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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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