改訂版 写楽解説二の巻(Sharaku commentary :vol.2)
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今までに掲載した人物百想の写楽の歌舞伎絵を解説付きで再編集して紹介する。
第２回目は次の１０枚(20枚目)について解説する(参考文献は別冊太陽183号日本の心)。江戸歌舞伎の舞台で役者がここ一番の見せ場を作る。この一瞬をダイナミックに捉え、迫力満点な絵を描いて見せたのが、江戸寛政時代に異彩を放った、絵師「東洲斎写楽」である。
写楽の作品は非常に短期間で多くの作品を残し、突如姿を消してしまった。人物自体が謎であるところも大きく関心を集め、謎を解く研究者も多いという異色中の異色という人物で、これには華美を嫌った寛政という時代背景もあるのかもしれない。今回も寛政6(1794)年に出版された豪華な黒雲母摺りの大首絵28枚の中から、二の巻として10枚を紹介する。大首絵（おおくびえ）とは、主に江戸時代に描かれた浮世絵の様式の一つで、歌舞伎役者や遊女、評判娘などを半身像や胸像として捉えて描いた浮世絵版画。写楽はデフォルメを駆使し、目の皺や鷲鼻、受け口など顔の特徴を誇張して、その役者が持つ個性を大胆かつ巧みに描いてみせた。英文翻訳(google)も付けたがものがモノだけにかなり誤訳があるが、そのまま掲載した.
We will re-compile and introduce Kabuki painting of Sharaku of person who hitherto posted with commentary with explanation.
The second talks about the next ten (20th) (reference is the separate volume Taiyo183 Japanese mind). On the stage of Edo Kabuki, actors make the best showroom here. I grasped this moment dynamically and painted a powerful full picture and showed it in the Edo Kansei Period, a painter "Tohsyusai Syaraku".
Sharaku 's work suddenly disappeared, leaving a lot of work in a very short time. People are themselves mysteriously also attracted great attention, and there are many researchers who solve mysteries, they are different persons in different colors, which may be the era of religious politics that dislikes luxury. I will introduce 10 pieces as the second volume from among the 28 large-headed pictures of luxurious black mica slides that were published this time in Kansei 6 (1794).
Ohkubie is one of Ukiyoe style drawn primarily in the Edo period, and is a Ukiyo-e printmaking that captures Kabuki actors, prostitutes, reputable girls as a half figure or bust. Sharaku made use of deformum, exaggerating the facial features such as eye wrinkles, eagle's nose, socket and so on, and boldly and skillfully depicted the personality of that actor.
（Translation by Google)
六代目市川團十郎の荒川太郎武貞( Arakawa Taro Takesada of VI Ichikawa Danjuro)
写楽の描いたのは17歳の団十郎である。若衆のシンボルである前髪姿の荒川太郎役で、お家芸の荒事を演じた。画面からも粗削りな若さが伝わってくる。将来が嘱望された6代目であったが、22歳の若さで早世した。
Sharaku 's painting was 17 yearsold Danjuro. He played a heroic thing in the arts with the Taro Arakawa role of a forerunner who is a symbol of the young. Roughly trimmed youth is transmitted from the screen. It was the sixth generation that was expected in the future, but earlydeath in the youth of 22 years old.
二代目中村仲蔵の百姓つち蔵実は惟喬親王(ⅡNakamura Chuzoh's farmer Tutizo=Koretakasinnou)
三代目大谷広次の門下で、鬼次改め二代目中村仲蔵となる。写楽大首絵の三期目の作。屋号の堺屋は栄屋の誤記。三期目の作は、東洲斎写楽の落款がなく、絵も人物が平板で立体感に欠ける。緊張感も迫力もなく、第一期に比べ数段落ちると評価されており、別人が描いたとの説もある。
ⅢOhtani Hirotug's master. Later Oniji renamed Ⅱ Nakamura Chuzoh . This work was the third period of Sharaku's large painting. Sakaiya of the shopname is a mistake made by Sakaeya. The work of the third term has no indecency of Tohshusai Sharaku, and the figure is a flat plate and the figure lacks a three-dimensional feeling. There is neither a sense of tension nor impression, it is evaluated as falling several stages from the first stage, and there is a theory that another person drew.
三代目市川門之助,伊達の与作(Ⅲ Ichikawa Monnosuke, Date no Yosaku)
与作は由留木家の奥家老伊達の与三兵衛の子息であるが、和事(和事は、荒事とは正反対の芸風と言える。和事の立ち役は、クールでスマートな雰囲気の、「いかにも美形」といった粋な男性役が多い)の流れを汲む。零落していくひ弱な色男役を得意としていた門之助のはまり役。
本図は、寛政6年(1794年)5月河原崎座で上演された演目「恋女房染分手綱(こいにょうぼうそめわけたづな）」の中で三世市川門之助が演じた「伊達の与作」を描いた作品とされているが、この役からは門之助が当時52歳であったことは見て取れないほど若々しく描かれている。
Yosaku is a son of Yosabei's deep owner of Yurugi family, but Wagoto (Wagoto is a contradictory artistic thing against a Aragoto,and salute is a cool and smart atmosphere , "A very beautiful form" such as a lot of stylish men role). The weak color that goes to falls is a retired role of Monnosuke who was good at the male role.
