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Actor Arashi Rikan II as Osome

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Actor Arashi Rikan II as Osome is an ukiyo-e woodblock print by Osaka print artist Ryūsai Shigeharu (柳斎 重春) (1802 – 1853). It depicts late Edo period kabuki actor, Arashi Rikan II as the lead female character in a scene from a popular play of the period. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Actor Arashi Rikan II as Osome
Actor Arashi Rikan II as Osome by Ryūsai Shigeharu
ArtistRyūsai Shigeharu
Year1830 (1830)
Typenishiki-e woodblock print, ink and color on paper
Conditionon display (November 2013- )
LocationRoyal Ontario Museum, Toronto
Accession974.343.3
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  • Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paper
  • Format: tate-e vertical print
  • Genre: kabuki-e, yakusha-e
  • Japanese title: Actor Arashi Rikan II as Osome (娘おそめ　あらし璃寛)
  • Exhibit title: Actor Arashi Rikan II as Osome
  • Inscription: none
  • Signature: Gyokuryūtei Shigeharu ga (玉柳亭重春画) in bottom right corner
  • Publisher's mark: 天喜 (Tenki)
  • Publisher's seal: 天 (Tenki)
  • Censor seal: none
  • Date seal: none
  • Credit line: none
 
signature & seal

Artist

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Ryūsai Shigeharu (柳窗重春/柳斎重春) (1802/3–1853) was born in Nagasaki, Kyushu. He moved to Osaka around 1820, and began studying under Utagawa (Takigawa) Kunihiro (歌川国広) (fl. c.1815-1841),[1] then Yanagawa Shigenobu (柳川重信) (1787–1832). He published his first print in 1820 under the name Nagasaki Kunishige (長崎国重), and used various gō throughout his career. He took the name Ryūsai Shigeharu in 1825. He worked in various media including single-sheet prints, book illustration, theater billboards and programs, and painting.[2] He was active during the period c.1820-1849, and prints signed Kunishige and Shigeharu from 1849 on are likely the work of other artists.[3]

Although contemporary accounts characterize him as "good at everything" and "better than the rest,"[4] modern critics have described him as "an indifferent artist".[5] This notwithstanding, Shigeharu was, if not the only professional ukiyo-e artist working in Osaka in the late nineteenth-century, one of the very few on the amateur-dominated art scene.[6]

Publisher

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The print displays the publisher's mark associated with Tenki. The seal is a stylized version of the character 天 (ten) contained within a circle. This appears directly above the full characters for Tenki (天喜).[7] Operating under the firm name Kinkadō (金華堂), Tenki, or Tenmaya Kihei (天満屋喜兵衛) as it was also known, was active from 1816 into the 1850s.[8] The Tenki seal version appearing in this print was used from 1826 to 1838.[9]

Medium and genre

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Ryūsai Shigeharu spent most, if not all, of his productive years in Osaka, and as such his works are categorized as kamigata-e (上方絵). This term was used to distinguish prints produced in the Kamigata region (Kyoto and Osaka) from those produced in Edo.[10] Gaining prominence about a century after the appearance of ukiyo-e in Edo,[11] kamigata-e belonged mainly to the kabuki-e genre (images of kabuki actors), and were almost entirely the work of non-professional “talented kabuki fans” celebrating their heroes.[12] Shigeharu was a rare exception to this rule.[13]

Format

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The image is a vertical tate-e (立絵) ichimai-e (一枚絵) single-sheet print. As the print depicts one half of the romantic duo in a famous love story, and as the signatures, seals and inscriptions are all located on the extreme right of the print, it may have been the right-side half of a diptych.

 
print in collection of ROM, Toronto

Subject

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Arashi Rikan II

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After spending the first two decades of his career on the stages of Osaka's minor hamashibai (浜芝居) theatres,[14] Arashi Rikan II (二代目嵐璃寛) (1788-1837) went on to become a celebrated kabuki actor specializing in tachiyaku (立役) male roles.[15] In 1828, he took the name Rikan II. He worked until his death in 1837, and was buried on the grounds of Osaka’s Jōgen-ji Temple. The Arashi Rikan line continued into the fifth generation, dying out in 1920.[16]

Though small in stature, Rikan II was famous for his striking eyes. He was given the moniker metoku (目徳), me meaning 'eyes' and toku meaning 'virtue.' He was the particular favourite of artist Shunbaisai Hokuei (fl. c.1824-1837) and appears in most of his prints.[17]

