Sharaku's signature on his first-period work: Tōshūsai Sharaku ga (東洲齊冩樂画), followed with the censor's seal kiwame (極) and the publisher's mark of Tsutaya Jūzaburō
158 works and sketches survive of the Japanese artist known only by the art name Tōshūsai Sharaku. Almost all were made over a ten-month period in 1794–1795, divided into four periods:
5th month of Kansei 6 (May–June 1794) – 28 ōban prints
7th and 8th months of Kansei 6 (July–September 1794) – 8 ōban and 30 hosoban prints
11th and intercalary 11th months of Kansei 6 (November 1794– January 1795) – 47 hosoban, 13 aiban, and 4 ōban prints
1st month of Kansei 7 (February–March 1795) – 10 hosoban and 5 aiban prints
The print sizes became progressively smaller and the focus shifts from busts to full-length portraits. The depictions become less expressive and more conventional. Two picture calendars dating to as early as 1789 and three decorated fans as late as 1803 have been attributed to Sharaku, but have yet to be accepted as authentic works of his. A number of hanshita-e preparatory drawings have also been found.
Just over 600 copies of Sharaku's prints are known; only about 100 remain in Japan.[2] As they are in collections scattered throughout the world general research on Sharaku's works has followed different threads in Japan and the West has proved time-consuming. Japanese researchers have better knowledge of and access to documents and literature related to Sharaku's time and conditions. On the other hand, Sharaku's works tend to be in Western collections, including prints for which only one copy is known—of which there are about three dozen. Three of these are of unknown whereabouts, known only through published photographs. The largest Western collection is the 70 pieces at the Museum of Fine Arts, Boston, 6 of which are unique; the Art Institute of Chicago (8 unique pieces), New York's Metropolitan Museum of Art, the British Museum, and the Guimet Museum in Paris also have substantial collections. In 1920, Kōjirō Matsukata bought a large number of ukiyo-e prints in Paris and brought them back to Japan. These 70 pieces reside at the Tokyo National Museum, 3 of which are unique.[3]
The prints bear no titles, and descriptive titles vary in both Japanese and English. Amongst the variations in Japanese are the numbering for the generations of actors; for example, a second-generation actor's name might have nidai (二代) or nidaime (二代目) prepended in some sources and nisei (二世) in others, or the generation might be absent. The list here does not give variant titles, and the titles given are not official.
Print sizes
Sharaku's prints appeared in the common print sizesōban, hosoban, and aiban. The approximate dimensions of these sizes are:[4]
ōban– 25 by 36 centimetres (10in ×14in)
hosoban– 15 by 33 centimetres (6in ×13in)
aiban– 23 by 33 centimetres (9in ×13in)
Periodization
Sharaku's prints are divided into four periods.[5] The prints of the first two periods are signed "Tōshūsai Sharaku" (東洲齊冩樂),[lower-alpha 2] and the latter two only "Sharaku" (冩樂).
The 5th month of Kansei 6 fell from 29 May to 26 June 1794.
7th and 8th months of Kansei 6 – 8 ōban and 30 hosoban prints
The 7th month of Kansei 6 fell from 27 July to 25 August 1794, and the eighth month from 26 August to 23 September 1794.
11th and intercalary 11th months of Kansei 6 – 47 hosoban, 13 aiban, and 4 ōban prints
The 11th month of Kansei 6 fell from 23 November to 22 December 1794, and the intercalary 11th month from 23 December 1794 to 20 January 1795.
1st month of Kansei 7 – 10 hosoban and 5 aiban prints
The 1st month of the 7th year of Kansei fell from 19 February to 20 March 1795.
The print sizes progressively became smaller and the focus shifts from busts to full-length portraits. The depictions become less expressive and more conventional.[6] Two picture calendars dating to as early as 1789 and three decorated fans as late as 1803 have been attributed to Sharaku, but have yet to be accepted as authentic works of his.[7]
Playwright Matsui Yūsuke's[lower-alpha 3]Hana-ayame Bunroku Soga (花菖蒲文禄曽我, "Blooming Iris, Soga of the Bunroku Era") is a kabuki adaptation of a true story of revenge, the early 18th-century "Kameyama Vengeance"[ja][8] in which the Ishii brothers Hanzō and Genzō spent 28 years to exact revenge on their father Uemon's murderer. The story enjoyed great popularity and had several theatrical adaptations.[9]
The play débuted at the Miyako-za theatre in the 5th month of 6th year of Kansei.[8] Many details of it are no longer known. Ishii Genzō tries to kill his enemy Fujikawa Mizuemon, who instead kills Genzō and his wife. The plot then follows Genzō's retainer Tanabe Bunzō and Genzō's orphaned son, who set off to exact revenge. Ōgishi Kurando plays a selfless, stately samurai who lends a hand, and Bunzō's retainer Sodesuke serves as comic relief. Hakujin Onayo's rôle is unknown, but it is thought she helps out with the revenge.[9]
Ōtani Tokuji I as the manservant Sodesuke
Sodesuke is a faithful foot-man of the Ishii family. He is present in the first scene, arriving late to meet his master Ishii Hyōei (石井 兵衛) at a shrine in Hamamatsu in Tōtōmi Province. He witnesses a group including Fujikawa Mizuemon ambush and kill Hyōei before the shrine under cover of darkness. Sodesuke brings Hyōei's body to Hyōei's eldest son Genzō, in the middle of Genzō's wedding, and explains what has happened. Sharaku depicts a shockeded Sodesuke as he arrives at the scene of his master's murder.[10]
The powerful Mizuemon, resentful at having lost a sword fight to his patron Ishii Hyōei, murders Hyōei and steals from him a secret book on Japanese swordsmanship. Hyōei's sons attempt revenge, but in the third act Mizuemon kills Hyōei's eldest son Genzō and his wife at the Abe River in neighbouring Suruga Province. Sharaku depicts Mizuemon at the scene of his murder of Genzō. The print pairs with the one of Bandō MitsugorōII as Ishii Genzō.[12]
When Ishii Genzō learns of the murder of his father in the middle of his wedding, he commits himself to revenge. He attacks the murderer Mizuemon's father in the second act, and in the third tries to kill Mizuemon at the Abe River in Suruga Province, but Mizuemon turns then table and kills Genzō and his wife. Sharaku depicts Genzō at his encounter with Mizuemon at the Abe River. The print pairs with the one of Sakata HangorōIII as Fujikawa Mizuemon.[12]
Sanogawa Ichimatsu III as Hakujin Onayo of Gion and Ichikawa Tomiemon as Kanisaka Tōma
Tōma is one of Mizuemon's followers, and Onayo a prostitute of the Gion district. The print depicts the pair in the fourth act, when Tōma has fallen into such financial ruin that he takes on work as a gidayū reciter in bunraku puppet theatre. At this point, he becomes involved with Hakujin Onayo, a prostitute of the Gion district.[12]
6 copies are known of the ōban print of Sanogawa IchimatsuIII as Hakujin Onayo of Gion and Ichikawa Tomiemon as Kanisaka Tōma (三世佐野川市松の祇園町の白人おなよと市川富右衛門の蟹坂藤馬Sansei Sanogawa Ichimatsu no Gion-chō no Hakujin Onayo to Ichikawa Tomiemon no Kanisaka Tōma); one each are in the collections of the Tokyo National Museum, the Rijksmuseum, the Museum of Asian Art, the Royal Museums of Art and History, and the Art Institute of Chicago, and another is in a private collection.[11]
Sanogawa Ichimatsu III as Hakujin Onayo of Gion
Hakujin Onayo is a prostitute of Gion, played by Ichimatsu, an onnagata—a male actor who performed female rôles.[12] Her rôle in the narrative is unknown, but it is thought she helps out with the revenge.[9] She may have played a rôle similar to that of Okaru in the Kanadehon Chūshingura;[12] Okaru had herself sold into prostitution to raise funds a vendetta.[citation needed] She wears on her clothes the hiragana character "い" ("i") enclosed in a circle—the same mon crest the karō Ōgishi Kurando wears.[12]
Ōgishi Kurando is the karō (house elder) of the Momoi daimyō family of Kameyama Castle and sympathizes with the Ishii brothers. He wears on his clothes a mon crest with the hiragana character "い" ("i") enclosed in a circle, for which Mizuemon mistakes him for a member of the Ishiis in the fifth act and attacks him at a teahouse in Gion. Kurando discovers that his attacker is Mizuemon, and that he has the secret book of swordsmanship. Kurando goes on to help the Ishii brothers get their revenge in the seventh act. Sharaku depicts Kurando at the teahouse in the fifth act.[12]
