Page 460 - Edo: Art in Japan, 1615–1868

26 3 265 Apparently Tanikaze was Shunshô's
Tóshüsai Sharaku (active 1794-1795) Katsukawa Shunshô (1726-1792) favorite wrestler, and it does seem as
The Actor Ótani Oniji III as the The Sumo Wrestlers Onogawa though Tanikaze is portrayed here
Servant Edohei and Tanikaze in a more favorable light. Onogawa is
shown squatting, with his rump
1794 1783
Color woodblock print Color woodblock print nearly hitting the ground while he
loosens up his arms and legs. Tanikaze,
3
36.8x23.6 (1472x974) Approx. 37.5 x 51 (i4 A x 20 7s) in a more dignified portrayal, towers
Tokyo National Museum Tokyo National Museum
Important Cultural Property above in an aggressive stance. In any
• A match between these two great case, because this print is one of
• Based on another scene from The wrestlers in the second month of the few from the 17805 depicting the
Colorful Reins of a Beloued Wife (see 1782 reignited interest in sumo among two sumo heroes together, it was
cat. 261), this print captures both the Edoites. Tanikaze Kajinosuke, the among the most sought-after sumo 459
prints and went through three sepa-
actor's distinctive features and reigning champion with a streak of
the essential character of a samurai's sixty-three victories over four years, rate editions. JTC
manservant (yakko) who is called was pushed out of the ring by the
upon to carry out dastardly deeds. younger Onogawa Kisaburó. This
The eyes, enclosed in rectangular out- earthshaking match attracted many 266 (1726-1792)
Katsukawa Shunshô
lines of red, and the furled eyebrows new fans to the sport. Print sellers, The Sumo Wrestlers Kajigahama and
convey utterly evil intent. The grimace, always with a finger on the pulse
anchored on each end with accents of public taste, saw the coming sumo Sekinoto
of dark ink, shows this man will brook boom and started commissioning 1784
no compromise. Captured at a cli- their best designers of actor prints, Color woodblock print
3
mactic moment, the actor thrusts his especially of the Katsukawa atelier, Approx. 37.5 x 51 (i4 A x 20 7s)
hands out in intense anger as if to to try their hand at sumo prints. Tokyo National Museum
strangle someone. JTC
For the print designer the subject of • In contrast to Shunshô's early
wrestlers posed many of the same experiments in the sumo print genre,
challenges faced earlier in creating a
264 new type of actor prints, particularly here he captures the wrestlers locked
Tóshüsai Sharaku (active 1794-1795) how to balance realism and styliza- in strong-armed combat as Kajiga-
The Actor Nakayama Tomisaburo tion of a celebrity's well-known hama Rikiemon, on the right, grapples
as the Courtesan Miyagino with Sekinoto Hachirôji while the
features. It should come as no sur-
referee Kimura Shónosuke presides.
1794 prise that artists of the Katsukawa
Color woodblock print lineage, masters of the actor print, Sumo prints posed unique challenges
36.8x23.6(1472x974) would be the pioneers in the sumo to the print designer. For instance,
Tokyo National Museum print genre. in pictures of matches, the artist had
Important Cultural Property to connote persuasively the intense
In this extra large format print, dynamism of two wrestlers in the
Shunshô offers a "blow-up" view of
• The onnagata Nakayama Tomis- Onogawa, on the right, and Tanikaze ring, while at the same time allowing
aburo, posing here as the courtesan the faces of both wrestlers to be seen.
Miyagino, conveys a gentler disposi- finishing up the preliminary rites The best prints manage to capture
a match. The referee, Kimura
before
tion than Segawa Tomisaburo II in Shónosuke, dons full formal wear both wrestlers in a good light. Here the
cat. 259, though the features are simi- artist is still grappling with effective
with sword at hip and ceremonial fan
lar. It seems as though this character in hand, contributing to the ritual poses. JTC
could bring herself to smile. Tomis- aura of the event. During the opening
aburo played this role in A Medley of
rites, influenced by Shinto purifi-
Tales of Vengeance (see cat. 262) at cation rituals, wrestlers throw salt
the Kiri Theater in 1794. JTC
and water on themselves. They slap
their thighs with portentous solemnity
as they rock back and forth, lifting one
leg and then the other in carefully
orchestrated syncopation, to find the
perfect mental and physical equilib-
rium. The psychological warfare
has begun even before the referee
drops the fan to open the match.