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The Chushingura drama parodied by famous beauties: Act 1, c. 1795 (colour woodblock print)
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The Chushingura drama parodied by famous beauties: Act 1, c. 1795 (colour woodblock print)
3071970 The Chushingura drama parodied by famous beauties: Act 1, c.1795 (colour woodblock print) by Utamaro, Kitagawa (1753-1806); 38.7x25.7 cm; Fitzwilliam Museum, University of Cambridge, UK; (add.info.: Komei bijin mitate Chushingura junimai tsuzuki
Colour print from a folding album with silk covers containing the set of 12 woodblock oban prints. Signed (each sheet): Utamaro hitsu. Publisher: "miya Gonkuro. c.1795
Part of the unique album containing the only known complete surviving set of the series Komei bijin mitate Chushingura junimai tsuzuki (The Chushingura drama parodied by famous beauties: a set of twelve prints), which formerly belonged to Edmond de Goncourt (1822-96), who published the first book about Utamaro in 1891. His manuscript note is pasted on the inside cover stating that he bought it for 175 francs as a work of the greatest rarity from the Paris dealer Hayashi Tadamasa in 1885. Kanadehon Chushingura (Model for kana calligraphy: treasury of the forty-seven loyal retainers) is the most famous of the kabuki revenge plays and is frequently illustrated in prints. Utamaro made several mitate (parody) sets of the story. In this series, scenes from the play are represented as scenes in the life of celebrated contemporary beauties -- courtesans, geisha and tea-house waitresses -- thus creating humorous comparisons between their petty squabbles and the ferocious action of the original. All the prints, except the first and last (a diptych), are inscribed with the names of the women or the houses where they worked. The set was later reissued with the names removed probably in response to the decree of 1796 reinforcing an earlier ban on the appearance of women's names other than courtesans. The play was first written in eleven acts for the puppet theatre in 1748 by Takeda Izumo, Miyoshi Shoraku and Namiki Sosuke, but was quickly adapted for the kabuki stage. The action was based on historical events that took place in 1702-3, although in accordance with theatrical convention the play moved the events back to the fourteenth century. Lord Enya is goaded by the villain Moronao into the offence of drawing his sword within the castle precincts. Enya is ordered to commit seppuku (honourable suicide) and his loyal retainers are dismissed to become ronin (masterless warriors). They resolve to avenge their master's death under the leadership of Yuranosuke. They eventually attack Moronao's castle, and after he refuses the chance to commit ritual suicide, Yuranosuke kills him, and they place his head on Enya's grave. This prints illustrates Act 1. The geisha Tomimoto Toyohina, who has just performed on the shamisen before a young lord, receives a cup of sake and the gift of a robe. This parodies the scene at the Hachiman Temple in which the lecherous villain Moronao tries to insinuate himself with Enya's wife, Lady Kaoyo, and hands her a love letter. Toyohina represents Kaoyo. The maid holding the robe represents Moronao.); © Fitzwilliam Museum ; Japanese, out of copyright
Media ID 22233758
© Bridgeman Images
Chushingura Geisha Gift Gifts Kimono Lord Oban Parody Robe Sake Screen Shamisen Society Life Tea House Theatrical Ukiyo E Beauties Komei Maid
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EDITORS COMMENTS
This vibrant and captivating woodblock print captures a scene from Act 1 of the famous Chushingura drama, beautifully parodied by renowned beauties. Created by Utamaro Kitagawa in 1795, this colour print is part of a unique album housed at the Fitzwilliam Museum in Cambridge, UK. The series titled "Komei bijin mitate Chushingura junimai tsuzuki" showcases scenes from the play reimagined as moments in the lives of celebrated contemporary beauties such as courtesans, geisha, and tea-house waitresses. This clever juxtaposition creates humorous comparisons between their everyday squabbles and the intense action of the original story. In this particular print, we witness Tomimoto Toyohina, a geisha who has just performed on the shamisen before a young lord. She gracefully receives a cup of sake and an exquisite robe as gifts. This scene parodies an important moment at Hachiman Temple where Moronao, a lecherous villain, attempts to seduce Lady Kaoyo while handing her a love letter. Utamaro's attention to detail shines through in every brushstroke and color choice. The intricate patterns on Toyohina's kimono add depth to her character portrayal while capturing our imagination with their beauty. This remarkable woodblock print is not only visually stunning but also holds historical significance as it represents one act within Kanadehon Chushingura - one of kabuki theater's most beloved revenge plays. It serves as both entertainment and commentary on societal dynamics during its time. As we admire this masterpiece today, let us appreciate Utamaro's skillful craftsmanship that brings together artistry and storytelling seamlessly.
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