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My first impression of the print was that it was awefully busy. Compared to the other prints around it, it had very little unutilized space. On the upper right, the red scroll shows the sub-title of the piece. Directly to the left of that is the title of the piece, then following that is the actor’s name. Although which Nakamura Utaemon specifically is depicted on the scroll is not specified, I believe him to be Utaemon IV. The one record of this print I found on the web gave the date of the print to be circa 1839. Utaemon III lived from 1778 to 1838. His descendant Utaemon IV would have been working in 1839 under the name rather than the III. Also, the onagata in the picture does not look like he is 60 years old. Also, looking into what plays and actors were active in 1839, Utaemon IV is also the actor listed.
Continuing with the dissection of the print, on this piece the artists signed it Kunisada Gotei. This further helps to narrow down the date when it was printed. This name was used in his works until 1844. His first works were published in 1807, under a variety of names. Utagawa Toyokuni I, Kunisada’s mentor, died in 1825. Assuming that the picture is of Utaemon IV was the actor in the picture, it gives the picture a range of 1839-1844 for when it was printed.
The darker fading out from the top of the print gives the cherry blossoms something to grow down from. The poem that is drawn among the sakura branches hides successfully among them, and celebrates the “beauty of the cherry blossoms in the evening”. If this print was done in 1839, the poem might be referring to the passing of Utaemon III. The poem also takes up whatever open space might be available in the print around the sakura blossoms. Looking at Kunisada’s other prints, having poems or text to accompany his portraits was not uncommon for him. However, the density of this composition sets it apart from those. The laundry baskets provide the only background, but many of his other portraits did not even have that. The sakura at the top of the print are echoed in Utaemon’s kimono. Perhaps Kunisada is also hinting at Utaemon IV’s perceived limited time on stage.
The blue is a chemical blue, and remains very bright in comparison to the rest of the dyes. Utaemon dances in the beautiful kimono, holding a mie pose. As the title suggests, this print was part of an eight print set. Unfortunately I wasn’t able to see the rest of the set and compare the compositions. If I was thinking of the print existing without others to go along with
it, I’d dare say it was a print to be passed out at a kabuki show with the actor. I feel wary speculating any more of the intent of the picture, since without seeing the rest of the set I’m viewing the print out of context.
http://www.kunisada.de/Liste/kunisada-liste3.htm
http://www.kunisada.de/index.htm
I liked the idea of the poem/sakura as a reference to the passing of Utaemon III; I think it would be interesting there if you talked a bit more about the sakura's association with death. Do you have any idea what play this scene might be from? The themes of the play may leave us with more hints (assuming, of course, that you can find anything about the play even if you learn its title; I got nothin' on mine). It seems as though he is preforming some form of dance, from his arms.
ReplyDeleteI also liked where you began talking about the artist's utilization of space, and think this can be expanded on, such as where it does leave your eye, or why it might keep you from focusing on one part of the print for too long. Why do you think the artist chose to make the main color of the clothes black? it seems to me as though that which usually constructs busy, beautiful patterns on kimono outer layers has lept off and instead become the busy background. Do you think this was done on purpose as a play on reality?
As for the structure of the paper, the only issue I encountered was the flow of the paper. There were times when I felt I was stumbling a bit while I was reading it. So now that some time has passed, it would be good to go back and read it out loud.
ReplyDeleteOtherwise, I was very impressed with how you were able to logically pinpoint who was in the picture and the time frame from which it most likely originated. Anything else I could suggest was better said by Tyska. Maybe just read it back and search for ways you can beef up the paper a little with her suggestions.
I like what you said about the poem. It was insightful.
-Quinn
Your analysis and you search of the context of the print is really engaging. All your information and translations about the writings of the print is pretty interesting too, I want to be albe to do it too !!
ReplyDeleteIt does help to get to know the context, the fact it might be a commercial increase the idea of the Ukiyo-e as a strong commercial vector. I am just a little bit frustrated by the analysis of the print. Even if I don’t feel there is much more to say, the mie pose appears quite obvious when you say it but for example I would like to know they manage to create the layers on the top of the print and how it might be an important theme of the prints...
-Vincent