Kabuki (歌舞伎) was a cultural phenomenon that flourished during the Edo period, serving as the era’s greatest form of entertainment. Alongside the rise of Kabuki, Ukiyo-e (浮世絵) actor portraits known as ‘yakusha-e (役者絵)’ gained immense popularity. Much like how fans today collect photos and merchandise of their favourite stars, ‘yakusha-e’ were the original ‘fan items.’ These portraits of beloved kabuki actors were hugely popular during performances, becoming best-selling souvenirs of the time.
The torii school: focusing on kabuki actors and their performances
Even today, actor portrait signboards are displayed outside the Kabukiza (歌舞伎座) theatre, a tradition that originated during the Genroku (元禄) era. These signboards were created by the Torii (鳥居) school, founded by Torii Kiyonobu (鳥居清信), who designed artwork for Edo’s four major Kabuki theatres. Initially, they depicted Kabuki actors alongside a full view of the stage to illustrate the performances being staged. This eventually evolved into the yakusha-e actor portraits.
A major sensation in the world of yakusha-e was sparked by dynamic portraits of the second generation Ichikawa Danjuro (市川團十郎) in his aragoto (荒事, a kabuki actor specialising in the role of a fierce warrior or demon) performances. These portraits introduced innovative techniques, such as hyotan-ashi (瓢箪足, limbs shaped like gourds to emphasise muscularity) and mimizu-gaki (蚯蚓描, worm-like exaggerated brushstrokes), which vividly captured the actor’s energetic stage presence. These depictions, with muscular forms reminiscent of Buddhist guardian statues, became immensely popular. This distinctive style became a signature of the school and was passed down through generations.
Katsukawa Shunsho, who pioneered yakusha-e with okubi-e
The Torii school did not focus on creating lifelike portraits of actors. Instead, their yakusha-e were more about capturing the essence or image of the performers. This changed with Katsukawa Shunsho (勝川春章), who became a renowned artist—and also the mentor of Hokusai—by introducing actor portraits resembling their real-life appearances.
The introduction of lifelike yakusha-e became a massive hit, and soon other artists began to emulate this style, crafting prints that closely resembled the actors. Shunsho then evolved from depicting full-body portraits to creating ‘okubi-e (大首絵)’, which highlighted exaggerated facial expressions and prominent features. These portraits became a measure of an actor’s popularity, and their growing demand sparked a craze, with actors commissioning more portraits as their fame grew.
The Azuma ogi series featured fan shaped designs that could be cut out and transformed into hand fans, or pasted onto byobu (屏風, folding screens) and fusuma (襖, sliding doors) as decorative broadsheets.
Toshusai Sharaku : The eccentric artist promoted by Tsutaya Juzaburo
The okubi-e print style was taken to new heights by Toshusai Sharaku (東洲斎写楽), a groundbreaking Ukiyo-e artist. During the Kansei (寛政) era, often referred to as the ‘Golden Age of Ukiyo-e,’ Sharaku was discovered and promoted by Tsutaya Juzaburo (蔦屋重三郎), quickly becoming a sensation. Sharaku’s works were more than just likenesses of actors; they were highly original and captured the essence of his subjects with a modern, artistic sensibility. By exaggerating actors’ facial features, he created bold and dynamic portraits that seemed almost alive. His unique style garnered widespread attention and secured his place among the most celebrated Ukiyo-e artists of the time. Mysteriously, however, Sharaku disappeared from the art world less than a year after his debut, leaving behind an enduring legacy and many unanswered questions about his sudden withdrawal.
Kuniyoshi (国芳) and Kunisada (国貞): Masters of yakusha-e with dynamic expressions
Even as the shogunate imposed stricter regulations on kabuki performances, the Ukiyo-e tradition thrived with the emergence of powerful artists, a trend that continued until the end of the Edo period. Over time, the Torii school’s monopoly on kabuki playbills and illustrated theatre programs gave way to the talents of the Utagawa (歌川) school, beginning with Utagawa Toyokuni (歌川豊国). His successors, including Utagawa Kuniyoshi (歌川国芳) and Utagawa Kunisada (歌川国貞), rose to prominence. Both Kuniyoshi and Kunisada gained widespread popularity for their actor portraits, known for their vibrant expressions and intricate detail. Beyond kabuki-related works, they excelled in creating mushae (武者絵, warrior prints) depicting samurai from the Sengoku (戦国) period and bijinga (美人画, portraits of beautiful women). Their artistic versatility and technical mastery secured their place as leading figures in the Ukiyo-e world, leaving a lasting impact on the art form.
Were yakusha-e the men’s fashion magazines of their time?
If bijinga served as fashion icons for women, then yakusha-e were undoubtedly role models for men. During this era, men prided themselves on their sophistication and stylish demeanour. Many mimicked the way kabuki actors were depicted in Ukiyo-e prints, from the draping of their kimono (着物) to the way they carried a tenugui (手ぬぐい, hand towel) or expressed themselves through gestures. It seems that, no matter the era, the human tendency to admire and emulate heroes and heroines remains timeless.
Header image: ‘Momijigari (紅葉狩り, autumn maple viewing)’ by Toshusai Sharaku (東洲斎写楽), courtesy of the Art Institute of Chicago
References : Bessatsu Taiyo (別冊太陽) ‘Ukiyo-e Zukan – Edobunka no mangekyo (浮世絵図鑑 江戸文化の万華鏡)’, Heibonsha (平凡社) ‘Edo Ukiyo-e wo yomu (江戸浮世絵を読む)’ by Kobayashi Tadashi (小林忠), Chikuma Shinsho (ちくま新書) ‘Nippon dai hyakka zensho (日本大百科全書)’, Shogakukan Digital (小学館デジタル)
This article is translated from https://intojapanwaraku.com/rock/art-rock/259234/
