Utagawa Kuniyoshi (歌川国芳) (artist 11/15/1797 – 03/05/1861)

Onoe Kikujirō II as Senzai (千歳) in the female role and Nakamura Utaemon IV as Sambasō ( 三番叟) in Ayatsuri Sanbasō [あやつり三番叟]

Print

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Date:ca 1850
Dimensions:9.75 in x 14.25 in (Overall dimensions) Medium:color woodblock print
Inscription:Signed: Signed: Ichiyūsai Kuniyoshi ga
一勇斎国芳画
Publisher: Enshūya Hikobei
(Marks 055 - seal 21-016)
Censor: Mera and Murata
Special seal: shita-uri
Links Waseda University Description:A double bust portrait of Onoe Kikujirō II as Senzai (top) and Nakamura Utaemon IV as Sanbasō (literally "the third oldest man") in Ayatsuri Sambasō. Nakamura Utaemon IV wears a 'kago' hat decorated with the rising sun.

"The sambasô is one of the most important ceremonial dances in the Kabuki theater. It originally comes from the ritual dance "Okina" in the classical Noh theater and with vigorous stamping and shaking of bells, it is a prayer for agricultural prosperity. In the Kabuki theater, the sambasō used to be performed early in the morning as an opening ritual, and in turn, there are many more theatrical versions of the sambasō dance that appeared as part of the regular program".

(Quoted from: "The Nishikawa School of Japanese Classical Dance Nihon Buyô in its San Francisco Premiere Performance")

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"Numerous versions of Sambasō have been created over the years. A kabuki variant called Okina watashi used to be performed at New Year's and on other special occasions, with the stage manager as Okina, his son as Senzai, and the chief actor as Sambasō. The performance was offered as a prayer for peace in the realm, a good harvest, and the prosperity of the theater. A similarly felicitous bunraku piece, Kotobuki Sambasō, has two Sambasō roles. In some kabuki plays, Sambasō appeared as a clown or as a puppet manipulated by a stage attendant, and one dance piece (shōsagoto) still performed is commonly called The Tongue-Sticking-Out Sambasō (Shitadashi Sambasō), because the dancer does just that in the middle of his performance."

Quoted from: Traditional Japanese Theater, ed. by Karen Brazell, translation by Jane Marie Law.

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The term shita-uri as a special meaning according to Sarah Thompson in Undercurrents in the Floating World: Censorship and Japanese Prints in describing a multi-panel composition on pages 52-53: "A further concession to the reform laws, the print bears a special seal on each sheet reading shitauri, or "selling below," indicating that it could be sold only from the counter and not hung up for display at the front of the store."

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"Shiki Sambasō is a variation of Okina, an ancient drama that is also found in but predates nō. Okina represents a god in human form. He is a symbol of longevity and was invoked at the accession of a new emperor to ensure successful rice-growing cycles during the reign." Quote from Barbara E. Thornbury in 1982.

"...Shiki Sambasō... were reserved for only the most special occasions, such as kao-mise, New Year's, and the opening or reopening of a theater building." Ibid.
Related entities actor prints (yakusha-e - 役者絵) (genre)
Enshūya Hikobei (遠州屋彦兵衛) (publisher)
Onoe Kikujirō II (二代目尾上菊次郎: 11/1835 to 12/1856 and 1858 to June 1875) (actor)
Nakamura Utaemon IV (四代目中村歌右衛門: 1/1836-2/1852) (actor)

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