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Utsubo-saru, from the series "Pictures of No Performances (Nogaku Zue)", 1898. Creator: Kogyo Tsukioka. Utsubo-saru, from the series "Pictures of No Performances (Nogaku Zue)", 1898. Creator: Kogyo Tsukioka
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Utsubo-saru, from the series "Pictures of No Performances (Nogaku Zue)", 1898. Creator: Kogyo Tsukioka. Utsubo-saru, from the series "Pictures of No Performances (Nogaku Zue)", 1898. Creator: Kogyo Tsukioka
Utsubo-saru, from the series "Pictures of No Performances (Nogaku Zue)", 1898
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Utsubo-saru - A Captivating Glimpse into Nogaku Zue
EDITORS COMMENTS
. This mesmerizing photo print, titled "Utsubo-saru, from the series 'Pictures of No Performances (Nogaku Zue)', 1898" transports us to the vibrant world of Japanese theater in the late 19th century. Created by Kogyo Tsukioka, a renowned artist of his time, this artwork captures the essence of traditional performing arts. Intriguingly, Utsubo-saru showcases an actor dressed as a monkey or saru, donning an intricately designed mask and colorful clothing. The attention to detail is remarkable; every brushstroke brings life to this character. The performer's expressive eyes and dynamic posture convey a sense of energy and playfulness that captivates viewers. The woodblock printing technique used in this piece adds depth and texture to the composition. It highlights Tsukioka's mastery in capturing movement and emotion through art. As we delve deeper into this image, we are transported back in time to witness a captivating performance on stage. We can almost hear the rhythmic beats of traditional music accompanying graceful dance movements. This artwork serves as a testament to Japan's rich cultural heritage and its enduring love for theatrical traditions like Noh drama. It invites us to appreciate not only the skillful craftsmanship but also the storytelling prowess embedded within each scene. Displayed at Chicago's Art Institute, this print stands as a testament to Tsukioka's artistic brilliance while offering us an extraordinary glimpse into Japan's theatrical past.
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