In this example of yakusha-e, Toshusai Sharaku depicts the actor Matsumoto Yonesaburo performing as Shinobu, the daughter of a samurai, disguised as a high-ranking courtesan. In 1629 a law was passed banning women from appearing in kabuki. After this date kabuki as performed solely by men who were required to adopt male and female roles. Male actors who perform in female roles are known as Onnagata (女形). We see the craft of the actor depicted here in the delicate hand gesture holding a long pipe, and the beauty of the character shown through her delicate shibori dyed kimono and immaculate hairstyle with hairpins and comb.

Utagawa Kuniyoshi depicts the famous and immensely popular actor Ichikawa Danjuro VIII (member of the famous Ichikawa line of kabuki actors) in costume. An image of Daikokuten, a god associated with wealth and good fortune, is inset at the top right.

Contemporary print maker Tsuruya Kokei creates prints that capture the vibrant modern-day kabuki scene. We see here a portrait of late twentieth-century actor Nakamura Tomijuro V depicted as a greedy and violent government official. In the print of the actor Ichikawa Danjuro XII, Kokei depicts the actor playing Benkei – a warrior hero. His fierce facial expression and bulging veins of his eyes, neck and hands show the courage and ferocity of the character.

The questions and activities in this resource have been designed so they can be applied to any of the ukiyo-e prints in the NGV Collection. The works are frequently rotated in the Gallery due to conservation concerns so they may not be on display at the time of your visit. We recommend that you check the NGV website in advance of your visit for relevant works on display. You might also like to explore these alternative examples.

Raiko breaks Hakamadare’s magical spell and captures him, 1858, by Utagawa Yoshitsuya, depicts a scene from a kabuki play recounting a story of the legendary warrior Minamoto no Yorimitsu, also known as Raiko. In this scene, the thief Hakamadare Yasukuse has conjured an illusion of a giant snake and what appears to be a small black bear. We see Raiko on the left with his men and the thief Hakamadare seated in the right panel, performing some magical gestures. The three panels are dominated by the writhing form of the snake and we can see black wisps of smoke, perhaps denoting the supernatural powers employed by Hakamadare. The title tells us what happens in the end of the story.

Shuten-doji with his head severed attacks Minamoto-no-Yorimitsu and his retainers, 1858, tells another story of the legendary warrior. In this story Minamoto-no-Yorimitsu (Raiko) and his men, a group of swordsmen known as the Four Guardian Kings, seek to destroy the blood-thirsty demon or oni known as Shuten-doji. The demon continues to attack Minamoto and his men even after they sever his head. In the end Minamoto and his men prevail.

The Death of Kasonuki Masatsura, 1862, tells the dramatic story of the final battle of a fourteenth century general, Kasunoki. In this historical tale, Kasunoki finds himself surrounded by the enemy. He is depicted in the central panel with two of his retainers on the left and right panel. Together they face a barrage of arrows. We see in their expressive faces a ferocity and determination to fight to the bitter end.

The questions and activities in this resource have been designed so they can be applied to any of the ukiyo-e prints in the NGV Collection. The works are frequently rotated in the Gallery due to conservation concerns so they may not be on display at the time of your visit. We recommend that you check the NGV website in advance of your visit for relevant works on display. You might also like to explore these alternative examples.