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actors Bando Shuka I Tea Picker Chatsumi Ichimura Uzaemon XII

actors Bando Shuka I Tea Picker Chatsumi Ichimura Uzaemon XII


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actors Bando Shuka I Tea Picker Chatsumi Ichimura Uzaemon XII

The actors Bando Shuka I as a Tea Picker (Chatsumi), Ichimura Uzaemon XII as a Monkey Trainer (Sarumawashi), and Onoe Kikugoro II as Umegae (inset), c. 1847, Utagawa Kuniyoshi, Japanese, 1797-1861, Japan, Color woodblock print, oban, 36 x 24.6 cm (14 3/16 x 9 11/16 in.)

Liszt Collection of nineteenth-century engravings and images to browse and enjoy

Media ID 19584464

© Artokoloro

1797 1861 Color Woodblock Print Inset Oban Utagawa Kuniyoshi Tea Picker


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EDITORS COMMENTS
In this print by Utagawa Kuniyoshi, we are transported to the vibrant world of Japanese theater in the mid-19th century. The image showcases three renowned actors, each embodying a distinct character and skillset. At the forefront is Bando Shuka I, transformed into Chatsumi, a tea picker. Her graceful posture and delicate movements evoke the serene beauty of nature as she gathers leaves for this beloved beverage. Next to her stands Ichimura Uzaemon XII, portraying a Monkey Trainer (Sarumawashi). With an air of command and expertise, he captivates audiences with his ability to tame these mischievous creatures. Intriguingly inset within the composition is Onoe Kikugoro II as Umegae. This enigmatic figure adds depth and complexity to the scene, drawing viewers into a narrative that unfolds beyond what meets the eye. Through their expressive gestures and striking costumes, these actors bring life to their roles while showcasing their extraordinary talent. Kuniyoshi's masterful use of color woodblock printing enhances every detail of this artwork. From rich hues that adorn their garments to subtle gradations that create depth in the background landscape, each element contributes to an immersive visual experience. This remarkable print not only celebrates the artistry of these esteemed performers but also offers us a glimpse into Japan's cultural heritage during this period. It serves as a testament to both Kuniyoshi's technical prowess as an artist and his

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