Actor Segawa Kikujirō I as Senju-no-mae
Torii Kiyomasu II
Japanese printers did not develop the technique of using multiple printing blocks for full-color images until the 1770s. This early print combines two enhancement techniques that were available to printmakers before that time: shiny, deep black lacquer (added to the figure’s sash) and watercolor (added in areas throughout). The subject, an actor who specialized in female roles, here plays the part of a celebrated courtesan who became a Buddhist nun after experiencing heartbreak.
Woodblock print on paper with watercolor and lacquer
13 3/16 x 6 1/8 in. (33.5 x 15.5 cm) (show scale)
Publisher: Iseya Jisuke.
Torii Kiyomasu (鳥居清倍)
This item is not on view
Museum Collection Fund
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Torii Kiyomasu II (Japanese, 1706-1750). Actor Segawa Kikujirō I as Senju-no-mae, ca. 1731-1740. Woodblock print on paper with watercolor and lacquer, 13 3/16 x 6 1/8 in. (33.5 x 15.5 cm). Brooklyn Museum, Museum Collection Fund, 16.532 (Photo: Brooklyn Museum, 16.532_IMLS_SL2.jpg)
overall, 16.532_IMLS_SL2.jpg. Brooklyn Museum photograph
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Urushie: lacquer print with color applied by hand
Condition: badly repaired at corners, stained, rubbed, soiled
Signature: Torii Kiyomasu II
Remarks: Publisher: Iseya
The print combines several techniques: it is printed in black ink, then printed again to apply black lacquer on the actor's sash (this is now lifting up in places), then color was applied by hand to select areas.
The story of Senju-no-mae was popular in Kabuki and elsewhere. After falling in love with a doomed warrior, the courtesan takes refuge in a Buddhist monastery.
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