Segawa Kikunojō III as Oshizu, wife of Tanabe Bunzō
Oshizu is the wife of the Ishii foot-soldier Tanabe Bunzō, who runs into financial ruin in faithful service to his masters. The print depicts Oshizu in the sixth act, as they struggle to repay a usurer and resort to prostituting their daughter Omitsu. She wraps her head in a yamai hachimaki (病鉢巻, "sickness headband"), a purple headband of silk crepe often worn in kabuki to indicate sickness.[12] Above it a yellow comb decorates the hair. The kimono is white with a faded violet pattern, under which are green and rose garments, all bound with a black obi sash. The portrait is on a dark mica background, and mica is dusted on the collar.[13]
Bunzō is an Ishii retainer who devoted himself to the brothers' revenge. In the third act, at the Abe River in Suruga Province in the third act, Mizuemon's group fends off Genzō's group, kills Genzō and his wife, and cripples Bunzō with a wound to the leg. The print depicts Bunzō in the sixth act as an impoverished rōnin at the Ishibe-juku in Ōmi Province.[14]
Arashi Ryūzō II as Ishibe Kinkichi the moneylender
The name "Ishibe Kinkichi" is used as a common noun in Japanese to refer to a person with an inflexible character; the play's character, a moneylender at Ishibe-juku in Ōmi Province, has a personality lacking in humanity and empathy. In the sixth act, when the destitute Tanabe Bunzō and his wife Oshizu are unable to repay a debt to him, Kinkichi has them sell him their daughter Omitsu as a prostitute. The actor Ryūzō was known as a master of villainous rôles, and Sharaku's print expresses his hard, unempathetic character in this scene.[14]
Segawa Tomisaburō II as Yadorigi, wife of Ōgishi Kurando
Tomisaburō was a student of Segawa Kikunojō III, whose style as an onnagata he imitated. He was considered a versatile actor who excelled at rôles as young girls and courtesans, but who lack in social graces, for which he was given nicknames such as Iya-Tomi or Niku-Tomi (both roughly "Horrid Tomi").[14]
It is not known what scene this image represents, but it is assumed to be a different one from that of the other portrait of Yadorigi, as her clothes are different. Some have suggested the scene may be from Act 5.[14]
Katakiuchi Noriai-banashi (敵討乗合話, "A Medley of Tales of Revenge") by the playwright Sakurada Jisuke[ja] débuted at the Kiri-za in the 5th month of the 6th year of Kansei.[16] The play combines two revenge tales: Katakiuchi Ganryūjima (巌流島, "Ganryū-jima Revenge") and Gotaiheiki Shiroishi Banashi (碁太平記白石噺, "The Tale of Shiroishi and the Taihei Chronicles"). The play's villain Shiga Daishichi murders Matsushita Mikinoshin, whose death his daughters Miyagino and Shinobu spend years to avenge, with the help of Gorobē, a fishmonger of San'ya.[17]
Onoe MatsusukeI as Matsushita Mikinoshin
Mikinoshin is a rōnin who has fallen sick and fallen into poverty; he is the father of two daughters, Miyagino and Shinobu. Sharaku depicts him in a miserable state here in the third act, in which the villains Shiga Daishichi and an accomplice murder him. Onoe Matsusuke was best known for his rôles as villains, but performed in this play as the lead protagonist.[14]
ōban print of Onoe MatsusukeI as Matsushita Mikinoshin (初世尾上松助の松下造酒之進Shosei Onoe Matsusuke no Matsushita Mikinoshin)
Ichikawa KomazōIII as Shiga Daishichi
ōban print of Ichikawa KomazōIII as Shiga Daishichi (三世市川高麗蔵の志賀大七Sansei Ichikawa Komazō no Shiga Daishichi)
Morita Kan'yaVIII as the palanquin-bearer Uguisu no Jirōsaku
Jirōsaku is Miyagino's palanquin-bearer, and has transported Miyagino to the red-light district to visit his daughter, whom he has sold into prostitution. Jirōsaku appears during the performance of the dance segment "Hana-ayame omoi no kanzashi" (花菖蒲思笄, "Iris Headdress of Remembrance") in the fourth act. He takes the rôle of Japanese bush warbler in the dance, opposite Soga no Jūrō Sukenari disguised as Gorobē as lesser cuckoo; Jūrō is a faithful servant of the Sogas.[18]
Matsumoto YonesaburōI as Kewaizaka no Shōshō, actually Shinobu
ōban print of Matsumoto YonesaburōI as Kewaizaka no Shōshō, actually Shinobu (初世松本米三郎の化粧坂の少将、実はしのぶShosei Matsumoto Yonesaburō no Kewaizaka no Shōshō, jitsu wa Shinobu)
ōban print of Matsumoto KōshirōIV as San'ya no Sakanaya Gorobē (四世松本幸四郎の山谷の肴屋五郎兵衛Yonsei Matsumoto Kōshirō no San'ya no Sakanaya Gorobē)
Nakajima WadaemonI as Bōdara Chōzaemon and Nakamura KonozōI as Gon of the Kanagawaya
ōban print of Nakajima WadaemonI as Bōdara Chōzaemon and Nakamura KonozōI as Gon of the Kanagawaya (初世中島和田右衛門のぼうだら長左衛門と初世中村此蔵の船宿かな川やの権Shosei Nakajima Wadaemon no Bōdara Chōzaemon to Shosei Nakamura Konozō no Kanagawaya no Gon)
There are few details about Bōdara Chōzaemon and Gon of the Kanagawaya, who appear together in this print, but they are said to have been minor characters in Katakiuchi Noriai-banashi. Sharaku has nonetheless delineated their traits as carefully as he has those of the main characters.[17]
Koi Nyōbō Somewake Tazuna
Koi Nyōbō Somewake Tazuna (恋女房染分手綱, "The Loving Wife's Particoloured Reins") débuted in 1751 in Osaka as a bunraku puppet play and arrived in Edo later the same year as a kabuki play at the Nakamura-za (later called the Miyako-za).[19]
The scene focuses on the adulterous relationship of Date no Yosaku, who is a retainer of the Yurugi clan of Tanba Province, and the woman-in-waiting Shigenoi. Trouble befalls the couple at the hands of those such as the wicked retainer Washizuka Happeiji, who has the manservant Edobei steal public funds from Yosaku. Shigenoi gives birth to Yosaku's son, and he father, the Noh master Takemura Sadanoshin, takes responsibility by killing himself by seppuku. The Yurugi daimyō takes in Shigenoi as a wet nurse for his daughter Shirabe-hime, but she is forced to part with Yosaku and their son. Amongst the other characters Sharaku depicts are the Yurugi house's messenger Sagisaka Sanai, Yosaku's manservant Ippei; the character Osagawa TsuneyoII plays is not certain, but may be Ippei's sister Osan.[19]
Ichikawa OmezōI as the manservant Ippei
ōban print of Ichikawa OmezōI as the manservant (yakko) Ippei (初世市川男女蔵の奴一平Ichikawa Omezō no yakko Ippei)
Ōtani OnijiIII as the manservant Edobei
ōban print of Ōtani OnijiIII as the manservant Edobei (三世大谷鬼次の奴江戸兵衛Sansei Ōtani Oniji no yakko Edobei)
ōban print of Iwai Hanshirō IV as the wet nurse Shigenoi (四世岩井半四郎の乳人重の井Yonsei Iwai Hanshirō no menoto Shigenoi)
Ichikawa MonnosukeII as Date no Yosaku
ōban print of Ichikawa MonnosukeII as Date no Yosaku (二世市川門之助の伊達与作Ichikawa Monnosuke no Date no Yosaku)
Bandō HikosaburōIII as Sagisaka Sanai
ōban print of Bandō HikosaburōIII as Sagisaka Sanai (三代目坂東彦三郎の鷺坂左内Sansei Bandō Hikosaburō no Sagisaka Sanai)
Tanimura TorazōI as Washizuka Happeiji
ōban print of Tanimura TorazōI as Washizuka Happeiji (谷村虎蔵の鷲塚八平次Shosei Tanimura Torazō no Washizuka Happeiji)
Ichikawa EbizōI as Takemura Sadanoshin
ōban print of Ichikawa EbizōI as Takemura Sadanoshin (市川鰕蔵の竹村定之進Shosei Ichikawa Ebizō no Takemura Sadanoshin)
Osagawa TsuneyoII as Ippei's sister Osan
ōban print of Osagawa TsuneyoII as Ippei's sister Osan (二世小佐川常世の一平姉おさんNisei Osagawa Tsuneyo no Ippei ane Osan)
Iwai KiyotarōI as Fujinami, wife of Sagisaka Sanai, and Bandō ZenjiI as Kozasa, wife of Washizuka Kandayū
ōban print of Iwai KiyotarōI as Fujinami, wife of Sagisaka Sanai, and Bandō ZenjiI as Kozasa, wife of Washizuka Kandayū (初世岩井喜代太郎の鷺坂左内妻藤波と初世坂東善次の鷲塚官太夫妻小笹Shosei Iwai Kiyotarō no Sagisaka Sanai tsuma Fujinami to Bandō Zenji no Washizuka Kandayū tsuma Kozasa)
Yoshitsune Senbon-zakura
Sawamura YodogorōII as Kawatsura Hōgen and Bandō ZenjiI as Oni Sadobō
ōban print of Sawamura YodogorōII as Kawatsura Hōgen and Bandō ZenjiI as Oni Sadobō (二代目沢村淀五郎の川連法眼と坂東善次の鬼佐渡坊Nisei Sawamura Yodogorō no Kawatsura Hōgen to Shosei Bandō Zenji no Oni Sadobō)
Second period
Shinozuka UraemonI as the announcer at Miyako-za
Before a performance and between scenes, a backstage representative or one of the actors came onstage to give a kōjō (口上) announcement to the audience about such things as scene changes, actors' name changes, and actor promotions. Here, the actor Shinozuka UraemonI wears the Miyako-za mon crest on his sleeve and reads an announcement that bleeds through the scroll he holds. It reads:[21]
口上 自是二番目 新板似顔奉 入御覧候
Kōjō: Kore yori nibanme shinban nigao goran ni ire tamatsuri sōrō[22]
Kōjō: We will show you part two of the newly published actors' portraits.
