sumōba scene, acted in the exaggerated style called aragoto, is a major highlight of the work. The scene in Yohei's home, known as Hikimado, presents the unfolding of Kabuki's eternal conflict between duty and feelings, here represented by the act of opening the skylight (hikimado) to which Chōgorō is tied”. [Samuel L. Leiter. Kabuki Encyclopedia: an English-language adaptation of Kabuki Jiten. — Westport, CT; London: Greenwood Press, 1979, pp. 70-71]. See also James R. Brandon and Samuel L. Leiter. Kabuki plays on stage, vol. 1, pp. 234-258. — Honolulu: University of Hawai'i Press, 2002. Actors: Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizō VI, Ichikawa Shinnosuke II. Arashi Rikan III [嵐璃寛] (Japanese, 1812 – 1863); other names Arashi Tokusaburō III, Arashi Kicchō I, Onoe Wasaburō I. Another print in this collection with the same theme: SVJP-0331.2020. Reference images:    

Ichikawa Danjūrō VII [市川団十郎] and Iwai Kumesaburō II [岩井粂三郎] as Kinugawa Iemon [絹川伊右衛門] and Tōfuya Kasane [とうふやヶさね], resp., in kabuki play Banzei okuni kabuki [万歳阿国歌舞妓], performed at Ichimura Theatre [市村座] on March, 21, 1827. References: Kunisada Project; Waseda University. Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Iwai Hanshirō VI [[岩井半四郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Kumesaburō II, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name). Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Gototei Kunisada ga [五渡亭國貞画]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1790s-1860s). Date seal and aratame seal: boar (亥), Bunsei 10 – 1827. Untrimmed fan print (aiban yoko-e uchiwa-e), 235 x 270 mm. Ichimura-za Kabuki Playbill (Tsuji banzuke):    

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

Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a

Date-Aratame Seal: Bunsei 1 (文政元年, 1818)

Media: Print (Yakusha-e, 役者絵); 223 x 250 mm

Actor: Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775–1831); also known as Bandō Minosuke I, Morita Kanjirō II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I.

Role: Anno Heiemon [安の平右衛門], also known as Anno Heibei [安の平兵衛].

Play: Shiire Zome Karigane Gomon [仕入染雁金五紋] (しいれぞめかりがねごもん), staged in May 1818 at Nakamuraza Theatre in Edo (modern-day Tokyo).

Bust-length, three-quarter-view portrait of actor Bandō Mitsugorō III as Anno Heibei, one of the gonin otoko [五人男]—a group of five chivalrous thieves. The actor is dressed in a red and purple robe, with a golden mon (family crest) on the shoulders, displaying the character 安 (An), which, in this case, represents the first ideogram in the name of his role. A shakuhachi (尺八), a traditional Japanese end-blown bamboo flute, is secured on his back.

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 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.

   

Artist: Utagawa Fusatane [歌川 房種] (Japanese, fl. 1854 – 1889), other names: Ippyosai; Isshosai; Murai Seima; Utagawa Seimas; Osai Signed: Drawn by Fusatane (Fusatane ga, 房種画) within Toshidama cartouche Block carver: Nakamura Fujiyoshi, seal 彫藤 (hori Fuji); Friese 2009: 306/7 Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); san (三) in a circle. Date: 亥極 Year of the Boar + kiwame, Bunkyū 3 (1863) Media: Uchiwa-e (団扇絵), color woodblock print, 155 x 188 mm (for a child?) Play: Kyō Ningyō (京人形), The Kyoto Doll, date and place of the performance not found (mitate?) Actors and Roles: — Nakamura Shikan IV [中村芝翫] (Japanese, 1831 –  1899); other names: Nakamura Fukusuke I [中村福助], Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I. Role: Hidari Jingorō (左甚五郎),  — Sawamura Tanosuke III [沢村田之助] (Japanese, 1845-1878); other names: Sawamura Yoshijirō I; poetry names: Shozan. Role: Kyō Ningyō (京人形), The Kyoto Doll

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”.

A 1-minute Youtube presentation of the Hidari Jingorō Legend.