This picture depicts the characters appeared in “Keisei Sanbongasa” played by Miyako-za Theater in July of 1794 (Kansei 6). One of the significant of this picture is this work is the most gaily in Sharaku’s portraits: the color tones contrast with the background white mica. The patterns of Sanza’s kimono are also full of gorgeousness with treasure figures and Katsuragi’s pale crimson kimono is gaily. Sharaku enclosed the entire the portrait with the black tone of Katsuragi’s underwear kimono that is center in the screen. The black tone provides some tension and balance in the screen: this Sharaku’s technique is just excellent. We could see a triangular structure from the top of the left; in addition to that this picture consists of some triangles. Furthermore, the right side of the triangle is divided in to five layers to avoid monotony but adds harmony. Triangular structure is Sharaku’s unique depiction: this portrait has its significance most.

 

 

Sharaku Toshusai(birth and death dates unknown)

Birth and death dates unknown.

In 1794 (Kansei 6), Sharaku came into sudden prominence, produced more than 140 ukiyo-e paintings during the mere ten months of his activity as an ukiyo-e painter, and then disappeared forever. For his debut work, he used the large, o-ban printing size, and expensive biotitic background printing, which was unusual. Juzaburo Tsutaya, a publisher, enthusiastically promoted Sharaku after Utamaro had left him. Meanwhile, the printing size was getting smaller. One of the major reasons for this was that Sharaku’s way of drawing actors as they were, regardless of their popularity, was not accepted by people of the era. However, each of his portraits is full of energetic impression and gives a positive impact. Because of this, he also received high acclaim from abroad.

 

Selections of Sharaku Toshusai

Sharaku Toshusai(birth and death dates unknown)

One of the reasons why Sharaku’s works are precious is that so few exist. Unfortunately, his art was recognized abroad before it gained popularity in Japan. While the Japanese were blind to his talent, many of the works ended up abroad and were praised. Some of the works were brought back to Japan as part of the Matsukata Collection in 1943 (Showa 18), which increased the number of his popular works in Japan. These forty works were reissued from the collection. Each of them represents one of Sharaku’s great masterpieces.