<i>Surimono</i> parody of the armor-pulling scene, the <i>kusazuribiki</i> [草摺引], of the Soga brothers tale: Asahina and a courtesan holding a spindle represented by <i>bunraku</i> puppets
Comments and Tags (0)
Share

Keisai Eisen (渓斎英泉) (artist 1790 – 1848)

Surimono parody of the armor-pulling scene, the kusazuribiki [草摺引], of the Soga brothers tale: Asahina and a courtesan holding a spindle represented by bunraku puppets

Print

ca 1815
7 in x 7.25 in (Overall dimensions) Japanese color woodblock print
Signed: Keisai Eisen ga (渓斉英泉画)
Artist's seal: Sen
Harvard Museums - Kunisada surimono of the kuzasubiriki
Museum of Fine Arts, Boston - similar surimono parody by Kuniyoshi
Museum für Kunst und Gewerbe, Hamburg The dominant motif shows Asahina pulling at the armor of Soga no Goro. In that scene Goro can often be identified by the butterflies decorating his robes. Here he is represented by a high-ranking courtesan whose elaborate obi is decorated with butterflies and the upside down "Y" motif used to represent armor. If you click on the image to enlarge it you will see the iori mokko (庵に木瓜) or crest of a four-petaled 'magnolia' flower sheltered under the roof of a hut. Another motif associated with the Soga brothers.

Is the courtesan with the spindle also a stand-in Weaver Maiden, thus playing a dual purpose?

The figure of Asahina is wearing a kamahige (鎌髭) or scythe beard which is grown in the shape of a scythe. Rather than a proper beard it is made up of sideburns and a moustache. In a September, 1995 issue of Andon Robert Schaap made a reference to the white paper protrusions coming off the back of Asahina's head. They are chikara-gami (力紙) symbolizing strength and masculinity. It should be noted that chikara-gami is also used but in a different way in sumo ceremonies. Chikara can mean strength, energy or power combined with gami which means paper. Asahina can also be identified by his mitsubikiryō (三引両) crest on his robes. It consists of 3 (mitsu) horizontal parallel bars (hiki) held in a circle (ryō).

It isn't immediately obvious, but the two main figures are representations of bunraku puppets. The top of the main puppeteer's head is barely visible in the gap between Asahina's upper right arm and the courtesan/Goro figure's left shoulder. On both sides you will be able to make out the two assistants or kurogo (黒子), clad in black, who are helping the master puppeteer manipulate these two dolls. Another thing that is not immediately obvious is the fact that the Asahina puppet has legs, but the courtesan one doesn't. This is always the case. Male dolls have legs while female dolls don't need them because they wear long robes. This makes the handling of these puppets that much less cumbersome.

****

Kabuki21 says: "The armour-pulling scene (kusazuribiki) is a famous sogamono, a dance related to the tales of the Soga brothers, Soga Gorō Tokimune and Soga Jūrō Sukenari, who plan to take revenge on their father’s murderer, the evil Kudō Saemon Suketsune. The hot-blooded Gorō, believing his brother to be in mortal danger, rushes out from hiding to his defense, only to be held back by the legendary warrior Kobayashi no Asahina, who pulls the lappets of Gorō's armor to stop the impetuous young man. Asaina's costume usually bears the crest of a crane in a circle while Gorō's costume bears the Soga butterfly crest. A contest of strength ensues and the armor is torn in two pieces."
surimono - 摺物 (genre)
beautiful women (bijin-ga - 美人画) (genre)
warrior prints (musha-e - 武者絵) (genre)
mitate-e (見立て絵) (genre)
Asahina Saburō (朝比奈三郎) (role)
Soga brothers (曾我兄弟) (genre)