Sanokawa IchimatsuIII as Sekinoto, wife of Fuwa Benzaemon
The hosoban print of Sanokawa IchimatsuIII as Sekinoto, wife of Fuwa Benzaemon (三世佐野川市松の不破伴左衛門妻関の戸Sansei Sanokawa Ichimatsu no Fuwa Benzaemon tsuma Sekinoto) is known only through a black-and-white reproduction in Fritz Rumpf's[de]Sharaku (1932). It is not known where the copy reproduced is.[23]
Three copies are known of the hosoban print of Arashi RyūzōII as the servant (yakko) Ukiyo Matabei (二世嵐龍蔵の奴浮世又平Nisei Arashi Ryūzō no yakko Ukiyo Matabei), one each in the collections of the Tokyo National Museum, Jōsai University, and the Art Institute of Chicago.[11]
Arashi RyūzōII as the manservant Ukiyo Matabei, and Ōtani HirojiIII as the manservant Tosa no Matabei
Four copies are known of the ōban print of Arashi RyūzōII as the manservant Ukiyo Matabei, and Ōtani HirojiIII as the manservant Tosa no Matabei (二世嵐龍蔵の奴浮世又平と三世大谷広次の奴土佐の又平Nisei Arashi Ryūzō no yakko Ukiyo Matabei to Sansei Ōtani Hiroji no yakko Tosa no Matabei), one each in the collections of Tokyo National Museum, the Japan Ukiyo-e Museum, and the Hiraki Ukiyo-e Foundation, and another in a private collection.[11]
Ōtani HirojiIII as the servant Tosa no Matabei
Two copies are known of the hosoban print of Ōtani HirojiIII as the servant (yakko) Tosa no Matabei (三世大谷広次の名護屋が下部土佐の又平Sansei Ōtani Hiroji no Nagoya ga kabu Tosa no Matabei); one each are in the collections of the Tokyo National Museum and the Museum of Fine Arts, Boston.[11]
Bandō MitsugorōII as the farmer Fukakusa no Jirōsaku
Four copies of the hosoban print of Bandō MitsugorōII as the farmer Fukakusa no Jirōsaku (二世坂東三津五郎の百姓深草の次郎作Nisei Bandō Mitsugorō no hyakushō Fukakusa no Jirōsaku), one each in the collections of the Tokyo National Museum, the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, and another in a private collection.[11]
Two copies of the hosoban print of Sakata HangorōIII as Kosodate Kannonbō (三世坂田半五郎の子育て観音坊Sansei Sakata Hangorō no Kosodate Kannonbō); one each are in the collections of the Museum of Fine Arts, Boston, and the Art Institute of Chicago.[11]
Segawa TomisaburōII as the Courtesan Tōyama, and Ichikawa Kurizō as Higashiyama Yoshiwakamaru
Two copies are known of the hosoban print of Segawa Tomisaburō II as the Courtesan Tōyama, and Ichikawa Kurizō as Higashiyama Yoshiwakamaru (二世瀬川富三郎の傾城遠山と市川栗蔵の東山義若丸Nisei Segawa Tomisaburō no keisei Tōyama to Ichikawa Kurizō no Higashiyama Yoshiwakamaru; one each are in the collections of the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art.[24]
Ichikawa Yaozō III as Fuwa Banzaemon Shigekatsu
hosoban print of Ichikawa Yaozō III as Fuwa Banzaemon Shigekatsu (三世市川八百蔵の不破の伴左衛門重勝Sansei Ichikawa Yaozō no Fuwa Banzaemon Shigekatsu)
Segawa Kikunojō III as the courtesan Katsuragi
Segawa Kikunojō III[ja] (1751–1810) as the courtesan Katsuragi (三世瀬川菊之丞の傾城かつらぎSansei Segawa Kikunojō no keisei Katsuragi
Sawamura Sōjūrō III as Nagoya Sanza
hosoban print of Sawamura SōjūrōIII as Nagoya Sanza (沢村宗十郎の名護屋山三Sawamura Sōjūrō no Nagoya Sanza)
Sawamura Sōjūrō III as Nagoya Sanza, and Segawa Kikunojō III as the courtesan Katsuragi
ōban print of Sawamura SōjūrōIII as Nagoya Sanza, and Segawa KikunojōIII as the courtesan Katsuragi (三世沢村宗十郎の名護屋山三と三世瀬川菊之丞の傾城かつらぎSansei Sawamura Sōjūrō no Nagoya Sanza to Sansei Segawa Kikunojō no keisei Katsuragi)
Ichikawa YaozōIII as Fuwa Banzaemon, and Sakata HangorōIII as Kosodate Kannonbō
ōban print of Ichikawa YaozōIII as Fuwa Banzaemon, and Sakata HangorōIII as Kosodate Kannonbō (三世市川八百蔵の不破伴左衛門と三世坂田半五郎の子育観音坊Sansei Ichikawa Yaozō no Fuwa Banzaemon to Sansei Sakata Hangorō no Kosodate Kannonbō)
Shinrei Yaguchi no Watashi
Nakayama TomisaburōI as Tsukuba Gozen, wife of Yoshioki
Four copies are known of the hosoban print of Nakayama TomisaburōI as Yoshioki's wife Tsukuba Gozen (初世中山富三郎の義興御台つくば御前Shosei Nakayama Tomisaburō no Yoshioki midai Tsukuba Gozen); one each are in the collections of the Hagi Uragami Museum[ja], Museum of Fine Arts, Boston, and the Art Institute of Chicago, and another is in a private collection.[24]
Nakamura KumetarōII as Minato, wife of Yura Hyōgonosuke
Three copies are known of the hosoban print of Nakamura KumetarōII as Yura Hyōgonosuke's wife Minato (二世中村粢太郎の由良兵庫之助妻みなとNisei Nakamura Kumetarō no Yura Hyōgonosuke tsuma Minato); one is in the collection of the Museum of Fine Arts, Boston, and two in that of the Metropolitan Museum of Art.[24]
Ichikawa KomazōIII as Minase Rokurō Munezumi in a kamishimo
One copy is known of the hosoban print of Ichikawa KomazōIII as Minase Rokurō Munezumi in a kamishimo[ja] (三世市川高麗蔵の南瀬六郎宗純(裃姿)Sansei Ichikawa Komazō as Minase Rokurō Munezumi (kamishimo sugata)); it is in the collection of the Guimet Museum.[24]
Ichikawa KomazōIII as Minase Rokurō Munezumi as a pilgrim
Two copies are known of the hosoban print of Ichikawa KomazōIII as Minase Rokurō Munezumi as a pilgrim (三世市川高麗蔵の南瀬六郎宗澄（六部姿）Sansei Ichikawa Komazō as Minase Rokurō Munezumi (kamishimo sugata)); one each are in the collections of the Tokyo National Museum and the Museum of Fine Arts, Boston.[24]
Nakajima KanzōII as Negoto no Chōzō the packhorse driver
Three copies are known of the hosoban print of Nakajima KanzōII as Negoto no Chōzō the packhorse driver (中島勘蔵の馬士ねぼけの長蔵Nisei Nakajima Kanzō no bashi neboke no Chōzō); one is in the collections of the Tokyo National Museum and the others are in that of the Museum of Fine Arts, Boston.[24]
Morita Kan'yaVIII as Yura Hyōgonosuke
Five copies are known of the hosoban print of Morita Kan'yaVIII as Yura Hyōgonosuke (八世森田勘弥の由良兵庫之助Hassei Morita Kan'ya no Yura Hyōgonosuke); one each are in the collections of Jōsai University and the Art Institute of Chicago, and the others are in private collections.[24]
Yomo no Nishiki Kokyō no Tabi-ji
Yomo no Nishiki Kokyō no Tabi-ji (四方錦故郷旅路) débuted at the Kiri-za theatre in the 8th month of 6th year of Kansei.[24]
