This portrait illustrates the characters appeared at Date Family Affair play entitled “Nihonmatsu Michinoku Sodachi” played by Kawarasaki-za Theater in July of 1794 (Kansei 6). This work also presents Sharaku’s structural beauty. Two actors’ figures are well set inside of the frame of the four swards: this expresses the both beauty of the screen structure and stage structure impressively. Everybody is amazed Sharaku’s bold depiction: Oniji turns around his back and shows his bottom. Sharaku depicts Ukiyo Tsuchihei’s brazen appearance and illustrates his antagonist role fully enough. On the other hand, Omezo as sumo wrestler, Sharaku depicts his posture as well-balanced beauty of kabuki posture. The style that Omezo’s well-balanced posture and Oniji’s amazed appearance do not have any conflict and tie up naturally: this makes us feel Sharaku is a great artist.
Sharaku Toshusai(birth and death dates unknown)
Birth and death dates unknown.
In 1794 (Kansei 6), Sharaku came into sudden prominence, produced more than 140 ukiyo-e paintings during the mere ten months of his activity as an ukiyo-e painter, and then disappeared forever. For his debut work, he used the large, o-ban printing size, and expensive biotitic background printing, which was unusual. Juzaburo Tsutaya, a publisher, enthusiastically promoted Sharaku after Utamaro had left him. Meanwhile, the printing size was getting smaller. One of the major reasons for this was that Sharaku’s way of drawing actors as they were, regardless of their popularity, was not accepted by people of the era. However, each of his portraits is full of energetic impression and gives a positive impact. Because of this, he also received high acclaim from abroad.
Selections of Sharaku Toshusai
Sharaku Toshusai(birth and death dates unknown)
One of the reasons why Sharaku’s works are precious is that so few exist. Unfortunately, his art was recognized abroad before it gained popularity in Japan. While the Japanese were blind to his talent, many of the works ended up abroad and were praised. Some of the works were brought back to Japan as part of the Matsukata Collection in 1943 (Showa 18), which increased the number of his popular works in Japan. These forty works were reissued from the collection. Each of them represents one of Sharaku’s great masterpieces.
