Konishi Hirosada (ca 1810 - 1864) Chuko Junishi no Uchi (Loyalty and Fidelty for the Twelve Signs of the Zodiac): Ox - Jitsukawa Ensaburo as Sakuramaru, c.1848. Deluxe Chuban.
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This fine print by the Osaka artist, Konishi Hirosada (ca 1810 - 1864), is a mitate…
a kind of puzzle picture. The puzzle here though is more serious than
mere entertainment. In the 1840’s in Japan but especially in Osaka, a
crumbling and centuries old government was attempting to stay afloat by
imposing strict anti-decadence laws… sometimes referred to as the Tenpo
Reforms. These prohibited the depiction of actors or theatre subjects, a
genre that had been hitherto, wildly popular among kabuki fans.
Artists and publishers attempted work-arounds by producing recognisable
prints of unnamed actors, often in imaginary roles or else in roles not
taken in real life. These prints were then issued under the guise of
approved subjects… moral tales, views of famous landmarks or as in this
case, the signs of the zodiac.
Deciphering these prints is quite a task at such distance. Osaka prints are less well known, were produced (albeit to extraordinary quality) in small numbers and short print runs and the school tends to be under represented in the literature. The portrait is that of the kabuki actor Jitsukawa Ensaburo as Sakuramaru, one of three brothers named after the favourite trees of their unfairly disgraced mentor, Suguwara Michizane later after exile to be reborn as the god of thunder - Kan-shojo. The names of the three men reflect their individual traits: Matsuomaru, pine, for his stalwart nature, Sakuramaru, cherry, for his gentle personality; and Umeomaru, plum, a symbol of courage. At the time when the authors were working on the play, (1747) a great stir was caused in Osaka by the birth of triplets. It was therefore decided to make use of triplets in the new production and thus it was that Matsuomaru, Umeomaru and Sakuramaru came into being.
The Zodiac sign is, ‘Ox’, seen in the top right, black cartouche. The cartouche to the left shows the ox-cart that features in the play’s most famous scene, where Umeomaru and Sakuramaru attempt to stop the cart of the villain Shihei. This scene with the elaborate cart is often portrayed in lavish woodblock prints of the period, the play and this scene in particular being very popular with audiences.
The series title translates, Loyalty and Fidelity for the Twelve Signs of the Zodiac, hence the roles portrayed here illustrate some aspect of that sentiment. The portrait is of the appropriate actor in role, the upper right frame is the zodiac sign and the left represents a scene from the play from which the character is drawn. The game, if you like… then as now, is to connect all the elements to form the entire, allusive picture.
All of the prints in this series were found in a very battered concertina album of the period. In order to rescue the prints, remove them from the decaying acidic backing card and repair the wormholes, the complete album has had to be disassembled. The prints have been conserved and are in outstanding condition, aside from some repaired worm damage, principally to the plain margins. The complete deluxe set in this condition even with the marginal damage is very rare. Each print is exquisitely produced with deluxe embossing, double printing, mica and metallics… it is a masterpiece of the woodblock art. Aside from the worm damage the prints are all in very fine condition. The impressions and print quality are perfect, the condition is fine with no fading and and no discolouration. Since it was necessary to separate the prints from their backing etc we feel that the set may reasonably be sold individually or as a complete series.
This print has wormhole damage to the right hand margin and upper right corner, stabilised with japanese paper; and minor worm holes in the left and bottom margins. Otherwise, colour, impression and condition are all fine; with embossing to the cartouche, collar and sleeves, burnishing to the hairpiece.
An interesting feature of the set is the fact that they were published by Matsuki Heikichi, a publisher and printer of woodblock prints during the Meiji era, located in Yoshikawa-cho, a considerable distance from Osaka. He was the fourth generation in the family, known later for promoting the work of Kobayashi Kiyochika.
A copy of this series and this print can be found in the Philadelphia Museum of Art.
18 x 24.5 cm