One copy is known of the hosoban print of Nakajima WadaemonI as Tanbaya Hachiemon (初世中島和田右衛門の丹波屋八右衛門Shosei Nakajima Wadaemon no Tanbaya Hachiemon); it is in a private collection.[24]
Matsumoto KōshirōIV as the hick spendthrift from Yamato, actually Ninokuchimura Magoemon
One copy is known of the hosoban print of Matsumoto KōshirōIV as the hick spendthrift from Yamato, actually Ninokuchimura Magoemon (四世松本幸四郎の大和のやぼ大尽実は新口村の孫右衛門Yonsei Matsumoto Kōshirō no Yamato no yabo daijin jitsu wa Ninokuchimura Magoemon); it is in the collection of the Art Institute of Chicago.[24]
Ichikawa KomazōIII as Kameya Chūbei, and Nakayama Tomisaburō as Umegawa
Six copies are known of the ōban print of Ichikawa KomazōIII as Kameya Chūbei, and Nakayama Tomisaburō as Umegawa (二世市川高麗蔵の亀屋忠兵衛と初世中山富三郎の梅川Shosei Ichikawa Komazō no Kameya Chūbei to Shosei Nakayama Tomisaburō no Umegawa), one each in the collections of the Tokyo National Museum, the Hiraki Ukiyo-e Foundation, the British Museum, and the Bibliothèque nationale de France, and two in that of the Museum of Fine Arts, Boston.[24]
Matsumoto KōshirōIV as Ninokuchimura Magoemon, and Nakayama Tomisaburō as Umegawa
Two copies are known of the hosoban print of Ōtani OnijiII as Kawashima Jibugorō (二世大谷鬼次の川島治部五郎Nisei Ōtani Oniji no Kawashima Jibugorō), one in the collection of the Tokyo National Museum and the other in a private collection.[24]
Ichikawa OmezōI as Tomita Hyōtarō
One copy is known of the hosoban print of Ichikawa Omezō[ja]I as Tomita Hyōtarō (市川男女蔵の富田兵太郎Shosei Ichikawa Omezō no Tomita Hyōtarō); it is in the collection of the Art Institute of Chicago.[24]
Ichikawa OmezōI as Tomita Hyōtarō and Ōtani OnijiIII as Kawashima Jibugorō
Eight copies are known of the ōban print of Ichikawa OmezōI as Tomita Hyōtarō and Ōtani OnijiIII as Kawashima Jibugorō (初世市川高麗蔵の富田兵太郎と三世大谷鬼次の川島治部五郎Shosei Ichikawa Omezō no Tomita Hyōtarō to Sansei Ōtani Oniji no Kawashima Jibugorō), one each in the collections of the Tokyo National Museum, the British Museum, the Museum of Fine Arts, Boston, the Royal Museums of Art and History, the Art Institute of Chicago, the Guimet Museum, the Honolulu Museum of Art, and the Metropolitan Museum of Art. The print was earlier thought to be of Ichikawa OmezōI as Sekitori Ikazuchi Tsurunosuke and Ōtani OnijiIII as Ukiyo Tsuchihei (初世市川高麗蔵の関取雷鶴之助と三世大谷鬼次の浮世土平Shosei Ichikawa Omezō no Sekitori Ikazuchi Tsurunosuke to Sansei Ōtani Oniji no Kawashima Jibugorō).[24]
Two copies are known of the hosoban print of Bandō HikosaburōIII as Obiya Chōemon (三世坂東彦三郎の帯屋長右衛門Sansei Bandō Hikosaburō no Obiya Chōemon); one is in the collection of the Museum of Fine Arts, Boston, and the other in the Grabhorn Collection at the Asian Art Museum of San Francisco.[24]
Iwai HanshirōIV as O-Han of the Shinanoya
One copy is known of the hosoban print of Iwai HanshirōIV as O-Han of the Shinanoya (四世岩井半四郎の信濃屋お半Yonsei Iwai no Hanshirō Shinanoya O-Han); it is in the collection of the Museum of Asian Art.[24]
Iwai KiyotarōII as O-Sode, daughter of Futamiya
One copy is known of the hosoban print of Iwai KiyotarōII as O-Sode, daughter of Futamiya (二世岩井喜代太郎の二見屋娘お袖Nisei Iwai Kiyotarō no Futamiya musume O-Sode); it is in the collection of the Hiraki Ukiyo-e Foundation.[24]
Tanimura TorazōI as Kataoka Kōemon
One copy is known of the hosoban print of Tanimura TorazōI as Kataoka Kōemon (初世谷村虎蔵の片岡幸右衛門Shosei Tanimura Torazō no Kataoka Kōemon); it is in the collection of the Tokyo National Museum.[24]
Ichikawa EbizōI as Ranmyaku no Kichi
One copy is known of the hosoban print of Ichikawa EbizōI as Ranmyaku no Kichi (初世市川鰕蔵のらんみゃくの吉Shosei Ichikawa Ebizō no Ranmyaku no Kichi); it is in the collection of the Tokyo National Museum.[24]
Osagawa TsuneyoII as Okinu, wife of Chōemon
One copy is known of the hosoban print of Osagawa TsuneyoII as Chōemon's wife Okinu (二世小佐川常世の長右衛門妻おきぬOsagawa Tsuneyo no Chōemon tsuma Okinu); it is in the collection of the Rijksmuseum.[24]
Bandō HikosaburōIII as Obiya Chōemon, and Iwai Hanshirō IV as O-Han of the Shinanoya
Three copies are known of the ōban print of Bandō HikosaburōIII as Obiya Chōemon and Iwai HanshirōIV as O-Han of the Shinanoya (三世坂東彦三郎の帯屋長右衛門と四世岩井半四郎の信濃屋お半Sansei Bandō Hikosaburō no Obiya Chōemon to Yonsei Iwai no Hanshirō Shinanoya O-Han), one each in the Art Institute of Chicago, the Grabhorn Collection at the Asian Art Museum of San Francisco, and the Metropolitan Museum of Art.[24]
Third period
47 hosoban, 13 aiban, and 4 ōban prints make up the third period (1794–1795).[5] They appeared in the eleventh month of the 6th year of Kansei.[25]
11 of the 13 aiban prints are ōkubi yakusha-e. Amongst the details that set these works apart from Sharaku's earlier and later ones are the inclusion of a crest in the corner of each, and five of these prints feature clearly visible ears drawn with six lines, whereas those of Sharaku's other works are drawn with five lines. Hiroshi Matsuki proposed that these 11 prints could be attributed to Kabukidō Enkyō, an artist who produced 7 known prints in c.1796 and whose identity is unknown. Enkyō is the only other ukiyo-e artist known to have produced aiban-sized ōkubi-e yakusha-e during the Edo period.[26]
Uruō Toshi Meika no Homare
Uruō Toshi Meika no Homare (閏訥子名和歌誉) débuted at the Miyako-za in the 11th month of the 6th year of Gansei.[24]
Two copies of the hosoban print of Sanokawa IchimatsuIII as Ihohata (三世佐野川市松のいほはたSansei Sanokawa Ichimatsu no Ihohata) are known, one in the collection of Tokyo National Museum and the other at the Museum of Fine Arts, Boston.[24]
Bandō MitsugorōIII as Katsura Kokingo Haruhisa
One copy is known of the hosoban print of Bandō MitsugorōIII as Katsura Kokingo Haruhisa (三世坂東三津五郎の桂金吾春久, Sansei Bandō Mitsugorō no Katsura Kokingo Haruhisa) and is at the Museum of Fine Arts, Boston.[24]
Segawa Kikunojō III as Yamato Manzai, actually the shirabyōshi Hisakata
