Silhouette Image of Kabuki Actor

The kanji on the right side of the work in the red box reads, "makoto no tsuki hana no sugata-e" which roughly translates to "portrait as true likeness in the moonlight." "Hana" means flower, however in this case it is used to describe the female kabuki character(s) played by male actors.

The writing to the left of the female figure applying makeup is a haiku that reads, "kiku tsuyu no [dew on chrysanthemum flower] / megumi negawaya [wishing for blessing] / kiku no nae [young chrysanthemum plant]." In this haiku, "chrysanthemum dew" acts as a seasonal word, used to set the season of the poem's theme - chrysanthemums represent autumn. It was also believed that drinking chrysanthemum dew would bring longevity. Furthermore, during the Edo period, there was a brand of pomade used by both men and women in the entertainment industry (e.g., maiko, geiko, oiran, and kabuki actors) called 菊露 [kiku no tsuyu = chrysanthemum dew]. This haiku has many meanings: blessings of growth, longevity, and a connection to kabuki.

In the square, red seal to the left of the haiku reads, “Taganojyo,” the name of the kabuki actor depicted in this woodblock print, and the author of the haiku. Based on the date of this print (see more below), this is most likely Onoe Taganojyo II.

The seven kanji characters next to the silhouette say, “Ikkeisai Yoshiiku syasei,” indicating that Utagawa (Ochiai) Yoshiiku is the creator of this work. The red, oval seal is Yoshiiku’s seal.

Finally, there are two groups of writings on the border in the bottom left corner of the print. The top, round seal says “U no san aratame” - this dates the portrait. “Aratame” is translated literally to “examined” and was a character found in many censor seals. Thanks to this seal (and confirmation on Cultural Digital Library), we can date this print as March 1867. Below the date seal, the kanji reads, “Hirookaya,” indicating the publisher that printed the copy of this woodblock print.

Contributed by: Fumie Iizuka Signorelli

Part of a series of 36 woodblock prints titled titled『真写月花の姿絵』[Portraits as True Likenesses in the Moonlight] by the artist 歌川 芳幾 [UTAGAWA Yoshiiku] (1833–1904), these images represent silhouettes of renowned kabuki actors of the late Edo. This innovative artwork shows the appeal of Kabuki onnagata (male actors who play female roles) from the Edo and the celebrity of actors who specialized in this type of crossdressing role. This particular print is described as a 姿絵 [portrait] of the beloved onnagata actor 二代目尾上 多賀之丞 [ONOE Taganojō II] (1849–1899). The central portion of the composition is a stark black silhouette of the actor in profile. Three layers of the kimono tilt off the nape of the actor’s neck in a sophisticated fashion, and his hair is tied back in a demure, high chignon style. The head shows a softness and well-balanced roundness that contrast with the slightly harsher profiles of the male-role actors depicted in the series, and ONOE Taganojō II―who would have been just under 20 years old when the work was produced―appears “stealthily” as a woman. Even the eyelashes of the actor are represented in a soft downward angle similar to that of the fine nose and shapely lips.

To the left of the title box, a second iteration of the actor is portrayed in a floral, crest-like, rounded window known as a 月花 [moon-flower] with a chartreuse background. The yellowy-green moon-flower background makes the hot pinks and reds of the actor's hair ornament, lips, and kimono stand out. Clearly, this version of the actor is preparing for the kabuki stage. This open display of the artifice used in the construction of gender presentation, as well as the haunting and relatively naturalistic presence of the actor created through the silhouette technique, demonstrates how the arts of the late Edo not only tolerated but supported gender variance.

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