
The Actors Nakamura Tomijuro I as Enju Disguised as the Shirbyoshi Gio (right), and Nakamura Noshio I as Goo Disguised as Hotoke Gozen (left), in the Play Miyako-zome Gio Katsugi, Performed at the Morita Theater in the Eleventh Month, 1770
- Date:
- c. 1770
- Medium:
- Color woodblock print; chuban
- Source:
- Art Institute of Chicago
Description
This double-portrait [yakusha-e](/glossary/yakusha-e) by Ippitsusai Buncho captures a pivotal moment from the kabuki play Miyako-zome Gio Katsugi, staged at the Morita Theater in the eleventh month of 1770. On the right stands Nakamura Tomijuro I in the role of Enju, who has assumed the disguise of the shirabyoshi dancer Gio, while on the left Nakamura Noshio I appears as Goo, disguised as the courtesan Hotoke Gozen. Both characters are drawn from the medieval Heike legend in which Gio and Hotoke meet at the court of the warlord Taira no Kiyomori, a narrative that Edo audiences would have known intimately from popular literature and earlier no theater. Buncho composes the two figures as a pair of facing verticals, their kimono spread in elaborate seasonal patterning that reads almost as wallpaper against the soft, unprinted ground. The economy of the line is characteristic of Buncho's mature manner: long, calm contours through the shoulders and sleeves, a slightly nervous flicker around the mouths and eyes, and almost no extraneous detail in hair or hands. Working at the edge of the [chuban](/glossary/chuban) tradition, he keeps the palette restrained, relying on the contrast of patterned textile and bare paper to suggest both stage lighting and ceremonial stillness. As an Edo [ukiyo-e](/glossary/ukiyo-e) artist trained outside the dominant Torii lineage, Buncho occupied a niche close to Katsukawa Shunsho, with whom he collaborated on the celebrated Ehon butai ogi actor album of 1770, the same year as this performance. The Art Institute of Chicago preserves this impression, and its inscriptions and seals locate it precisely within that Morita-za season, allowing the sheet to function as both a commemorative likeness for a fan and a documentary record of casting at one of Edo's three licensed theaters.



