Actor Arashi Hinaji I Dancing in “The Maiden at Dojo Temple” (“Musume Dôjô-ji”)

Katsukawa Shunsho captures the onnagata Arashi Hinaji I in the celebrated dance Musume Dojoji, The Maiden at Dojo Temple, one of the most iconic vehicles in Edo kabuki. The dance draws on the noh play Dojoji and its legend of a vengeful woman who transforms into a serpent and destroys her unfaithful lover beneath the temple bell, and in its kabuki form it became the supreme test of an onnagata's technique, demanding a sustained sequence of costume changes and dance variations across the long stage piece. Held in the Art Institute of Chicago, Shunsho's print shows Hinaji at one moment within that dance, the elaborate kimono and the dancer's pose recording the visual signature of his performance. The Katsukawa school's commitment to individuating likenesses of specific performers gave [yakusha-e](/glossary/yakusha-e) of dance subjects particular value, since the dance was understood as a virtuoso achievement attached to the body and skill of the dancer, not just to the role. Shunsho was by the early 1770s the dominant designer of actor prints in Edo [ukiyo-e](/glossary/ukiyo-e), and his treatment of dance performances added a refined formal dimension to his portrait practice, the static print compelled to register a kinetic art. The Musume Dojoji theme would remain a fixture of yakusha-e for the rest of the period, and Shunsho's contribution to its iconography is among the foundational examples.