2 of 3

Utagawa Kunisada
Japanese, 1786-1864

Captain Kingoro, Shozo, and Kanzo, 1856
Published by Yushima (Hori Takichi )
With censorship seal (aratame) and date seal (Dragon 5)

Nishiki-e (color woodblock print)
Oban format, triptych
Signed Toyokuni III (Kunisada)

Museum Collection

The three sheets are to be seen as one picture. A barge or pleasure boat is assaulted by Kanzo, who may be a samurai. He grabs the obi of the lady in the barge (Shozo). Captain Kingoro is going to the rescue. The lady may be a courtesan, with the usual roll of towels passionately clenched in her mouth. Mid-19th century prints like this are called "decadent" in style, because of the garish color due to recently imported aniline dyes, as well as the broader, cruder, more angular drawing. Kunisada, though often elegant, is considered notorious for such crudity, which sped up print production. But some see great vigor in such panoramic "vulgarity." The powerful triptychs in this exhibition have a cinematic sweep. It is no wonder that modern Japanese film should prove so strong and fine.
Grabbing a woman's obi was almost tantamount to rape. The design of the obi could signal a woman's rank and identity. In Kabuki theater, there is a Victorian-like obsession with women being threatened and rescued. Where does mere machismo aggression leave off and where do higher samurai ideals begin? But the melodrama of these prints does sometimes express a more righteous- or potentially righteous-turbulence, a rage for justice or honor.




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