Page 431 - Edo: Art in Japan, 1615–1868

238 In the right screen of both sets of The Nakamura Theater, which opened
Attributed to Hishikawa Moronobu paintings crowds mill outside the in 1624, was the first of the great Edo
(c. 1618-1694) entrance to the theater as barkers kabuki theaters to be licensed. Origi-
Kabuki at the Nakamura Theater announce the day's performances nally called the Saruwaka Theater, it
listed on the playbills. Customers was rebuilt on different spots and the
c. 1690 straddle the raised sill of the mouse- hereditary license was handed down
Pair of six-panel screens; ink, color,
and gold on paper wicket entrance, designed to prevent from generation to generation until
Each 170 x 397 (67 x 15674) gate crashers. Inside the theater we 1893. Both of these screen pairs show
of a
a view of the Nakamura no earlier
see what
might be members
Tokyo National Museum daimyo household in boxes to the
Important Art Object than 1690, the year its emblem was
left. The majority of the playgoers changed to the gingko leaf crest seen
must be content to sit on the uncov- on the banner of the drum tower.
239
430 ered ground surrounding the stage.
Attributed to Hishikawa Moronobu On stage is a troupe of wakashu, young The left screen of the Suntory pair,
(c. 1618-1694) showing people enjoying cherry blos-
Kabuki at the Nakamura Theater; male kabuki actors, dressed in male soms, is nearly identical to a screen on
Cherry Blossom Viewing at Ueno and female costumes. It seems as the same theme in the Freer Gallery
though we have entered the theater
c. 1690 at a high point of a performance, when of Art, Smithsonian Institution. JTC
Pair of six-panel screens; ink, color, the main actors are still on stage
and gold on paper and a line of colorful dancers enters.
Each 82 x 225 (3274x8872) At center stage on the left musicians
Suntory Museum of Art, Tokyo strum shamisen and pound drums.
The left screen of the Tokyo National
• Kabuki flourished in both Kyoto Museum version (cat. 238) gives a
and Edo during the final decade of the detailed view of the dressing rooms
seventeenth century, to which these and male bordello attached to the
two sets of screens can be dated. Both theater. In the three left panels we
sets show views of Edo's Nakamura enter a preserve of male pleasure
Theater, its dressing rooms, and nearby making. The homosocial aspect of
facilities for entertaining patrons. The
left screen of the Suntory Museum ver- the scene is conspicuous. Men of all
ages are engaged in talking, drinking,
sion (cat. 239) shows people enjoying and game playing. In the teahouse
the dancing and drinking parties that wakashu cavort with older male
accompany cherry blossom viewing patrons — entertaining them with
in the Ueno district even to this day.
shamisen and dances. A samurai
plays shôgi (Japanese checkers) with
a young male companion, while
other boys look on; another patron
receives a back rub from a blind
masseur (see facing page). In the
foreground garden a drinking party
is under way with older men of
the merchant class being entertained
by a group of boys.

238 (detail)