Three copies are known of the hosoban print of Segawa KikunojōIII as the shirabyōshi Hisakata disguised as Yamato Manzai (三世瀬川菊之丞の大和万歳実は都九条の白拍子久かたSansei Segawa Kikunojō no Yamato Manzai, jitsu wa shirabyōshi Hisakata); one copy each in the collections of the Tokyo National Museum, the Museum of Asian Art, and the Metropolitan Museum of Art.[24]
This print pairs with Nakamura NakazōII as Saizō Saiwaka[27] and comes from the fourth part of Uruō Toshi Meika no Homare, Ōshukubai Koi no Hatsune (鴬宿梅恋初音).[28] Saiwaka and Manzai emerge from the hanamichi and perform a seated dance with three other characters. Manzai then acts as one of the go-betweens in a love affair between Princess Konohana and Munesada.[27]
Nakamura Nakazō II as Saizō Saiwaka, actually Aramaki Mimishirō Taketora
One copy is known of the hosoban print of Nakamura NakazōII as Aramaki Mimishirō Taketora disguised as Saizō Saiwaka (二世中村仲蔵の才蔵才若、実は荒巻耳四郎金虎, Nisei Nakamura Nakazō no Saizō Saiwaka, jitsu wa Aramaki Mimishirō Taketora); it is at the Art Institute of Chicago.[24]
This print pairs with Segawa KikunojōIII as Yamato Manzai[27] and comes from the fourth part of Uruō Toshi Meika no Homare, Ōshukubai Koi no Hatsune (鴬宿梅恋初音).[28] Saiwaka and Manzai emerge from the hanamichi and perform a seated dance with three other characters. Saiwaka then acts as one of the go-betweens in a love affair between Princess Konohana and Munesada before finally revealing himself as Aramaki Mimishirō before Hatano Daizen Taketora.[27]
Nakamura NakazōII succeeded to this stage name in the eleventh month of Kansei 6; before this he was known as Ōtani OnijiIII, who appears in several other Sharaku prints, including Ōtani OnijiIII as the manservant Edobei.[20]
Nakamura NakazōII as Aramaki Mimishirō Kanetora
Two copies known of the hosoban print of Nakamura NakazōII as Aramaki Mimishirō Kanetora (二世中村仲蔵の荒巻耳四郎金虎, Nisei Nakamura Nakazō no Aramaki Mimishirō Kanetora), one each at the Art Institute of Chicago and the Museum of Fine Arts, Boston.[24]
Nakamura NoshioII as Ki no Tsurayuki's daughter Konohana
One copy is known of the hosoban print of Nakamura NoshioII as the poet Ki no Tsurayuki's daughter Konohana (二世中村野塩のしおの紀貫之娘この花Nisei Nakamura Noshio no Ki no Tsurayuki musume Konohana); it is at the Museum of Fine Arts, Boston.[24]
Segawa KikunojōIII as the shirabyōshi Hisakata of Miyako Kujō
One copy is known of the hosoban print of Segawa KikunojōIII as the shirabyōshi Hisakata of Miyako Kujō (三世瀬川菊之丞の都九条の白拍子久かたSansei Segawa Kikunojō no Miyako Kujō no shirabyōshi Hisakata) and is at the Art Institute of Chicago.[24]
Sawamura SōjūrōIII as Kujaku Saburō Narihira (hosoban)
One copy of the hosoban print of Ōtani HirojiIII as Hata no Daizen Taketora (三世大谷広次の秦の大膳武とらSansei Ōtani Hiroji no Hata no Daizen Taketora) is known and is at the Tokyo National Museum.[24]
Nakamura Nakazō II as the farmer Tsuchizō, actually Prince Koretaka
Three copies are known of the aiban print of Nakamura Nakazō II as Prince Koretaka disguised as the farmer Tsuchizō (二世中村仲蔵の百姓つち蔵実は惟高親王Nisei Nakamura Nakazō no hyakushō Tsuchizō, jitsu wa Koretaka Shinnō), one each in the collections of the Tokyo National Museum, the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art.[24]
Sawamura SōjūrōIII as Kujaku Saburō Narihira (Kinokuniya Tosshi)
Two copies are known of the aiban print of Sawamura SōjūrōIII as Kujaku Saburō Narihira (三世沢村宗十郎の孔雀三郎なり平（紀伊国屋納子）Sansei Sawamura Sōjūrō Kujaku Saburō Narihira (Kinokuniya Tosshi)), one each in the collections of the Tokyo National Museum and the Art Institute of Chicago.[24]
Otokoyama Oedo no Ishizue
Otokoyama Oedo no Ishizue (男山御江戸盤石) débuted at the Kiri-za in the 11th month of the 6th year of Gansei.[29]
Ichikawa YaozōIII as the sparrow-seller Bunji Yasukata, actually Chūzō Sanekata
One copy is known of the hosoban print of Ichikawa YaozōIII as Chūzō Sanekata disguised as the sparrow-seller Bunji Yasukata (三世市川八百蔵の雀売文次安方実は中将実方Sansei Ichikawa Yaozō no suzume-uri Bunji Yasukata jitsu wa Chūzō Sanekata) and is in the collection of the Art Institute of Chicago.[24]
Sakata HangorōIII as Yahazu no Yahatei
One copy is known of the hosoban print of Sakata HangorōIII as Yahazu no Yahatei (三世坂田半五郎の矢筈の矢田平Sansei Sakata Hangorō no Yahazu no Yahatei); it is in the collections of the Art Institute of Chicago.[24]
Nakayama TomisaburōI as the cowherd Ofude
Two copies are known of the hosoban print of Nakayama TomisaburōI as the cowherd Ofude (初世中山富三郎の牛飼いおふでShosei Nakayama Tomisaburō no ushikai Ofude); one each are in the collections of the Museum of Fine Arts, Boston, and the Portland Art Museum.[29]
Ichikawa YaozōIII as a kamuro performing a Lion Dance
Have to figure out what's going on with this title
One copy of the hosoban print of Morita Kan'yaVIII as Genkaibō Ajari is known and is in the collection of the Metropolitan Museum of Art.[29]
Nakayama TomisaburōI as Ohisa, wife of Sazanami Tatsugorō, actually Teriha, the younger sister of Abe Sadatō (hosoban)
One copy is known of the hosoban print of Nakayama TomisaburōI as Teriha, the younger sister of Sadatō, disguised as Ohisa, the wife of Sazanami Tatsugorō (初世中山富三郎のさざ波辰五郎妻おひさ実は安倍貞任妹てりはShosei Nakayama Tomisaburō no Sazanami Tatsugorō tsuma Ohisa jitsu wa Abe Sadatō imōto Teriha); it is in the collection of the Tokyo National Museum.[29]
Ichikawa YaozōIII as Hachiman Tarō Minamoto no Yoshiie
Nakayama TomisaburōI as Ohisa, wife of Sazanami Tatsugorō, actually Teriha, the younger sister of Sadatō (aiban)
Three copies are known of the aiban print of Nakayama TomisaburōI as Teriha, the younger sister of Sadatō, disguised as Ohisa, the wife of Sazanami Tatsugorō (初世中山富三郎のさざ波辰五郎妻おひさ実は安倍貞任妹てりはShosei Nakayama Tomisaburō no Sazanami Tatsugorō tsuma Ohisa jitsu wa Abe Sadatō imōto Teriha); one each are in the collections of the Tokyo National Museum, the Museum of Fine Arts, Boston, and the Art Institute of Chicago.[29]
Ichikawa EbizōI as Kamakura Gondayū, actually Abe no Sadatō
One copy is known of the hosoban print of Ichikawa EbizōI as Abe no Sadatō disguised as Kamakura Gondayū (初世市川鰕蔵の鎌倉権太夫景成実は安倍貞任Shosei Ichikawa Ebizō no Kamakura Gondayū jitsu wa Abe no Sadatō); it is in the collection of the Harvard ArthurM. Sackler Museum.[29]
