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作品No. JA13034 CoGNo. JA13034 Co重複: 1 AlGNo. JA13034 Al重複: 1 出版年: 1851 () 月日 5 地: 江戸 出版備考: Kaei 4 順No.：( ) |
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| 絵師略称 豊国〈3〉 絵師Roma Toyokuni (3) 落款印章 豊国画(年玉枠) / Toyokuni ga in red toshidama cartouche 彫師摺師 画中文字人名 鳴神上人」八代目市川団十郎 / Ichikawa Danjûrô VIII as Narukami shônin 改印 判型 大判/錦絵 / ôban nishikie 続方向 竪 作品位置 001:001/01;02 異版 | ||||
| 作品名1 鳴神上人 ( ) | 1印No. 1板元No. 1板元名 山口屋 藤兵衛 / Yamaguchiya Tôbei (Kinkôdô) 板元文字 卜山口 | |||
| 作品名2 ( ) | 2印No. 2板元No. 2板元名 板元備考 下売 / shita uri | |||
| 分類 役者絵 / yakushae 画題 シリーズNo. 名 資料部門 浮世絵 | ||||
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作品No. JA13035 CoGNo. JA13035 Co重複: 1 AlGNo. JA13035 Al重複: 1 出版年: () 月日 地: 出版備考: 順No.：( ) |
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| 絵師略称 豊国〈3〉 絵師Roma Toyokuni (3) 落款印章 豊国画(年玉枠) / Toyokuni ga in red toshidama cartouche 彫師摺師 画中文字人名 雲のたへま」 初代坂東しうか / Bandô Shûka I as Kumo no Taema 改印 判型 大判/錦絵 / ôban nishikie 続方向 竪 作品位置 001:001/02;02 異版 | ||||
| 作品名1 雲のたへま ( ) | 1印No. 1板元No. 1板元名 山口屋 藤兵衛 / Yamaguchiya Tôbei (Kinkôdô) 板元文字 卜山口 | |||
| 作品名2 ( ) | 2印No. 2板元No. 2板元名 板元備考 下売 / shita uri | |||
| 分類 役者絵 / yakushae 画題 シリーズNo. 名 資料部門 浮世絵 | ||||
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作品No. JA13034 | 配役 雲のたへま」初代坂東しうか / Bandô Shûka I as Kumo no Taema | |
| 興行名 恋模様振袖妹背 | よみ こいもようふりそでめおと / Koi Moyô Furisode Meoto | 場立 一番目と二番目の間 | |
| 外題 橘牡丹皐月夜話 | よみ はなきょうだいさつきのよばなし / Tachibana botan satsuki hanashi | 場名 | |
| 所作題 鳴神 / なるかみ / Narukami | よみ | 音曲種 | |
| 細目種 | よみ | 上演年 ・ 場所 江戸 劇場 市村 | |
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作品No. JA13035 | 配役 雲のたへま」初代坂東しうか / Bandô Shûka I as Kumo no Taema | |
| 興行名 恋模様振袖妹背 | よみ こいもようふりそでめおと / Koi Moyô Furisode Meoto | 場立 | |
| 外題 橘牡丹皐月夜話 | よみ はなきょうだいさつきのよばなし / Tachibana botan satsuki banashi | 場名 | |
| 所作題 鳴神 | よみ なるかみ / narukami | 音曲種 | |
| 細目種 | よみ | 上演年 ・ 場所 江戸 劇場 市村 | |
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作品No. JA13034 | ||
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| 組解説 Koi moyō furisode meoto wellknown as Narukami, the thunder god. Ir is a classic kabuki play that tells the story of a powerful Buddhist saint. Angered by the Emperor's refusal to dedicate a temple to him, Narukami uses his power to imprison the Dragon Gods thus preventing rain from falling on the earth. The scene shifts to Narukami's retreat above towering rock cliffs adjoining a waterfall. While Narukami meditates, Taema, an astonishingly beautiful woman, calls to the God Fudo for aid. Unbeknownst to Narukami, Taema has been sent by the Emperor to seduce him and release the Dragon Gods. Claiming to be recently widowed, Taema says that she has come to the shrine to cleanse herself from carnal memories so she can start a new life. Narukami becomes suspicious of her motives, but his hesitation is soon overcome as he is seduced by Taema's beauty and asks her to marry him. Following their nuptials, Narukami falls asleep, and Taema releases the Dragon Gods. Discovering the treachery, Narukami transforms into a terrible Thunder God vowing to pursue Taema in revenge for her deception. https://sites.google.com/site/utnarukami/narukami-2/plot-summary#:~:text=Narukami%20%2D%20The%20Thunder%20God%20is,from%20falling%20on%20the%20earth. The ‘shita-uri’ seal (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. 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). 個別解説 | |||
| 組備考 個別備考 | |||
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作品No. JA13035 | ||
| 画中文字 | |||
| 組解説 Koi moyō furisode meoto wellknown as Narukami, the thunder god. Ir is a classic kabuki play that tells the story of a powerful Buddhist saint. Angered by the Emperor's refusal to dedicate a temple to him, Narukami uses his power to imprison the Dragon Gods thus preventing rain from falling on the earth. The scene shifts to Narukami's retreat above towering rock cliffs adjoining a waterfall. While Narukami meditates, Taema, an astonishingly beautiful woman, calls to the God Fudo for aid. Unbeknownst to Narukami, Taema has been sent by the Emperor to seduce him and release the Dragon Gods. Claiming to be recently widowed, Taema says that she has come to the shrine to cleanse herself from carnal memories so she can start a new life. Narukami becomes suspicious of her motives, but his hesitation is soon overcome as he is seduced by Taema's beauty and asks her to marry him. Following their nuptials, Narukami falls asleep, and Taema releases the Dragon Gods. Discovering the treachery, Narukami transforms into a terrible Thunder God vowing to pursue Taema in revenge for her deception. https://sites.google.com/site/utnarukami/narukami-2/plot-summary#:~:text=Narukami%20%2D%20The%20Thunder%20God%20is,from%20falling%20on%20the%20earth. 下売 / shita uri seal (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. 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). 個別解説 | |||
| 組備考 個別備考 | |||
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作品No. JA13034 所蔵者名 The Complutense University of Madrid (UCM) 所蔵者資料No. 蔵印 | |
| 所蔵者URL https://www.ucm.es/ | ||
| 所蔵者著作権表示 CC BY 4.0 | ||
| 所蔵者利用規定URL https://creativecommons.org/licenses/by/4.0/ | ||
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作品No. JA13035 所蔵者名 The Complutense University of Madrid (UCM) 所蔵者資料No. 蔵印 | |
| 所蔵者URL https://www.ucm.es/ | ||
| 所蔵者著作権表示 CC BY 4.0 | ||
| 所蔵者利用規定URL https://creativecommons.org/licenses/by/4.0/ | ||