The Actor Ichikawa Danjuro II as Soga no Goro in the play "Soga Koyomi Biraki," performed at the Nakamura Theater in the first month

The Actor Ichikawa Danjuro II as Soga no Goro in the play Soga Koyomi Biraki, performed at the Nakamura Theater in the first month, 1723, situates Torii Kiyotomo within the foundational relationship between the Torii workshop and the Ichikawa actor lineage around which Edo aragoto kabuki was built. Ichikawa Danjuro II, who had inherited the line from his father in 1704 and dominated Edo kabuki across the 1710s and 1720s, here appears as Soga no Goro Tokimune, the younger of the vendetta brothers and the signature aragoto role in the Danjuro household repertoire. The Soga Koyomi Biraki opened the 1723 first-month season at the Nakamuraza within the standard Soga-vendetta rotation that all three licensed Edo theaters observed each New Year. Kiyotomo, working as a less-documented member of the second-generation Torii circle, draws the standing figure in the muscular bold contour that the Torii workshop had codified for aragoto portraits, with thick gourd-shaped legs and writhing earthworm-like contours in the hyotan-ashi mimizu-gaki manner that translated kabuki bombast into print form. The tan-e mode of early Torii production, with selective application of orange-red tan pigment to costume details and the lightly inked ground, supplies the color emphasis characteristic of the workshop's Kyoho-era commercial output. The [hosoban](/glossary/hosoban) or wide-bordered tate-e format frames the actor full-length, with patterned robe motifs and the angular stance of the body providing visual interest. Working alongside Kiyomasu II, Kiyotada, and Kiyoharu, Kiyotomo participated in the Torii workshop's continuous output supplying the three licensed Edo theaters with single-sheet actor portraits, with such Danjuro-as-Goro images circulating as both souvenir and advertisement for the year's Soga program. The Art Institute of Chicago preserves this impression (source_url https://www.artic.edu/artworks/15745) as a representative document of how the second-generation Torii image-makers extended the founding workshop's visualization of Edo aragoto into the early 1720s.