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Archive: Hirosada (廣貞)

(1R) Nakamura Tomosa II (二代目 中村友三) as [Miyakawa] Giheiji (三河屋義平次); (2R) Nakamura Utaemon IV (四代目 中村歌右衛門) as Danshichi Kurobei (団七九郎兵衛) in Natsu matsuri Naniwa kagami(Mirror of the Osaka summer festival: 夏祭忠孝花鑑), Naka Theater, Osaka
No artist seal
suri Kame (スリ亀) = printer & publisher(?)
(H x W)
Chûban diptych nishiki-e
24.8 x 36.2 cm
Excellent, deluxe edition with metallics, furikake ("sprinkling" or application of powdered metallics: 振掛)
Excellent color, very good condition (unbacked; album crease reinforced at top and bottom along left edge of R sheet, light smudge near Gihei's right hand
Price (USD/¥):

Inquiry: HSD56


Natsu matsuri Naniwa kagami (Mirror of the Osaka summer festival: 夏祭浪花鑑) was originally a nine-act sewamono (domestic or everyday drama: 世話物) staged for ningyô jôruri (puppet theater: 人形淨瑠璃) in 1745. Danshichi Kurobei, a fishmonger and otokodate ("upright man" or chivalrous commoner: 男伊達 or 男作) was imprisoned for wounding a retainer of Ôshima Sagaemon (an enemy of Danshichi's ally, Tamashima Hyôdayû). Danshichi is paroled on the condition that he foreswear violence, so any breach of this agreement, however minor, will land him back in prison. Immediately after his release, he stops at the home of his friend Tsuribune no Sabu to wash and change clothes before seeing his wife. While there, Danshichi is attacked by the samurai Issun Tokubei who is allied with an enemy of the Tamashima clan. Sabu intercedes to prevent Danshichi's risking a return to prison by seizing a folding screen and holding it up between the two adversaries. Before the fight is resolved, Danshichi's wife, Okaji, arrives and is upset to discover that her husband, even before reaching home to rejoin his family, has fallen prey to violence again. Not long after, in a reversal of alliance, Tokubei befriends Danshichi and they pledge to protect the Tamashima clan.


Hirosada's diptych depicts the deadly confrontation between Danshichi and his father-in-law, Giheiji, in one of kabuki's most famous episodes — Nagamachi no ura no ba ("Back street scene in Nagamachi"). As their argument escalates over Danshichi's failure to honor a payment to ransom the courtesan Kotoura, sounds of revelry can be heard from an approaching Kozû Shrine Festival parade in Dôtonbor. During performances of this play, the boisterous music provides an incongruous carnivalesque accompaniment to the action in the gloomy backstreet. Danshichi draws his sword, accidentally cutting Giheiji, who screams, "Murderer!" Overcome with rage, Danshichi, his unknotted hair falling to his shoulders, strips down to a red loincloth, revealing his tattooed body. As Danshichi moves in on his prey, he performs various koroshi no mie (murderer's poses: 殺し見得) in counterpoint to Giheiji's displays of panic and supplication. Finally, after Danshichi asks for forgiveness, he ends the old man's life with a thrust of his sword. Danshichi then washes splattered blood and Giheiji's muddy handprints from his body, using water from a nearby well. He escapes by mingling with the large crowd of festival celebrants.

Famous koroshi-ba (murder scenes: 殺し場) such as this one represent what Kawatake Toshio (see ref. below) calls zankoku no bi ("cruel beauty": 惨酷の美), referring to an aesthetic principle first formulated in Japan by the yôga (Western-style painting: 洋画) and Nihonga (Japanese-style painting: 日本画) artist Kishida Ryûsei (1891-1929), published posthumously in Engeki biron (Study of Theatre Aesthetics). Tokyo: Tôkô Shoin, 1930. According to this hypothesis, which Kawatake calls "negative beauty," scenes of cruelty, violence, and pain are made beautiful through artistic transformation. In Japanese popular theatre, zankoku no bi refers specifically to visual, kinetic, and musical embellishments in scenes of evil that infuse the setting with an eerie beauty. This is surely the case in the Nagamachi no ura no ba when Danshichi strikes as many as thirteen different mie.

This is an early impression with a tri-color title cartouche and metallics on Danshichi's sword. Other impressions are in the Ikeda Bunko Library and Waseda University collections (see IKBYS and WAS referencs below). The preservation of colors on our example is excellent, and it bears a seal reading suri Kame ("printed by Kame"), who might have been both the printer and publisher of this edition.


  1. IKBYS-IV, no. 297
  2. WAS-6, no. 209
  3. HOP, no. 37a
  4. NKE, p. 462
  5. Kawatake Toshio: Kabuki - Baroque Fusion of the Arts." Tokyo: International House of Japan, 2003, Chapter 6, The Creation of "Negative Beauty," pp. 172-183.