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''Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai'' is an ''ukiyo-e'' woodblock print dating to around 1801 by Edo period artist Utagawa Toyokuni I. Featuring two of the most prominent actors of the day as characters in a contemporary kabuki drama, it is a classic example of the ''kabuki-e'' or ''yakusha-e'' genre. The print is part of the permanent collection of the Prince Takamado Gallery of Japan at the Royal Ontario Museum, Canada. ==Toyokuni and kabuki== Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential print-makers of the Edo period. From early adolescence, he apprenticed with Utagawa Toyoharu,〔Chiappa 2013〕 studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki.〔Percival 1978, 30〕 Although his initial attempts met with failure,〔The Columbia Electronic Encyclopedia〕 Toyokuni achieved commercial success in 1786 with illustrations for the ''kibyōshi'' novelette ''Tsugamonai hanashi no oyadama'' (無束話親玉).〔Sekai daihyakka jiten〕 He soon discovered his niches: ''bijinga''〔Percival purports that Toyokuni was considered "Utamaro's closest rival in bijinga." (1978, 30)〕 and, more significantly, ''yakusha-e''.〔Encyclopaedia Britannica〕 Between 1794 and 1796, he created a series of prints entitled ''Yakusha butai no sugata-e'' ("Portraits of Actors in Various Roles" - 役者舞台の姿絵), which earned him "rapid recognition,"〔Tazawa 1981, 346〕 and "marked the peak of his creative work."〔Encyclopaedia Britannica〕 Toyokuni befriended prominent actors, and the "overwhelming majority" of his prints relate to kabuki.〔Marks 2010, 96〕 Toyokuni's style is admired for its "powerful and vivid lines,"〔Encyclopaedia Britannica〕 "striking color contrasts,"〔The Columbia Electronic Encyclopedia〕 "decorative bombast,"〔Lane 1978, 152〕 and "bold, taut designs."〔Newland 2003, 502〕 He is credited with the innovation of polytych formats,〔Percival 1978, 32〕 and with training many prominent pupils, including future masters Kunisada and Kuniyoshi.〔Tazawa 1981, 346〕 Toyokuni is often compared with Sharaku, an artist active during 1794 who specialized in ''yakusha-e''. While Sharaku favoured an exaggerated, stylized approach, Toyokuni’s depictions are more realistic,〔Percival 1978, 30〕 capturing actors "as they appear on stage" and idealizing them.〔Tazawa 1981, 346〕 His ''kabuki-e'' were more popular with contemporary audiences than those of his rival;〔Tazawa 1981, 346〕 however, modern critics tend to credit Sharaku with greater artistic acuity.〔Chiappa 2013〕 Toyokuni was highly prolific,〔According to Marks, by the time of his death at age 57, Toyokuni had produced more than 90 print series, over 400 illustrated books, and several hundred single sheet prints. (2010, 96)〕 and, by 1800, the Utagawa school had supplanted the Katsukawa as the major producers of ''kabuki-e''.〔Newland 2003, 502〕 His success appears to have come at a price, however, as the consensus is that the quality of his later work "shows a marked decline,"〔Waterhouse 1975, 200〕 and even "degenerated frequently into sheer grotesquerie."〔Encyclopaedia Britannica〕 Some also contend Toyokuni's talent was "predominantly imitative,"〔Lane 1978, 151〕 more the product of study than "intuitive genius."〔Chiappa 2012〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I)」の詳細全文を読む スポンサード リンク
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