Ichikawa Danjuro VII as Konoshita Tokichi, Nakamura Daikichi as His Wife, and Iwai Hanshiro V as Masago in the Play Yakko Yakko Edo no Hanayari 1809 - 1829

Utagawa Kunisada created this woodblock print, titled ‘Ichikawa Danjuro VII as Konoshita Tokichi, Nakamura Daikichi as His Wife, and Iwai Hanshiro V as Masago in the Play Yakko Yakko Edo no Hanayari’, now at the Metropolitan Museum of Art. Immediately, the architectural structure that frames the figures catches the eye with its rigid geometry and warm hues. The composition is divided into distinct planes, creating a layered effect. A semiotic analysis reveals a structured narrative, where each figure functions as a signifier. Consider the Kabuki actors and their arrangement within the pictorial space. How does their positioning affect our reading of the narrative? The patterns on their garments, the objects they hold, and even their facial expressions convey coded meanings. Kunisada masterfully employs line and color to differentiate the characters and highlight their roles. He destabilizes traditional portraiture by embedding it within a complex matrix of signs and symbols. The print is not merely a depiction of a Kabuki scene; it’s a complex interplay of signs and cultural codes, inviting us to decode its multiple layers of meaning.