Utagawa Toyokuni I (初代歌川豊国) (artist 1769 – 02/24/1825)

Sawamura Sōjūrō III (沢村宗十郎) performs a mie possibly in the role of Konomura Ōinosuke [此村大炊之助]

Print

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Date:ca 1795
Dimensions:8.5 in x 12.5 in (Overall dimensions) Medium:Japanese color woodblock print
Inscription:Signed: Toyokuni ga (豊国画)
Publisher: Tsuruya Kiemon (Marks 553 - seal 01-010)
Censor's seal: kiwame
Links Ritsumeikan - in black and white only
Museum of Fine Arts, Boston - 1831 Kunisada print of an actor as Konomura Ōinosuke
Museum of Fine Arts, Boston - 1852 Kuniyoshi print of Konomura Ōinosuke
Ritsumeikan - interesting 1796 similar okubi-e print of Sawamura Sōjūrō III as Koreaka shinō from a different play - in black and white
Lyon Collection - an Osaka diptych with the skull of Ōinosuke Description:Two of the greatest prints in the Lyon Collection are both of large head portraits of Sawamura Sōjūrō III, both are by Toyokuni I. The other one is of Sōjūrō as Gengobei in possibly the last role he ever performed before he died.

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There is an expression in Japanese, mie o kiru or 'to cut a mie', which could not be more clearly presented than in this dramatic and gorgeous print.

This print is truly one of the most dramatic and stupendous prints in the Lyon Collection. Even with ravages of time - mainly the fading of the dyes used - it maintains its stellar beauty and power. Even though we have been unable to identify neither the play nor the role we are confident that in time we will resolve these issues to some extent.

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The great and revolutionary prints of Sharaku published by Tsutaya Jūzaburō appeared in ca. 1794-95. It is most probable that these dramatic images were influential in the production of this Toyokuni I masterpiece from the same time. (JSV)

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Our attribution of this portrait to Konomura Ōinosuke requires an explanation as to who this character was. In one of the Ishikawa Goemon plays Ōinosuke plays an important role. In reality, he is supposed to be So Seki, a warlord loyal to the twelfth Ming emperor, who is plotting against Hisayoshi in an attempt to recover his lands and properties.

As a counselor to Sonoo, Hisayoshi's wife, Ōinosuke prevents one of her sons, Hisatsugu from killing his younger brother Hisaaki, who has been named their father's heir. Ōinosuke confines Hisatsugu for fifty days in hope he would cool his heels, but he doesn't. Hisaaki and his lover Kokonoe are both housed with Ōinosuke, too. They are all waiting the arrival of Hayakawa Takakage, Hisayoshi's regent.

"Consequently, Oinosuke decides to have Hisatsugu killed and — surrounded by Hisayoshi’s soldiers — he writes a letter to this effect to his son, So Soyu, before entrusting it for delivery to a white eagle that comes to life from its image painted on a hanging scroll — and then himself committing hara-kiri in front of Takakage.

The fatal encounter between Ishikawa Goemon and Mashiba Hisayoshi at the main gate of the Nanzenji Temple is featured in Act III. This finds Goemon, gorgeously dressed and coiffed, sitting on the balcony of the gate, holding a pipe. He then opens the letter just delivered by the white eagle and realizes not only that Oinosuke has failed in his plot against Hisayoshi, but that he was also his long-lost father. Goemon swears that he will avenge his father’s death. The splendid, two-story red building is then raised slowly from under the stage — with a standing figure of Hisayoshi, dressed as a pilgrim, in front of it. Goemon greets the pilgrim by throwing a knife at him, which Hisayoshi catches."

The quote above is taken from a Japan Times review of a modern production of this play. It was published on March 5, 2010. (JSV)
Related entities Tsuruya Kiemon (鶴屋喜右衛門) (publisher)
actor prints (yakusha-e - 役者絵) (genre)
Sawamura Sōjūrō III (三代目沢村宗十郎: 11/1771-3/1801) (actor)
ōkubi-e (大首絵) (genre)

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