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Artist: Shunbaisai Hokuei (春梅斎北英)

Print: Nakamura Utaemon III (中村歌右衛門) as Komafune Hachirō (駒夫根八郎) on the far right, next is Nakamura Tomijūrō II (中村富十郎) as Komafune's wife Okane (駒舟女房おかね), Arashi Rikan II (嵐璃寛) as Awashima Kainosuke (粟島甲斐之助) in the center, Nakamura Shikan II (中村芝翫) as Amako Komawakamaru (尼子駒若丸) and Iwai Shijaku I (岩井紫若) as the packhorse driver Osaka, actually Yukari no Mae (馬方おさく実はゆかりノ前) on the far left, in Keisei Nazuna No Sekku (aka Keisei Himehajime)

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Dates: 1834,created
Dimensions: 46.25 in,14.25 in,Overall dimensions
Medium: Japanese woodblock print
Inscription:

Signed: Shunbaisai Hokuei ga
春梅斎北英画
Publisher: Wataya Kihei
Right panel: (Marks 579 - seal closest to 12-053)
Center and 4th panels: (Seal 12-008)
Left panel: (Seal 12-007)

Related links: Museum of Fine Arts, Boston; Hankyu Culture Foundation - far right panel; Hankyu Culture Foundation - 2nd from right; Hankyu Culture Foundation - center panel; Hankyu Culture Foundation - 2nd from left; Hankyu Culture Foundation - far left panel;

Physical description:

Roger Keyes wrote: "The story of the Christian revolt led by Amakusa Shirō on the island of Amakusa in the late sixteenth century was often staged... In the present version, the scene of the revolt is transferred from Kyūshū to Wakayama. The Christian rebel, Amako Komawakamaru, is using a cannon to destroy a castle commanded by Awashimi Kainosuke. In earlier versions, Amako sets a wild horse in the courtyard of the castle to create confusion, and that scene may have been transferred here. On the verge of defeat, Awashima miraculously regains power and is able to beat off Amako's attack. The present scene is arranged like a stage-wide kabuki tableau, but may very well be a composite scene.

The play on which the print is based was not performed with this cast in 1834. It had been investigated by the government when it was performed in 1824 for its over-close similarity to a peasants' revolt in Kii Province the previous summer. In 1834, Japan was suffering a nationwide famine, discontent was widespread. Hokuei and his publisher may have been appealing to and fanning this unrest, which erupted in riots a few years later."