Ichikawa YaozōIII as Hachiman Tarō Yoshiie
One copy is known of the hosoban print of Ichikawa YaozōIII as Hachiman Tarō Yoshiie (三世市川八百蔵の八幡太郎義家Sansei Ichikawa Yaozō no Hachiman Tarō Yoshiie); it is in the collection of the Metropolitan Museum of Art.[29]
Otokoyama Oedo no Ishizue Niban-me
Otokoyama Oedo no Ishizue Niban-me (男山御江戸盤石二番目) débuted at the Kiri-za in the 11th month of the 6th year of Gansei.[29]
Yamashita KinsakuII as the maid Ebizō Okane, actually Iwate Gozen, wife of Abe Sadatō (Tennōjiya Rikō)
One copy is known of the hosoban print of Ichikawa YaozōIII as Saeki Kurando Tsunenori (三世市川八百蔵の佐伯蔵人経のりSansei Ichikawa Yaozō no Saeki Kurando Tsunenori) and is in the collection of the Art Institute of Chicago.[29]
Yamashita KinsakuII as the maid Ebizō Okane, actually Iwate Gozen, wife of Abe Sadatō (plum-tree background)
Two copies are known of the hosoban print of Yamashita KinsakuII as Abe Sadatō's wife Iwate Gozen disguised as the maid Ebizō Okane (plum-tree background) (二世山下金作の仲居おかね実は安倍貞任妻岩手御前（背景に梅）Nisei Yamashita Kinsaku no nakai Okane jitsu wa Abe Sadatō tsuma Iwate Gozen (haikei ni ume)); one each are in the collections of M.Walter Anstutz and the Metropolitan Museum of Art.[29]
Yamashita KinsakuII as Iwate Gozen, wife of Abe Sadatō (holding an umbrella)
Two copies are known of the hosoban print of Yamashita KinsakuII as Iwate Gozen, wife of Abe Sadatō, holding an umbrella (二世山下金作の安倍貞任妻岩手御前（手に傘）Nisei Yamashita Kinsaku no Abe Sadatō tsuma Iwate Gozen (te ni kasa)); one each are in the collections of the Hiraki Ukiyo-e Foundation and the Museum of Fine Arts, Boston.[29]
Sakata HangorōIII as the groom Abumizuri no Iwazō in Koriyama, actually Kurisaka Tarō Tomonori
One copy is known of the hosoban print of Sakata HangorōIII as Kurisaka Tarō Tomonori disguised as the groom Abumizuri no Iwazō in Koriyama (三代目坂田半五郎の郡山の馬士あぶみずりの岩蔵実は栗坂太郎友則Sansei Sakata Hangorō no Koriyama no bashi Abumizuri no Iwazō, jitsu wa Kurisaka Tarō Tomonori) and is in the collection of the Art Institute of Chicago.[29]
Matsu wa Misao Onna Kusunoki
Matsu wa Misao Onna Kusunoki (松貞婦女楠, "Steadfast as the pine tree is the woman of the Kusanoki clan") débuted at the Kawarazaki-za in the 11th month of the 6th year of Gansei.[29]
Onoe MatsusukeI as Ashikaga Takauji
One copy is known of the hosoban print of Onoe MatsusukeI as Ashikaga Takauji (初世尾上松助の足利尊氏Shosei Onoe Matsusuke no Ashikaga Takauji); it is in the Toledo Museum of Art.[29]
Ichikawa KomazōIII as Shinozuka Gorō (Sadatsuna)
Three copies are known of the hosoban print of Ichikawa KomazōIII as Shinozuka Gorō (Sadatsuna) (三世市川高麗蔵の篠塚五郎（貞綱）Sansei Ichikawa Komazō no Shinozuka Gorō (Sadatsuna)); one each are in the collections of the Museum of Fine Arts, Boston, the Minneapolis Institute of Art, and another in a private collection.[29]
Iwai HanshirōIV as Kōtō no Naishi
Three copies are known of the hosoban print of Iwai HanshirōIV as Kōtō no Naishi[ja] (四世岩井喜代太郎の先帝の上わらは勾当内侍Yonsei Iwai Hanshirō no Sentei no ue-warawa Kōtō no Naishi); one each are in the collections of the Tokyo National Museum and the Museum of Fine Arts, Boston, and another is in a private collection.[29]
The print was earlier believed to have been of Osagawa TsuneyoII as Kojima, the wife of Bingo Saburō (二世小佐川常世の備後三郎妻児島Nisei Osagawa Tsuneyono Bingo Saburō tsuma Kojima).[29]
Ichikawa KomazōIII as Nitta Yoshisada, actually Oyamada Tarō Takaie
Two copies are known of the hosoban print of Ichikawa KomazōIII as Oyamada Tarō Takaie disguised as Nitta Yoshisada (三世市川高麗蔵の新田義貞実は小山田太郎高家Sansei Ichikawa Komazō no Nitta Yoshisada jitsu wa Oyamada Tarō Takaie); one is in the collection of the Hagi Uragami Museum[ja] and the other in a private collection.[29]
Iwai HanshirōIV as Chihaya, the younger sister of the Shintō priest Kenkō
Three copies are known of the hosoban print of Iwai HanshirōIV as Chihaya, the younger sister of the Shintō priest Kenkō (四世岩井半四郎の神祇官兼好が妹千はやIwai Hanshirō no shingikan Kenkō ga imōto Chihaya); one each are in the collections of the Museum of Fine Arts, Boston, and the New York Public Library, and another is in a private collection.[29]
Iwai HanshirōIV as the pilgrim O-Toma, daughter of O-Hina from Inamuragasaki in Kamakura
Three copies known of the hosoban print of Iwai HanshirōIV as the pilgrim O-Toma, daughter of O-Hina from Inamuragasaki in Kamakura 四世岩井半四郎の鎌倉稲村が崎のおひな娘おとま（巡礼姿）Yonsei Iwai Hanshirō Kamakura no Inamuragasaki no O-Hina musume O-Toma (junrei sugata)); one each is in the collections of the Tokyo National Museum, the Museum of Fine Arts, Boston, and the Art Institute of Chicago.[29]
Onoe MatsusukeI as the lay priest Yuasa Magoroku
One copy is known of the hosoban print of Onoe MatsusukeI as the lay priest Yuasa Magoroku (初世尾上松助の湯浅孫六入道Shosei Onoe Matsusuke no Yuasa Magoroku nyūdō); it is in the collection of the Museum of Fine Arts, Boston.[29]
Ichikawa KomazōIII as the monk Saihō no Mida Jirō, actually Sagami Jirō Tokiyuki
One copy of the hosoban print of Ichikawa KomazōIII as the monk Saihō no Mida Jirō, actually Sagami Jirō Tokiyuki (三世市川高麗蔵の廻国の修行者西方の弥陀次郎実は相模次郎時行Sansei Ichikawa Komazō no kaikoku no shūgyōsha Saihō no Mida Jirō jitsu wa Sagami Jirō Tokiyuki); it is in the collection of the Royal Museums of Art and History.[29]
Iwai HanshirōIV as O-Toma, Daughter of O-Hina from Inamuragasaki in Kamakura, actually Kikusui, the wife of Kusunoki Masashige
One copy is known of the hosoban print of Iwai HanshirōIV as Kusunoki Masashige's wife Kikusui disguised as O-Hina's daughter O-Toma from Inamuragasaki in Kamakura (四世岩井半四郎の鎌倉稲村が崎のおひな娘おとま実は楠政成妻菊水Iwai Hanshirō Kamakura no Inamuragasaki no O-Hina musume O-Toma, jitsu wa Kusunoki Masashige tsuma Kikusui); it is in the collection of the Royal Library of Belgium.[29]
Matsu ha Misao Onna Kusunoki Niban-me
The prints from Matsu ha Misao Onna Kusunoki Niban-me form a pentaptych.
