The Actor Iwai Hanshiro IV as Kiyohime in the Play Hidakagawa Iriai-zakura, Performed at the Morita Theater in the Ninth Month, 1770

Ippitsusai Buncho's [hosoban](/glossary/hosoban) portrait of Iwai Hanshiro IV as Kiyohime, performed at the Edo Morita Theater in the ninth month of 1770, belongs to the Art Institute of Chicago's collection of Edo [ukiyo-e](/glossary/ukiyo-e). The role of Kiyohime, drawn from the legendary tale of obsessive love, betrayal, and transformation associated with Hidaka River and the Dojoji temple, was one of the great onnagata roles of Edo kabuki, demanding both poised femininity and the suggestion of supernatural threat. Iwai Hanshiro IV was among the most celebrated female-role specialists of his generation, and Buncho's image of him as Kiyohime gives careful attention to the layered kimono, hair ornaments, and pose that defined his interpretation. The play Hidakagawa Iriai-zakura combined dance, transformation, and the tradition surrounding the Dojoji bell, all of which made it particularly suited to the visual logic of [yakusha-e](/glossary/yakusha-e), where costume and gesture could be frozen into a single emblematic image. Working in the hosoban format that he favored for individual actor portraits, Buncho exemplifies the close, observation-based portraiture that distinguishes his short, brilliant career in Edo ukiyo-e of the late 1760s and early 1770s. The Art Institute of Chicago's impression preserves the inscriptions and design with sufficient clarity to support modern reconstruction of the production season and casting.