Osome

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In this print, Rikan II is depicted as Osome, heroine of Somemoyō Imose no Kadomatsu (染模様妹背門松) (The Love of Osome and Hisamatsu). Originally written for the bunraku (文楽) puppet theatre, it was adapted for the kabuki stage in 1782.[18] It is one of several dramas recounting the tragic true story of two star-crossed lovers who committed double-suicide in 1710, one the daughter of a merchant, the other, her father's apprentice.[19] Osome was a popular subject for yakusha-e artists and often depicted wearing a kimono decorated with hemp flowers.[20]

Rikan II appeared in this role at Osaka's Kado theatre in the ninth lunar month of 1830,[21] and it is likely that this print was completed in celebration of this performance. He reprised the role at the Kitagawa theatre in the eleventh lunar month of 1832, which was memorialized in a print by Shunbaisai Hokuei.[22]

Description

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Osome appears in a moment of tension. It is night and she is leaving the grounds of her home. In contrast with the complete darkness of the house behind her, she carries a lit lantern and wears a dark but colourful patterned kimono. Beyond the figure of Osome herself, there is very little detail. The ground is made up of yellow horizontal lines on a brown background, and the sky is coloured with the bokashi technique of colour gradation, darkening from light grey to black as it reaches the top edge of the print. Osome looks up to her left with an uneasy facial expression, her gaze resting somewhere beyond the right border of the print.

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  • Museum of Fine Arts, Boston. "Diptych featuring Osome and Hisamatsu, Shigeharu (1830)".

See also

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Notes

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  1. ^ The British Museum dates his activity to c.1816-1835, Oxford Reference to c.1821-1841, and Ujlaki to c.1821-1841.
  2. ^ Lyon 2013
  3. ^ Lyon 2013
  4. ^ Lyon 2013
  5. ^ Roberts 1980, 145
  6. ^ Davis 2007, 18
  7. ^ Newland 2005, 561
  8. ^ Keyes and Mizushima 1973, 311
  9. ^ Vegder
  10. ^ JAANUS, "Kamigata-e"
  11. ^ Kitagawa 2005, 229
  12. ^ Kitagawa 2005, 230
  13. ^ Davis 2007, 18
  14. ^ Shōriya 2013
  15. ^ Samurai Archives 2012
  16. ^ Shōriya 2013
  17. ^ Newland 2005, 488
  18. ^ Shōriya 2013
  19. ^ Brandon and Leiter 2002, 64
  20. ^ Newland 2005, 479
  21. ^ Shōriya 2013
  22. ^ Shōriya 2013
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References

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  • Brandon, James R.; Leiter, Samuel L. (2002), "The Scandalous Love of Osome and Hisamatsu", Kabuki Plays on Stage: Darkness and Desire, 1804-1864, Honolulu: University of Hawai'i, pp. 63–90, ISBN 0824824555
  • Davis, Judy Nelson (2007), "Now Appearing in Print: Osaka Actors and their Audience", in Winegrad, Dilys Pegler (ed.), Dramatic Impressions: Japanese Theatre Prints from the Gilbert Luber Collection, Philadelphia: University of Pennsylvania, pp. 13–35, ISBN 978-0812219852
  • JAANUS, Kamigata-e, Japanese Architecture and Art Net Users System, retrieved January 16, 2014
  • Kitagawa, Hiroko (2005), "Kamigata-e: The Prints of Osaka and Kyoto", in Newland, Amy Reigle (ed.), The Hotei Encyclopedia of Japanese Woodblock Prints, vol. 1, Amsterdam: Hotei, pp. 229–232, ISBN 9074822657
  • Lyon, Mike (2013), Ryusai Shigeharu, Lyon Collection of Japanese Woodblock Prints, retrieved March 2, 2014
  • Newland, Amy Reigle (2005). The Hotei Encyclopedia of Japanese Woodblock Prints, vol. 2. Amsterdam: Hotei. ISBN 9074822657.
  • Oxford Reference (2014), Kunihiro, Oxford University Press, retrieved March 3, 2014
  • Roberts, Laurance, P. (1980). A Dictionary of Japanese Artists. New York: Weatherhill. p. 145. ISBN 083480235X.{{cite book}}: CS1 maint: multiple names: authors list (link)
  • Samurai Archives (1 January 2012), Arashi Rikan II, Samurai Archives, archived from the original on 4 March 2014, retrieved March 3, 2014
  • Shōriya, Aragorō (2013), Arashi Rikan II, Kabuki 21, retrieved March 2, 2014
  • Yonemura, Ann (2002). Masterful Illusions: Japanese Prints from the Anne van Biema Collection. Washington, D.C.: University of Washington. ISBN 0295982713.
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