This work depicts a role appearing ‘HanaAyame Bunroku Soga”, played by Miyako-za Theater in May of 1793 (Kansei 5). This character is a lender, who comes to the house of Tanabe’s house who is supporting Ishii brothers seeking revenge. Regardless of the situation, all his interest is to receive money; his facial expression shows the intention. The tightly closed mouth, flown of the chin, gazed eyes, and left hand grabbing the rolled sleeve; all of the postures is intense depiction. For those intense facial and appearance rather add more efficiency to the simple yellowish eighth length sleeve kimono. Furthermore, black of the underwear collar adds more intense to the screen.
Ryuzo Arashi, the second highest opponent actor (the highest one uses all black letters); so Sharaku favored his unique taste and drew another pictures of this actor. Ryuzo took over Shichigoro Arashi III in 1798 (Kansei 10). However, next year in November, he died at the age of 38. Therefore, even he disguised the age role he was actually young. He was only thirty-four in this portrait.
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.
