| ARC浮世絵ポータルデータベース/Ukiyo-e Portal Database詳細情報表示 | 1件の内1件目を表示中 | ImageNote | UserMemo |
|
クリックして画像のみのウィンドウを別々に開く→ |
縦A | 縦B | 縦C | 縦D | 縦E | 縦F | 横G | 横H |
| 同板作品表示 | 新規検索 |
| サムネイル一覧 | 簡易情報付一覧 | ArtWiki | English» |
| AcNo. CoGNo. JA13104 AlGNo. JA13104 |
|
絵師:
豊国〈3〉
(Toyokuni (3))
落款印章:
一雄斎国貞画 (芳桐印) / Ichiyûsai Kunisada ga, and paulonia´s seal (kiri)
絵師検索
彫師: 彫工巳の, Chōkōmino 人物検索 画中人名: 海老名軍蔵 [4]大谷友右衛門 八百や娘お七 [1]坂東しうか 五尺染五郎 [7]市川高麗蔵 / Otani Tomoemon IV as Ebina Gunzo; Bando Shiuka I asYaoya Musume Oshichi; and Ichikawa Komazō VII as Goshaku Somegoro 人物検索 |
| 判型: 大判/錦絵 / ôban nishikie 寸法: 35,7 x 24,4 続方向: 竪 作品位置: 001 枚組の 001 番目 03 枚続の 02 枚目 |
| Col重複: 1 All重複: 1 |
| 板元文字: 板元備考： シ夂賣 / shita uri |
| 版印１ 板元１ 板元名１: 越村屋平助 Koshimuraya Heisuke |
| 改印: 衣笠、村田, Kinugasa, Murata 出版年月: 1851 ()・ 出版地: 江戸 / Edo 同時作品 |
|
作品名:
「海老名軍蔵」 「八百や娘お七」「五尺染五郎」
Ebina Gunzo; Yaoya Musume Oshichi; Goshaku Somegoro Ebina Gunzo; Yaoya Musume Oshichi; and Goshaku Somegoro |
| 1851・05 (09) 場所: 江戸・ 市村 興行年表 |
|
興行名:
恋模様振袖妹背
こいもようふりそでめおと
外題: 恋模様振袖妹背 こいもようふりそでめおと 場名: 鈴ケ森の場 / Suzugamori´s place |
| 配役: 海老名軍蔵 [4]大谷友右衛門 八百や娘お七 [1]坂東しうか 五尺染五郎 [7]市川高麗蔵 / Otani Tomoemon IV as Ebina Gunzo; Bando Shiuka I asYaoya Musume Oshichi; and Ichikawa Komazō VII as Goshaku Somegoro 役者DB |
| 組解説:The shita-uri seal (シ夂賣, lit. low sale seal) appears in actor prints from 1850/1 to 1853/3. The purpose remains unclear. The position of the ‘shita-uri’ seal is mostly next to the signature or the publisher seal. The actors of the woodblock triptych print are: Arashi Kichisaburo as Nita Shiro, seated with an attendant kneeling alongside wearing robes patterned with scenes of hell (right), Otani Tomoemon as Gunsuke seated on a stool, with Bando Shuka as O-Shichi, and an unidentified actor to their right (centre), and Ichikawa Danjuro VIII as Kichisaburo, with Ichikawa Kuzo as the maid O-Sugi, kneeling. This seal has been documented between II/1850 and II/1853. It was probably used for some years after the relaxation of the severe Tenpô Reforms (1842-47) that banned prints of theatrical subjects. Kabuki depiction had progressed from historical scenes with actors as heroes to flagrant depictions of kabuki, marked only with the "shita-uri" seal that meant such prints were not to be displayed openly in shops, where they might receive the notice of an official (i.e. low sale, or under the counter). Andreas Marks however, mentions that the term ‘shita-uri’ was in use in other business as well, for example in the fish wholesale where it meant a “negotiated transaction” between two parties. Marks raises the question if this seal was not a new constraint to the market but rather a way of liberalizing it by allowing publishers, with a restricted and limited number of prints, to get away from fixed prices and be more flexible in their pricing. (Andreas Marks, Publishers of Japanese Woodblock Prints: A Compendium, Hotei, 2011, p. 479-480). |
| 系統分類: 役者絵, yakushae 画題: |
| 所蔵:The Complutense University of Madrid (UCM) 資料部門: 浮世絵 |
| Permalink: |
|
|
所蔵資料の利用に関しましては所蔵資料ご利用ガイドをご覧ください。 |