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Hirosada (廣貞)

(1R) Nakamura Daikichi III (三代目 中村大吉) as Osan (おさん); (2R) Kataoka Gadô II (二代目 片岡我当) as Mohei (茂兵衛) in Daikyôji mukashi goyomi (The almanac maker and the old almanac: 大経師昔暦), Chikugo Theater, Osaka
Hirosada (廣貞); signed at the top right of the R sheet and lower left of the L sheet (difficult to see here, but please view the larger linked image)
No artist seal
Meirakudô (名楽堂)
(H x W)
Chûban nishiki-e diptych
24.8 x 37.1 cm
Excellent deluxe edition with silver metallics and burnishing
Excellent color, unbacked; mild album crease along left edge of R sheet, short paper flaw crease and scuff line near right edge of L sheet
Price (USD/¥):
$390 / Contact us to pay in yen (¥)

Order/Inquiry: HSD78


This play Daikyôji mukashi goyomi (The almanac maker and the old almanac: 大経師昔暦), is based on a real-life scandal involving a case of adultery in 1683. The misadventure led to the death penalty for three people — Mohei, Osan, and Otama — who were executed by crucifixion (Mohei, Osan) and beheading (Otama) on 9/22/1683 (on the lunar calendar). The story was recounted by Ibara Saikaku (井原西鶴 1642-93) in one of his tales from the 1680 novel Kôshoku gonin onna (Five women who loved love: 好色五人女). It was dramatized as a kantsû-mono (adultery play: 姦通物) for the puppet theater (Bunraku) by the great playwright Chikamatsu Monzaemon ((近松門左衛門 1653-1725), premiering in Osaka at the Takemoto-za in 1715. It was also adapted for kabuki, called simply Daikyôji (大経師), and staged in Osaka in 1/1715 as the kiri kyôgen (a single-act after-piece following a multi-act historical play: 切狂言) of the New Year drama Kami ikusa shirushi no banjaku (神軍印磐石). The puppet drama was revived in 11/1740 in Osaka at the Takemoto-za, where it was presented under the new title Koi hakke hashira goyomi (戀八卦柱暦) to commemorate the 16th anniversary (17th memorial service) of the passing away of Chikamatsu Monzaemon. This title was reused in kabuki by the noted playwright Namiki Shôzô I (並木正三 1730–73) for his revision of Chikamatsu's drama, which was staged in 5/1762 in Osaka at the Kado Theater.

In Daikyôji mukashi goyomi, Osan is the wife of a Kyoto scroll maker and almanac publisher named Ishun. She enlists the aid of Ishun's clerk Mohei to raise money for her mother. Mohei complies by foolishly using Ishun's seal to forge a document to obtain the money. He is caught and the theft is reported to Ishun. Mohei refuses to explain his behavior and is locked in a storehouse. A maid named Otama, who is in love with Mohei, comes forward and claims she was the one to ask Mohei for the money, whereupon she is ordered to stay in her room. Osan then learns of Otama's feelings for Mohei and also that her husband Ishun has been trying to seduce Otama. Osan switches places with Otama, hoping to catch Ishun in his attempt at seduction. Soon after, Mohei frees himself from the storehouse and goes to Otama's room to thank her, not realizing in the dark that he is speaking with Osan. He then sleeps with Osan, only to be discovered by Ishun. The "accidental lovers" flee to Mohei's hometown in Tanba, but are captured and face execution as adulterers. They are saved, however, by the intervention of Tôgan Oshyô, chief priest of Osan's family temple, who pleads for mercy to the authorities.

In modern Japanese theater, Daikyôji mukashi goyomi is rarely if ever staged in its entirety, and even the final scene in which the lovers are saved from execution is usually omitted. Still, the main story remains popular, even outside the world of kabuki. It was adapted for film in 1954 by the director Mizoguchi Kenji (溝口健二 1898-1956) and distributed under the title Chikamatsu monogatari ("A Story from Chikamatsu": 近松物語). However, the film is typically referred to as "The Crucified Lovers," as in this version they are indeed executed. There was also a Japanese TV drama called Osan no koi (Osan's love: おさんの恋) broadcast in 1985.


Hirosada's diptych may portray the moment when Mohei has escaped from the storeroom and, having climbed a tree, is making his way toward Otama's quarters, not realizing in the darkness that Osan has secretly taken Otama's place.

Our impression is in excellent condition and is an early impression off the blocks.

For a hexaptych depicting seven characters from a later production of the play, see Yoshitaki 27.

For more about the artist, see Hirosada Biography.

References: IKBYS-IV, p. 69, no. 324; NKE, p.69