寺门与桐纹 - 1850 - 日本木版画 浮世绘 - Utagawa Kunisada (1786-1865) - 日本 - 江戶時代晚期

Utagawa Kunisada / Toyokuni III (三代歌川豊国)
Ishikawa Goemon (石川五右衛門) and Mashiba Hisayoshi (真柴久吉)
From the kabuki play Sanmon Gosan no Kiri (楼門五三桐) – The Temple Gate and the Paulownia Crest

Kakemono-e vertical diptych – a rare and spectacular large-format woodblock print

Technique Original Japanese woodblock print (nishiki-e), kakemono-e vertical diptych (two ōban sheets joined vertically)
Date c. 1849–1853
Artist Utagawa Kunisada (1786–1865), signing as Toyokuni (豊国画)
Publisher Kobayashi-ya Tajirō (小林泰治郎)
Censors Hama (Hama Yahei 浜弥兵衛) and Magome (Magome Kageyu 馬込勘解由)
Format Kakemono-e (挂轴格式), 两张ōban纸各约36 × 25 cm (14⅛ × 9⅞ 英寸)；合计约72 × 25 cm
Subject Kabuki actors in the roles of Ishikawa Goemon (upper sheet) and Mashiba Hisayoshi (lower sheet)

Impression & Colors:

Very good impression with strong, saturated colors throughout both sheets. The deep blacks of Goemon's dramatic dragon-and-wave kimono retain their density, and the vivid reds of the temple balustrade, the turquoise blues of the wave patterns, and the rich teal of the ornamental panels are all beautifully preserved. The intricate details of the textile patterns—dragon scales, waves, chrysanthemum medallions, and geometric gilt fittings—are crisply printed. The lower sheet showing Hisayoshi in his pilgrim's disguise displays equally fine color, with the blue robe, golden obi, and turquoise accents all vibrant.

Paper:

Overall toning consistent with age. The bottom print is missing slightly at the left margin of the lower corner. Some general age-related wear. A very good, complete example of this rare format. Condition 7 out of 10.

The Sanmon Scene – Japan's Most Spectacular Kabuki Moment

This magnificent kakemono-e depicts one of the most iconic confrontations in all of kabuki theatre: the climactic scene from Sanmon Gosan no Kiri (The Temple Gate and the Paulownia Crest), first performed in 1778 and revived countless times since. It is among the shortest but most visually spectacular scenes in the entire kabuki repertoire.

Upper sheet – Ishikawa Goemon: The legendary bandit chief is shown in all his menacing glory, perched defiantly on the vermillion balcony of the Sanmon gate of Nanzen-ji temple. He wears a breathtaking black kimono emblazoned with a coiling dragon amid crashing waves—a costume synonymous with this role in kabuki tradition. His fierce countenance (mie) and dynamic pose, with one foot braced against the railing and hand reaching for his sword, captures the climactic moment of confrontation. In the play's most famous line, Goemon surveys the cherry blossoms of Kyoto from this great height and declares: "Zekkei ka na, zekkei ka na"—"What a superb view, what a superb view!"

Lower sheet – Mashiba Hisayoshi: Below, Hisayoshi (the kabuki stand-in for the historical warlord Toyotomi Hideyoshi) appears disguised as an unassuming pilgrim, wearing a simple blue robe and carrying a traveler's hat and walking staff. Despite his humble appearance, he has spotted his sworn enemy's reflection in the water of a stone basin. When Goemon hurls a dagger down at him, Hisayoshi coolly deflects it with the handle of a water dipper. Both figures then strike their final dramatic poses (mie), bringing the scene to its electrifying close.

The historical Ishikawa Goemon (1558–1594) was a Robin Hood-like figure who allegedly attempted to assassinate Hideyoshi. He was captured and sentenced to be boiled alive in an iron cauldron along with his young son—a gruesome punishment that became the subject of many famous ukiyo-e prints. The type of iron bathtub still used in Japan today is called a goemonburo (Goemon bath) in his memory.

The Kakemono-e Format – A Rare and Imposing Presentation

The kakemono-e is one of the rarest and most visually commanding formats in Japanese woodblock printing. Two full ōban-sized sheets are joined vertically to create a tall, narrow composition that mimics the proportions of a traditional hanging scroll (kakemono), designed to be displayed in the decorative alcove (tokonoma) of a Japanese home. This format was far less commonly produced than standard single-sheet prints or horizontal triptychs, and survival rates are significantly lower—particularly with both sheets intact.

As the specialist gallery Toshidama notes, this print normally survives as the upper sheet only, making a complete two-sheet example genuinely rare. The vertical format is ideally suited to this subject: the dramatic height of the Sanmon gate balcony, with Goemon towering above and Hisayoshi below, creates a powerful sense of theatrical staging that perfectly captures the spatial drama of the kabuki scene.

Utagawa Kunisada / Toyokuni III (1786–1865)

Utagawa Kunisada was the most prolific and commercially successful ukiyo-e artist of the entire 19th century—in his own time, his reputation surpassed those of his contemporaries Hiroshige and Kuniyoshi. A student of the original Toyokuni, he entered the Utagawa school at age 14 and quickly became its star attraction. In 1844 he adopted the prestigious name Toyokuni III. His kabuki actor portraits are considered among the finest ever produced, combining vivid color, bold composition, and an unerring instinct for theatrical drama. His total output is estimated at over 20,000 designs—the largest body of work of any ukiyo-e artist—yet it is his ambitious, large-format compositions like this kakemono-e that represent his highest artistic achievements.