Matsu ha Misao Onna Kusunoki Niban-me (松貞婦女楠二番目) débuted at the Kawarazaki-za in the 11th month of the 6th year of Gansei.[29]
Three copies are known of the hosoban print of Osagawa TsuneyoII as the hairdresser O-Roku (二世小佐川常世の女髪結すきぐしのお六Nisei Osagawa Tsuneyo no onnakamiyui sukigushi O-Roku); one each are in the collections of the Museum of Fine Arts, Boston, the Guimet Museum, and the Metropolitan Museum of Art.[29]
Ichikawa KomazōIII as Oyamada Tarō Takaie
One copy is known of the hosoban print Ichikawa KomazōIII as Oyamada Tarō Takaie[ja] (市川高麗蔵の小山田太郎高家Ichikawa KomazōIII as Oyamada Tarō Takaie); it is in the collection of the Art Institute of Chicago.[29]
Iwai HanshirōIV as O-Toma, daughter of O-Hina from Inamuragasaki in Kamakura
One copy is known of the hosoban print of Iwai HanshirōIV as Otoma, daughter of Ohina from Inamuragasaki in Kamakura (四世岩井半四郎の鎌倉稲村が崎のおひな娘おとまYonsei Iwai Hanshirō no Kamakura Inamuragasaki no O-Hina musume Otoma); it is in the collection of the Art Institute of Chicago.[29]
Matsumoto KōshirōIV as the boatman Minagawa Shin'emon of Reisengasaki in Kamakura, actually Hata Rokurōzaemon Tokiyoshi
Six copies are known of the hosoban print of Matsumoto KōshirōIV as Hata Rokurōzaemon Tokiyoshi[ja] disguised as the boatman Minagawa Shin'emon of Reisengasaki in Kamakura (四世松本幸四郎の鎌倉霊仙が崎の船頭皆川新左衛門実は畑六郎左衛門時能Yonsei Matsumoto KōshirōIV no Kamakura Reisengasaki no sendō Minagawa Shin'emon jitsu Hata Rokurōzaemon Tokiyoshi), one each in the collections of the Waseda University Tsubouchi Memorial Theatre Museum, the Art Institute of Chicago, and the Portland Art Museum, and one each in three private collections.[29]
Nakajima WadaemonI as Migawari no Jizō, the master of the house
Three copies are known of the hosoban print of Nakajima WadaemonI as Migawari no Jizō, the master of the house (初世中島和田右衛門の家主身替りの地蔵Shosei Nakajima Wadaemon no yanushi Migawari no Jizō); one each are in the collections of the Museum of Fine Arts, Boston, the Brooklyn Museum, and the Art Institute of Chicago.[29]
Matsu ha Misao Onna Kusunoki Shin Kyōgen
Matsu ha Misao Onna Kusunoki Shin Kyōgen (松貞婦女楠新狂言) débuted at the Kawarazaki-za in the 11th month of the 6th year of Gansei.[29]
Ichikawa KomazōIII as Ōdate Sabanosuke Terukado
Three copies are known of the aiban print of Ichikawa KomazōIII as Ōdate Sabanosuke Terukado (三世市川高麗蔵の大館左馬之介てるかどSansei Ichikawa Komazō no Ōdate Sabanosuke Terukado), one each in the collections of the Art Institute of Chicago, the National Museum, Kraków, and the Portland Art Museum. The print was earlier thought to be of Ichikawa KomazōIII as Oyamada Tarō (三世市川高麗蔵の小山田太郎Sansei Ichikawa Komazō no Oyamada Tarō).[29]
Iwai HanshirōIV as San, the maid servant of Ukiyonosuke, actually Saeda, the younger sister of Sabanosuke
One copy is known of the aiban print of Iwai HanshirōIV as Sabanosuke's younger sister Saeda disguised as Ukiyonosuke's maid servant San (四世岩井半四郎の浮世之助下女さん実は左馬之助妹さへだ（大和屋杜若）Yonsei Iwai Hanshirō no Ukiyonosuke gejo San jitsu wa Sabanosuke imōto Saeda (Yamatoya Tojaku)); it is in the collection of the Art Institute of Chicago.[29]
Hana no Miyako Kuruwa no Nawabari
Hana no Miyako Kuruwa no Nawabari (花都廓縄張) débuted at the Miyako-za in the 11th month of the 6th year of Gansei.[29]
Bandō MitsugorōII as the manservant Kugahei
Two copies are known of the aiban print of Bandō MitsugorōII as the manservant Kugahei (二世坂東三津五郎の奴くが平（大和屋是業）Nisei Bandō Mitsugorō no yakko Kugahei); one is at the Tokyo National Museum, the other in a private collection.[29]
Segawa KikunojōIII as the maid O-Hama, actually the wife of Inanami Rukurōdayū (Hamamuraya Rokō)
Arashi RyūzōII as the manservant Namihei (Toraya Toramaru)
One copy is known of the aiban print of Arashi RyūzōII as the manservant Namihei (Toraya Toramaru) (二世嵐龍蔵の奴なみ平（とら屋虎丸）Nisei Arashi Ryūzō no yakko Namihei (Toraya Toramaru)); it is in the Royal Museums of Art and History.[29]
Edo Sunago Kichirei Soga (江戸砂子慶書我) débuted at the Miyako-za in the 1st month of the 7th year of Gansei.[29]
Bandō HikosaburōIII as Kudōzaemon Suketsune
Two copies are known of the hosoban print of Bandō HikosaburōIII as Kudōzaemon Suketsune (三世坂東彦三郎の工藤左衛門祐経Bandō Hikosaburō no Kudōzaemon Suketsune); one each is in the collections of the Tokyo National Museum and the National Museum of Ethnology.[29]
Sawamura SōjūrōIII as Soga Jūrō Sukenari
Three copies are known of the hosoban print of Sawamura SōjūrōIII as Soga Jūrō Sukenari (三世澤村宗十郎の曾我十郎祐成Sansei Sawamura Sōjūrō no Soga Jūrō Sukenari); one each is in the collections of the Tokyo National Museum and the Metropolitan Museum of Art, and in the M.Walter Amstutz Collection.[29]
Bandō MitsugorōII as Soga Gorō Tokimune
One copy is known of the hosoban print of Bandō MitsugorōII as Soga Gorō Tokimune (坂東三津五郎の曽我五郎時致Bandō Mitsugorō no Soga Gorō Tokimune); it is in the collection of the Tokyo National Museum.[29]
Edo Sunago Kichirei Soga Niban-me
Edo Sunago Kichirei Soga Niban-me (江戸砂子慶書我二番目, later titled Godairiki Koi no Fūjime五大力恋緘) débuted at the Miyako-za in the 1st month of the 7th year of Gansei. It is based on an incident from 1742 in which the Satsuma samurai Hayata Hachiemon killed five people in Osaka. This version is a revision of an adaptation under the title Godairiki Koi no Fūjime that débuted in Kyoto the previous year; the Edo version did not take the title Godairiki Koi no Fūjime until 1800.[32]
Segawa TomisaburōII as the maid Ochiyo
One copy of the hosoban print of Segawa Tomisaburō II as the maid Ochiyo is known and is in the collection of the Metropolitan Museum of Art. The print was earlier believed to have been of the geisha Asaka.[29]
Segawa YūjirōII as the maid Otowa
One copy is known of the hosoban print of Segawa YūjirōII as the maid Otowa (二世瀬川雄次郎の仲居おとわNisei Segawa Yūjirō no nakai Otowa); it is in a private collection.[29]
Sawamura SōjūrōIII as Satsuma Gengobei
Two copies are known of the hosoban print of Sawamura SōjūrōIII as Satsuma Gengobei (三世沢村宗十郎の薩摩源五兵衛Sawamura Sōjūrō no Satsuma Gengobei), one each in the collections of the Tokyo National Museum and the Museum of Fine Arts, Boston.[29]
Iwao KumesaburōI as the geisha Kumekichi
One copy is known of the hosoban print of Iwao KumesaburōI as the geisha Kumekichi (初世岩井粂三郎芸者久米吉Shosei Iwao Kumesaburō no geisha Kumekichi); it is in the collection of the Museum of Fine Arts, Boston.[29]
Nido no Kake Katsuiro Soga
Nido no Kake Katsuiro Soga (再魁槑曾我) débuted at the Kiri-za in the 1st month of the 7th year of Gansei.[29]
Ichikawa EbizōI as Kudōzaemon Suketsune
Three copies are known of the hosoban print of Ichikawa EbizōI as Kudōzaemon Suketsune (初世市川海老蔵の工藤左衛門祐経Shosei Ichikawa Ebizō no Kudōzaemon Suketsune); one each are in the collections of the Museum of Fine Arts, Boston, the Art Institute of Chicago, and the Guimet Museum.[29]
Ichikawa DanjūrōVI as Soga Gōrō Tokimune
Two copies are known of the hosoban print of Ichikawa DanjūrōVI as Soga Gōrō Tokimune (六世市川団十郎の曽我五郎時宗Rokusei Ichikawa Danjūrō no Soga Gōrō Tokimune); one each are in the collections of the Museum of Fine Arts, Boston and the Art Institute of Chicago.[29]
Ichikawa YaozōIII as Soga Jūrō Sukenari
