fan crest   title
Home •  Recent Update •  Sales Gallery •  Archives
Articles •  Varia •  Glossary •  Biographies •  Bibliography
Search •  Video •  Contact Us •  Conditions of Sale •  Links

Archive: Shigeharu (重春)

(R) Nakamura Matsue III as keisei (courtesan) Namiji and (L) Nakamura Utaemon III as Asama Saemon Terutsuna in Katakiuchi takane no taiko, Naka Theater, Osaka
Gyokuryûtei Shigeharu ga
No artist seal
Wataki (Wataya Kihei, 綿屋喜兵衞)
(H x W)
Oban diptych nishiki-e
(38.5 x 53.0 cm)
Very good
Excellent color; Very good condition (full size; never backed; two small filled wormholes on each sheet in waves)
Price (USD/¥):

Inquiry (Ref #SGH08)


Katakiuchi-mono (revenge-killing plays: 敵討物; also called adauchi-mono: 仇打ち物) were a subgenre of kabuki and puppet theater plays featuring samurai vendettas. In pre-modern Japan, katakiuchi were, within limitations, an accepted way to punish the perpetrators of murder against certain blood relations among the samurai class. Such actions probably had a basis in Confucian morality, which taught that one should not live under the same heaven as his father's enemy. The frequency of katakuchi is unknown, although Tokugawa historical documents exist of applications to local bakufu from relatives of slain lords asking permission to track down and take revenge upon the murderers. Failure to give notice and obtain official sanction was a criminal act. The legalities of katakiuchi were inconsistent among the various domains, and there were also difficulties with murders based on grievances but carried out under the pretense of a moral revenge. The quintessential model of katakiuchi was the Soga monogatari (Tale of the Soga: 曾我物語), recounting the revenge taken by the brothers Soga no Jûrô and Soga no Gorô against Kudô Suketsune for their father's murder in 1193.

Katakiuchi Takane no taiko (Revenge and the loud noise of the drum: 復讐高音鼓) was apparently performed only in Kamigata, starting in 1808, but neither the plot and nor the origin of the tale are known. Early kabuki libretti were sometimes treated as ephemera, without formal publication or organized preservation of scripts. Being an actor-centered art form, kabuki allowed its performers (especially the superstars) to take liberties with the dialogue or plots; sometimes scenes or entire plays were adapted to highlight the particular strengths of a star actor. As a result, we occasionally encounter woodblock prints depicting plays for which we have little or no information.


Terutsuna holds two folding fans (ôgi) as he turns away from Namiji. Kneeling on one knee and glancing up at Terutsuna, Namiji clasps her hands and leans toward him. She wears a tsunokakushi ("horn concealer") or head cloth that was part of traditional wedding garb and intended to symbolize covering the "horns of jealousy." It was also used by women when visiting Buddhist temples.

Utaemon III holds an ôgi (folding fan), which he would have used as a stage prop, moving it about in a choreographed manner to accompany his spoken dialog and body postures. In his left hand he carries an amigasa  (woven or braided hat). The rolling and splashing waves represent a painted backdrop on the stage just behind the actors; the manner of its depiction had become conventional by the 1830s, although here the agitated sea appears to add to the emotional impact of the scene.


Okada Isajiro (岡田伊三次郎), a celebrated private Japanese collection not seen in public for more than 70 years until its gradual dispersal starting in the year 2000, a blockbuster event in the world of kamigata-e; see KAM)

References: IBKYS-II, no. 155; IKB-I, no. 2-423; KNP-6, p. 247; PPO, p. 160