This portrait depicts Yadorigi, a wife of Ogishi Kurando who appears at “HanaAyama Bunraku Soga” played by Miyako-za Theater in May of 1794 (Kansei 6). The kimono he wears is obviously gaily: outer kimono is crimson red, inner is red, and white scattering chrysanthemums in black. On the contrary, Tomisaburo’s face is long, eyes are small, and square chin: we could not say he is beautiful. His kimono and facial expression are unbalanced. However, we do not think the entire this portrait loses the proportion. Sharaku does not think the portrait of women does not have to be illustrated beautifully. His intention is to capture the performance and quality of the arts of the actors on the stage. We can feel the great impression out of there. Tomisaburo Segawa II was an apprentice of Kikunojuo Segawa II. He succeeded Tomisaburo in 1784 (Tenmei 4). Throughout his life, people said Tomisaburo II mimicked Kikunojo; however, his performance was great. From the way he acted, he was called “Niku Tomi” or “Iya Tomi”. He died in March of 1804 (Bunka 1).

 

 

Sharaku Toshusai(birth and death dates unknown)

Birth and death dates unknown.

In 1794 (Kansei 6), Sharaku came into sudden prominence, produced more than 140 ukiyo-e paintings during the mere ten months of his activity as an ukiyo-e painter, and then disappeared forever. For his debut work, he used the large, o-ban printing size, and expensive biotitic background printing, which was unusual. Juzaburo Tsutaya, a publisher, enthusiastically promoted Sharaku after Utamaro had left him. Meanwhile, the printing size was getting smaller. One of the major reasons for this was that Sharaku’s way of drawing actors as they were, regardless of their popularity, was not accepted by people of the era. However, each of his portraits is full of energetic impression and gives a positive impact. Because of this, he also received high acclaim from abroad.

 

Selections of Sharaku Toshusai

Sharaku Toshusai(birth and death dates unknown)

One of the reasons why Sharaku’s works are precious is that so few exist. Unfortunately, his art was recognized abroad before it gained popularity in Japan. While the Japanese were blind to his talent, many of the works ended up abroad and were praised. Some of the works were brought back to Japan as part of the Matsukata Collection in 1943 (Showa 18), which increased the number of his popular works in Japan. These forty works were reissued from the collection. Each of them represents one of Sharaku’s great masterpieces.