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作品No. JA13066 CoGNo. JA13066 Co重複: 1 AlGNo. JA13066 Al重複: 1 出版年: 1853 () 月日 丑四 / ox 4 地: 江戸 / Edo 出版備考: 嘉永06 / Kaei 6 順No.:( )
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 「向疵の与三」 「こうもり安」 / Mukōkizu no Yosa and Kōmori Yasu 改印 衣笠、村田, Kinugasa, Murata 判型 大判/錦絵 / ôban nishikie 続方向 作品位置 001:001/03;03 異版
作品名1 「向疵の与三」 「こうもり安」 ( ) 1印No. 1板元No. 1板元名 蔦屋吉蔵 / Tsutaya Kichizô (Kôeidô) 板元文字 大攵
作品名2 ( ) 2印No. 2板元No. 2板元名 板元備考
分類 役者絵 , yakushae  画題 Lovers story  シリーズNo. 資料部門 浮世絵
作品No. JA13113 CoGNo. JA13113 Co重複: 1 AlGNo. JA13113 Al重複: 1 出版年: c. 1851 () 月日 4 地: 江戸 / Edo 出版備考: 順No.:( )
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 改印 米良, 渡邊, Mera, Watanabe 判型 大判/錦絵 / ôban nishikie 続方向 作品位置 001:001/01;01 異版
作品名1 小栗外伝浪七忠義切腹の場 ( ) 1印No. 1板元No. 1板元名 山本屋平吉 / Yamamotoya Heikichi 板元文字
作品名2 ( ) 2印No. 2板元No. 2板元名 板元備考
分類 役者絵, yakushae  画題   シリーズNo. 資料部門 浮世絵
作品No. JA13066 配役 向疵の与三 [8]市川団十郎  こうもり安 [1]中村鶴蔵 / Ichikawa Danjūrō VIII como Mukōkizu no Yosa Nakamura Tsuruzō I como Kōmori Yasu  
興行名 與話情浮名横櫛 よみ よはなさけうきなのよこぐし / Yowa Nasake Ukina no Yokogushi 場立
外題 與話情浮名横櫛 よみ よはなさけうきなのよこぐし / Yowa Nasake Ukina no Yokogushi 場名
所作題 よみ 音曲種
細目種 よみ 上演年 嘉永06 場所 劇場
作品No. JA13113 配役 小栗判官 [1]坂東竹三郎 万長娘お駒 [3]岩井粂三郎 在原屋業平 [0]中山市蔵 / Oguri hankan [1 ] Bandō Takesaburō Tsumunaga musume o koma [3 ] iwai kumesaburō Ariwara-ya Narihira [0 ] Nakayama Ichizō 
興行名 よみ 場立
外題 よみ 場名
所作題 よみ 音曲種
細目種 よみ 上演年 場所 劇場
作品No. JA13066  
画中文字
組解説 The drama Yowa Nasake Ukina no Yokogushi (commonly called Kirare Yosa) was the Kabuki adaptation of a kôdan made by Kenkonbô Ryôsai was premiered in the 3rd lunar month of 1853 at the Nakamuraza [casting]. It was a huge success. Jokô III's famous play is based on a kôdan by Kenkonbô Ryôsai that was, in its turn, based on a true story. It concerned the Nagauta master Yoshimura Ichisaburô IV, who, in his youth, had become intimate with Osato, the concubine of gang boss Okashi Kinzaemon in Kisarazu. The musician was captured during a tryst and slashed all over, although allowed to live. Sometime later, he returned to Edo, met the woman again at a Fukagawa festival, and married her. They had a daughter, Otomi, who became the dance teacher Bandô Miyakichi. (Samuel Leiter in New Kabuki Encyclopedia). Kōmori Yasu has a bat-shaped spot on his cheek. 個別解説
組備考 個別備考
作品No. JA13113  
画中文字
組解説 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
作品No. JA13066 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/
作品No. JA13113 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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