Scholarly Notes on This Ukiyo-e Print
This description is based on the original scholarly notes supervised by Yoshida Eiji, a leading authority on ukiyo e research and Sharaku studies, included with this print.
Each artwork is accompanied by a thin sheet of Japanese washi paper containing academic commentary in Japanese. For international collectors, we provide here a faithful English translation as part of the artwork’s documentation.
Artwork Description
This work depicts Sawamura Yodogorō II as Kawatsura Hōgan and Bandō Zenji as Onisadobō from Yoshitsune Senbonzakura, performed at the Kawarazaki Theater in May 1794. The print belongs to Sharaku’s first period and exemplifies his approach to paired half length portraits.
Kawatsura Hōgan, who shelters Minamoto no Yoshitsune, stands in moral opposition to Onisadobō, a monk aligned with Yoshitsune’s enemies. Sharaku constructs this contrast visually through opposing gestures and expressions: Yodogorō’s open mouth contrasts with Zenji’s closed lips, tightly gripped fingers oppose open hands, and flowing hair is set against a shaven head. These formal oppositions generate dynamic tension within the composition.
Rather than pairing Hōgan with more prominent characters from the play, Sharaku isolates this moral contrast, emphasizing psychological intensity over narrative convention. The faces are rendered with concentrated force, transforming theatrical roles into sharply individualized portraits.
Edition
1968 woodblock reprint
Hand printed using traditional techniques
This is a mid 20th century reprint after Sharaku’s original 1794 design.
Condition
Good impression with vibrant colors.
Faint soiling consistent with age.
Details
Signature: Tōshūsai Sharaku
Date: 1968
Japanese Woodblock Print
Print size: 31 x 21 cm
Backing sheet: 41.5 x 30 cm
All artworks are sold as shown in the photographs.
About the Sharaku Series
Tōshūsai Sharaku was active for only ten months between 1794 and 1795. During this brief period, he created actor portraits that broke dramatically from convention.
Rather than idealizing his subjects, Sharaku revealed the psychological intensity of kabuki performance through bold composition and uncompromising vision.
This series presents carefully selected mid 20th century woodblock reprints, printed by hand using traditional methods, offering a renewed encounter with Sharaku’s revolutionary work.