Ichikawa YaozōIII as Soga Jūrō Sukenari (市川八百蔵の曽我十郎祐成Ichikawa Yaozō no Soga Jūrō Sukenari)
One copy is known of the hosoban print of Ichikawa YaozōIII as Soga Jūrō Sukenari (市川八百蔵の曽我十郎祐成Ichikawa Yaozō no Soga Jūrō Sukenari); it is in the collection of the Art Institute of Chicago.[29]
Other prints
Sumo prints
Daidōzan Bungorō[ja] was born in what is now Yamagata Prefecture in 1788.[33] By 1794 he weighed 83 kilograms (183lb) at a height of 117 centimetres (46in). He attracted attention for his size, and drew crowds at sumo tournaments, where he dressed as a sumo wrestler and performed ring-entering ceremonies. Such was his popularity that he appeared in at least 25 prints between 1794 and 1798 by popular ukiyo-e artists[34] such as Utamaro.[33]
Daidōzan Bungorō enters the sumo ring (triptych)
aibantriptych of Daidōzan Bungorō entering the sumo ring (大童山文五郎の土俵入りDaidōzan Bungorō no Dohyōiri)
Two sets of the triptych are known, one at the MOA Museum of Art and the other in a private collection. The Sumo Museum in Tokyo has another copy of the central print.[35]
Daidōzan Bungorō enters the sumo ring
Daidōzan Bungorō enters the sumo ring (single sheet)
One copy is known of the single sheet aiban print of Daidōzan Bungorō entering the sumo ring (大童山文五郎の土俵入りDaidōzan Bungorō no dohyōiri) and is in the collection of the Hiraki Ukiyo-e Foundation.[36]
Daidōzan Bungorō, tora no nana-sai, mekata jūkyū kanme-yo, take san-shaku nana-sun kyū-bu konotabi oite Edo dohyōiri sōrō
Daidōzan Bungorō, age seven; weight: just over 19kanme; height: sevenshaku, sevensun, ninebu; entering the sumo ring this time in Edo
Daidōzan Bungorō lifting a go board
Daidōzan Bungorō quelling a demon
Daidōzan Bungorō quelling a demon (大童山文五郎 鬼退治Daidōzan Bungorō Oni-taiji)
The print depicts Daidōzan standing on the back of a blue oni demon, poised to strike at it with a wooden mallet. The legend at the top gives Daidōzan's weight as 21kan, 500monme (about 79kg), and his girth as 3shaku, 9sun (about 121cm)—measurements considerably larger than the year before.[33]
One copy is known of the aiban print of Soga Gorō and Gosho Gorōmaru 曽我五郎と御所五郎丸Soga Gorō and Gosho Gorōmaru); it is in the collection of the Hiraki Ukiyo-e Foundation.[35]
In 1193 the shōgunMinamoto no Yoritomo held the Fuji no Makigari, a grand hunting party in the area of Mount Fuji. There, the Soga brothers[ja] Jurō and Gorō killed Kudō Suketsune, a retainer of Yoritomo's and the murderer of the soga brothers' father. In the ensuing fighting Jurō was killed and Gorō captured by the sumo wrestler Gosho Gorōmaru, who served at Yoritomo's palace (御所gosho).[38]
The print illustrates the Momiji Densetsu[ja], which has had various theatrical and other adaptations. The story tells of the Heian-period warrior Taira no Koremichi[ja], who comes across a respectable woman and her handmaidens holding a maple leaf-viewing party. He joins the party and drinks himself unconscious. When he awakens, the women have revealed themselves as oni demons. The print illustrates a fierce battle between Koremichi and a demon who holds him by the topknot.[38]
Since the beginning of the Edo period, merchants in particular worshipped Ebisu as the god of wealth, long life, and happiness. He wears a pointed kazaori eboshi[ja] hat, sits beneath a Shintō shimenawa rope, and fishes from a waterside boulder. He has abnormally large ears and grins widely, despite his entangled fishing line.[2]
Matsumoto KōshiroIV as Kakogawa Honzō and Matsumoto Yonesaburō as Konami
The sensu folding hand fan of Matsumoto KōshiroIV as Kakogawa Honzō and Matsumoto Yonesaburō as Konami is in the collection of the Museum of Asian Art of Corfu.[42]
The fan measures about 50cm. It was identified and confirmed as a Sharaku work in 2008 and is believed to depict a scene from a May 1795 performance of Kanadehon Chūshingura.[42] Rather than a print, the fan is a nikuhitsu-ga painting on chikushi[ja] bamboo paper. It is signed (not stamped) Tōshūsai Sharaku ga (東洲齊冩樂画).[43]
Hanshita-e
Preparing a print involved having the print designer produce an ink drawing, which was then transferred to thin Mino paper. The woodblock carver pasted this tracing, called a hanshita-e (版下絵), face-down onto the woodblock. The carver cut around the lines visible through the paper to make the key printing block.[44]
Sumo hanshita-e
Tanikaze and Daidōzan
Hanshita-e of Tanikaze and Daidōzan
A hanshita-e in a private collection, depicting the sumo wrestlers Tanikaze and Daidōzan Bungorō.[35]
At the turn of the 19th to 20th centuries, Kobayashi Bunshichi[ja] travelled abroad and amassed a collection of ukiyo-e. Amongst the items in his collection were seven hanshita-e sumo drawing signed Sharaku Ga (冩樂画). These were lost with the rest of Kobayashi's collection in a fire during the 1923 Great Kantō earthquake. This portrait of Tanikaze and Daidōzan is thought to be from the same series.[45]
Actor hanshita-e
Onoe MatsusukeI and Ichikawa EbizōI
The whereabouts are unknown of the hanshita-e of Onoe MatsusukeI and Ichikawa EbizōI (初世尾上松助・初世市川鰕蔵Shosei Onoe Matsusuke, Shosei Ichikawa Ebizō).[46]
Sanokawa IchimatsuIII, Sakata HangorōIII, and Ichikawa TomizaemonI
The whereabouts are unknown of the hanshita-e of Sansei Sanokawa IchimatsuIII, Sakata HangorōIII, and Ichikawa TomizaemonI (三世佐野川市松・三世坂田半五郎・初世市川富左衛門Sansei Sanokawa Ichimatsu, Sansei Sakata Hangorō, Shosei Ichikawa Tomizaemon).[46]
The hanshita-e of Segawa TomisaburōII, Ichikawa OmezōI, Ichikawa KomazōIII (二世中川富三郎・初世市川男女蔵・三世市川高麗蔵Nisei Segawa Tomisaburō, Shosei Ichikawa Omezō, Sansei Ichikawa Komazō) is in a private collection.[46]
Bandō MitsugorōII, Ōtani OnijiIII, and Segawa KikunojōIII
Bandō MitsugorōII, Ōtani OnijiIII, and Segawa KikunojōIII
A hanshita-e in the collection of the Museum of Fine Arts, Boston, depicts the actors Bandō MitsugorōII, Ōtani OnijiIII, and Segawa KikunojōIII.[46]
Ichikawa YaozōIII, Sawamura SōjūrōIII, and Osagawa TsuneyoII
Ichikawa YaozōIII, Sawamura SōjūrōIII, and Osagawa TsuneyoII
A hanshita-e in the collection of the Museum of Fine Arts, Boston, depicting the actors Ichikawa YaozōIII, Sawamura SōjūrōIII, and Osagawa TsuneyoII.[46]
Arashi RyūzōII and Morita Kan'yaVIII
A hanshita-e in the collection of the Art Institute of Chicago, depicting the actors Arashi RyūzōII and Morita Kan'yaVIII.[46]
Iwai KiyotarōI, Nakamura SukegorōII, and Bandō HikosaburōIII
A hanshita-e in a private collection depicts Iwai KiyotarōI, Nakamura SukegorōII[ja], and Bandō HikosaburōIII (初世岩井喜代太郎・二世中村助五郎・三世坂東彦三郎Shosei Iwai Kiyotarō, Nisei Nakamura Sukegorō, Sansei Bandō Hikosaburō).[46]
Ichikawa MonnosukeII, Matsumoto KōshirōIV, and Iwai HanshirōIV
The Guimet Museum has a hanshita-e depicting Ichikawa MonnosukeII, Matsumoto KōshirōIV, and Iwai HanshirōIV (二世市川門之助・四代目松本幸四郎・四世岩井半四郎Nisei Ichikawa Monnosuke, Yonsei Matsumoto Kōshirō, Yonsei Iwai Hanshirō).[46]
Segawa YūjirōII and Matsumoto YonesaburōI
The Guimet Museum has a hanshita-e depicting Segawa YūjirōII and Matsumoto YonesaburōI (二世瀬川雄次郎・初世松本米三郎Nisei Segawa Yūjirō, Shosei Matsumoto Yonesaburō).[46]
↑ The "maple" here refers to the Japanese maple, Acer palmatum
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