KIYOTADA IV • Shakkyō: The Lion Spirit • 1939 • Kabuki Japanese Woodblock Print • - Japan - 20th century






Holds a master’s in Japanese art history with over 10 years’ expertise in Asian art.
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Japanese 20th‑century kabuki woodblock print titled KIYOTADA IV • Shakkyō: The Lion Spirit, 1939, original, in excellent condition, measuring 45 cm high by 29 cm wide, from a private collection.
Description from the seller
** This same design is currently offered by an established international gallery (Ronin Gallery, New York) at $1,200 — a price that reflects the quality and desirability of this Kiyotada VII sheet within the collector market. **
Title: Shakkyō (石橋) — "The Stone Bridge"
Role: Hakugashira Shishi no Sei (白頭獅子の精) — "The White-Maned Lion Spirit"
Series: Gekikadō Zuihitsu (劇雅堂随筆) — Kiyotada VII's late deluxe kabuki role-portrait group
Technique: Woodblock print (mokuhanga), deluxe edition — blind embossing (karazuri) in the border and ground, gauffrage in the textiles, fine bokashi gradation in the sky
Date: c. 1939 (group c. 1938–1940)
Format: Large format — approx. 44.5 × 29 cm (17½ × 11½ in.) on thick deluxe washi
Signature & Seals: Signed Kiyotada (清忠) in cursive in the upper-right cartouche with red artist's seal; title cartouche 京鹿子娘道成寺 upper left, with adjoining role slip
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Impression & Colors: Fresh and vivid, with the deluxe printing showing to full effect — the blazing crimson ground bleeding into the cream of the wildly wind-tossed mane, the gleaming gold-mica kumadori striping the lion-spirit's mask, and the crisp black keyblock giving the mask its glowering, wide-eyed expression. The robe glimpsed at lower left and right carries a richly worked peony-and-arabesque pattern in coral, indigo, and jade against gold and black grounds. The wide outer border carries a blind-embossed diamond-lattice pattern matching the rest of the series.
Paper: Thick, high-quality washi with full margins. Light, even toning consistent with age is normal for a print of this period. A couple of minor foxing spots are noted, unobtrusive. Please check the images!
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About the Print
Shakkyō ("The Stone Bridge") descends from the Noh play of the same name, in which the monk Jakushō, travelling in China, comes upon a narrow stone bridge said to lead to the Pure Land of the bodhisattva Monju. As he waits, a shishi — the mythical lion that serves as Monju's messenger — appears among the peonies and performs a wild, ecstatic dance before returning across the bridge. The lion's dance, with its violent mane-tossing (kamifuri), became one of the great set-piece showcases of physical stamina and technique on the kabuki stage, and shakkyō-mono — the broad family of lion-dance pieces descended from this source, including the celebrated Renjishi and Kagami Jishi — remain some of the most frequently revived dance-dramas in the repertoire.
This sheet belongs to Torii Kiyotada VII's late Gekikadō Zuihitsu group, the deluxe run of kabuki role-portraits that closed out his career in the years just before his death in 1941. Where the Torii school's centuries-old stock in trade was the flat, bold theatre-signboard, Kiyotada VII pushed that same graphic confidence into these small-edition collector sheets — gold mica for the actor's kumadori, blind embossing in the mane and border — designs meant to be handled and admired rather than pasted to a theatre wall.
Seller's Story
** This same design is currently offered by an established international gallery (Ronin Gallery, New York) at $1,200 — a price that reflects the quality and desirability of this Kiyotada VII sheet within the collector market. **
Title: Shakkyō (石橋) — "The Stone Bridge"
Role: Hakugashira Shishi no Sei (白頭獅子の精) — "The White-Maned Lion Spirit"
Series: Gekikadō Zuihitsu (劇雅堂随筆) — Kiyotada VII's late deluxe kabuki role-portrait group
Technique: Woodblock print (mokuhanga), deluxe edition — blind embossing (karazuri) in the border and ground, gauffrage in the textiles, fine bokashi gradation in the sky
Date: c. 1939 (group c. 1938–1940)
Format: Large format — approx. 44.5 × 29 cm (17½ × 11½ in.) on thick deluxe washi
Signature & Seals: Signed Kiyotada (清忠) in cursive in the upper-right cartouche with red artist's seal; title cartouche 京鹿子娘道成寺 upper left, with adjoining role slip
------------------------------------
Impression & Colors: Fresh and vivid, with the deluxe printing showing to full effect — the blazing crimson ground bleeding into the cream of the wildly wind-tossed mane, the gleaming gold-mica kumadori striping the lion-spirit's mask, and the crisp black keyblock giving the mask its glowering, wide-eyed expression. The robe glimpsed at lower left and right carries a richly worked peony-and-arabesque pattern in coral, indigo, and jade against gold and black grounds. The wide outer border carries a blind-embossed diamond-lattice pattern matching the rest of the series.
Paper: Thick, high-quality washi with full margins. Light, even toning consistent with age is normal for a print of this period. A couple of minor foxing spots are noted, unobtrusive. Please check the images!
------------------------------------
About the Print
Shakkyō ("The Stone Bridge") descends from the Noh play of the same name, in which the monk Jakushō, travelling in China, comes upon a narrow stone bridge said to lead to the Pure Land of the bodhisattva Monju. As he waits, a shishi — the mythical lion that serves as Monju's messenger — appears among the peonies and performs a wild, ecstatic dance before returning across the bridge. The lion's dance, with its violent mane-tossing (kamifuri), became one of the great set-piece showcases of physical stamina and technique on the kabuki stage, and shakkyō-mono — the broad family of lion-dance pieces descended from this source, including the celebrated Renjishi and Kagami Jishi — remain some of the most frequently revived dance-dramas in the repertoire.
This sheet belongs to Torii Kiyotada VII's late Gekikadō Zuihitsu group, the deluxe run of kabuki role-portraits that closed out his career in the years just before his death in 1941. Where the Torii school's centuries-old stock in trade was the flat, bold theatre-signboard, Kiyotada VII pushed that same graphic confidence into these small-edition collector sheets — gold mica for the actor's kumadori, blind embossing in the mane and border — designs meant to be handled and admired rather than pasted to a theatre wall.
