17 Items in this Learning Collection
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!["Rosetsu uses the wisteria tree to frame the painting and to create two separate planes, the foreground and the background. While doing this, he does not paint a very prominent background, thus making the foreground landscape more important and the focal point of the painting...The sinewy shape of the wisteria dominates the painting. There appear to be two separate trunks rooted to a small sliver of land pictured at the left side of the image. These trunks merge into one stem, forming a curve that snugly holds the monkey’s body. The branch continues upward, disappearing at one point until it reappears, winding around the right side of the painting. Rosetsu uses a dark ink to create the trunk and branches of the wisteria, and there does not appear to be any indication of shading or altering the color to appear lighter. This darkening is especially noticeable compared to the stark, white flowers at the top of the painting. Their stems are soft and wispy, as if they are floating in the air."<br /](/media/W1siZiIsIjIwMjIvMDUvMjUvNmkwdGlxNHByYl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=33b948efa249a29f ""Rosetsu uses the wisteria tree to frame the painting and to create two separate planes, the foreground and the background. While doing this, he does not paint a very prominent background, thus making the foreground landscape more important and the focal point of the painting...The sinewy shape of the wisteria dominates the painting. There appear to be two separate trunks rooted to a small sliver of land pictured at the left side of the image. These trunks merge into one stem, forming a curve that snugly holds the monkey’s body. The branch continues upward, disappearing at one point until it reappears, winding around the right side of the painting. Rosetsu uses a dark ink to create the trunk and branches of the wisteria, and there does not appear to be any indication of shading or altering the color to appear lighter. This darkening is especially noticeable compared to the stark, white flowers at the top of the painting. Their stems are soft and wispy, as if they are floating in the air."<br /")
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Perspective Print of the Interior of the Nakamura Theater Featuring the Amakawa Scene of The Treasury of Loyal Retainers
Accession Number
2011/2.200
Title
Perspective Print of the Interior of the Nakamura Theater Featuring the Amakawa Scene of The Treasury of Loyal Retainers
Artist(s)
Torii Kiyotsune
Object Creation Date
circa 1760
Medium & Support
woodblock print on pa[er
Dimensions
12 in x 17 1/2 in (30.48 cm x 44.45 cm)
Credit Line
Gift of Sharlynn and Andrew Circo, in memory of Sotokichi Katsuizumi
Subject matter
This print shows the interior of the Nakamura-za Theater in Edo (Tokyo). It was one of three kabuki theaters in Edo and home to many famous kabuki actors. According to early accounts, it opened in 1624. After several turbulent decades, it finally closed in 1893.
The Treasury of Loyal Retainers is one of the most popular kabuki plays, with a plot known to English audiences as The Forty-seven Ronin. Purportedly based on real events surrounding the Asano family, the play recounts the crime and punishment of Enya Hangan (Asano Naganori) and the revenge taken by Hangan’s retainers. In the scene depicted, the Amakawa Scene, Hangan's retainers test the loyalty of the merchant Gihei by pretending to be police. Gihei, who is helping the retainers procure weapons, remains faithful to them, and in gratitude the retainers use his trade name "Amakawa" as their battle cry. This scene was often performed as a stand-alone rather than with the entire Treasury of Loyal Retainers play.
Physical Description
This print depicts the interior of a theater. Several actors move about the set at the top of the print. Individuals in the audience are minutely detailed. Near the left of the stage, a pair of half-naked men brawl while an actor chides them from above. Near the bottom of the image, several in the audience smoke long pipes. A man holds the hand of a child on a raised platform near the bottom left of the print.
Inscriptions: Nishimura and unidentified others (Publisher's seal); Torii Kiyotsune ga (Artist's signature)
Primary Object Classification
Print
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form. Keywords
actors (performing artists)
audiences
plays (performed works)
theater spaces
2011/2.200
Title
Perspective Print of the Interior of the Nakamura Theater Featuring the Amakawa Scene of The Treasury of Loyal Retainers
Artist(s)
Torii Kiyotsune
Object Creation Date
circa 1760
Medium & Support
woodblock print on pa[er
Dimensions
12 in x 17 1/2 in (30.48 cm x 44.45 cm)
Credit Line
Gift of Sharlynn and Andrew Circo, in memory of Sotokichi Katsuizumi
Subject matter
This print shows the interior of the Nakamura-za Theater in Edo (Tokyo). It was one of three kabuki theaters in Edo and home to many famous kabuki actors. According to early accounts, it opened in 1624. After several turbulent decades, it finally closed in 1893.
The Treasury of Loyal Retainers is one of the most popular kabuki plays, with a plot known to English audiences as The Forty-seven Ronin. Purportedly based on real events surrounding the Asano family, the play recounts the crime and punishment of Enya Hangan (Asano Naganori) and the revenge taken by Hangan’s retainers. In the scene depicted, the Amakawa Scene, Hangan's retainers test the loyalty of the merchant Gihei by pretending to be police. Gihei, who is helping the retainers procure weapons, remains faithful to them, and in gratitude the retainers use his trade name "Amakawa" as their battle cry. This scene was often performed as a stand-alone rather than with the entire Treasury of Loyal Retainers play.
Physical Description
This print depicts the interior of a theater. Several actors move about the set at the top of the print. Individuals in the audience are minutely detailed. Near the left of the stage, a pair of half-naked men brawl while an actor chides them from above. Near the bottom of the image, several in the audience smoke long pipes. A man holds the hand of a child on a raised platform near the bottom left of the print.
Inscriptions: Nishimura and unidentified others (Publisher's seal); Torii Kiyotsune ga (Artist's signature)
Primary Object Classification
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form. Keywords
actors (performing artists)
audiences
plays (performed works)
theater spaces