This figure shows the work of Daisuto Ichikawa played by the 3rd generation Ichikawa Monnosuke.
in the performance program "Koinyoubo Somewake Tazuna" that was performed at Kawarazaki in May 6 of Kansei(1794). Although it is said to be a work depicting the work, from this role it is drawn youthful that Monnosuke was 52 years old at that time invisible.
大谷徳次の奴袖助(Tokuji Otani's Yakko Sodesuke)
徳次は当時江戸で最も人気のある道化形(滑稽な役どころ)で、写楽の描く大首絵も肩や目尻が下がり、滑稽な雰囲気が伝わってくる。寛政中期の道化形の独壇場になっていた。本図は寛政6年(1794年)5月都座で上演された演目「花菖蒲文禄曾我(はなあやめぶんろくそが)」の中で大谷徳次が演じた「奴袖助」を描いた作品。
Tokuji is the most popular clown form in Edo at the time (a funny role), and the shoulder and the corner of the eyes drops as well as the big neck painting of Sharaku, a comical atmosphere is transmitted. It was a monologue of clown form in the middle Kansei. This figure shows "Yakko Sodesuke" played by Tokuji Otani in the performance event "Hana ayama Bunroku Soga" performed in Miyakoza at Kansei 6 (1794).
二代目瀬川富三郎の大岸蔵人妻やどり木 （ⅡSegawatomisaburo's Yadorigi)
江戸には同名の中山富三郎がいて区別するため、こちらは「いや富」「にく富」と呼ばれていた。しかし、写楽は嫌味な雰囲気は表さず、家老の妻に相応しいきりりとした面立ちで描いている。本図は、寛政6年5月都座上演の「花菖蒲文禄曽我」に取材した作品。
Nakayama Tomisaburo of the same name was in Edo, so to distinguish, it was called "iyatomi" "nikutomi". However, Sharaku does not express a disgusting atmosphere, but draws it with a flesh-looking aspect suitable for his wife. This figure is a work which was covered in "Hanasyoubu Bunroku Soga" of Miyakoza performance in May of Kansei 6year.
谷村虎蔵の鷲塚八平次(Tanimura Torazo's Washizuka Hachiheiji)
上方出身の役者であったが、江戸へ下った)翌年に当たる寛政三年の顔見せの記事には「出世して二代目大谷友右衛門になる」とある。早くからその力量が買われていたことが分かる。本図は、寛政6年(1794年)5月河原崎座で上演された演目「恋女房染分手綱(こいにょうぼうそめわけたづな）」の中で谷村虎蔵が演じた「鷲塚八平次」を描いた作品。
He was an actor from Kansai. In the next year that went to Edo, according to an article with a face shot of Kansei 3 years, it is recorded that "He will become a second generation Otani Tomoemon gate as he gains career." We understand that his ability was earnestly evaluated. This figure was performed at Kawarazakiza in May, Kansei 6 (1794). The work depicts Washizuka Hatiheiji played by Tanimura Torazo in "Koinyoubo Somewake Tazuna".
中山富三郎の宮城野(Nakayama Tomisaburo's Miyagino)
同名の瀬川富三郎と区別するために「ぐにゃ富」と呼ばれた女形。もとは上方出身であったが、江戸で活躍するようになり、寛政期の江戸の役者絵には比較的多く描かれていた。舞台姿は愛嬌がこぼれるようだと評判だった。寛政6年(1794年)5月桐座で上演された演目「敵討乗合話(かたきうちのりあいばなし）」の中で中山富三郎の演じる「宮城野」を描いた作品。
Female form called "gunya Tomi" to distinguish from Tomisaburo Segawa of the same name. Although originally originated from Kansai, it became active in Edo, a relatively large number was drawn on actor's picture in Edo period during Kansei period. The stage appearance was reputed as charm seems to spill. Kansei 6 (1794) May This work depicts "Miyagino" played by Nakayama Tomisaburo in the performance "Katakiuti Noriai Banashi" performed at Kiri theater.
尾上松助の松下造酒之進(Onoe Matunosuke's Matushita Mikinosin)
松助は本来は実悪役者であるが、伸び放題の月代、崩れた髷、目の隈、口周りにうっすら生えた髭など、哀れな浪人の心情までも描こうとしている。寛政6年(1794年)5月桐座で上演された演目「敵討乗合話(かたきうちのりあいばなし）」の中で尾上松助が演じた「松下造酒之進」を描いた作品。
Matsusuke is originally a real villain. His face is trying to draw even the heartfelt sentiment like Tukisaya, which is stretched all the time, a crumbled stone, a crowd of eyes, a beard growing a little around her mouth. Kansei 6 (1794) May. This work depicts "Matushita Mikinosin" played by Onoe Matusuke in the performance "Katakiuti Noriai Banashi" performed at Kiri theater. edoniha doumeino
二代目嵐龍蔵の奴なみ平(ⅡArashi Ryuzo's Yakko Namihei)
実悪ながら、役者評判記からは龍蔵の得意とする演技には軽さがあったことが読み取れ、写楽はその雰囲気を表情に読み込んだのであろう。
三期の作品で第１期作品よりやや小型。余白に替紋・屋号・俳名が記されている。この図は第１期の作品《初代嵐龍蔵の金貸石部金吉》を自己模写している筋があるが、この図のほうが明快。そのぶん写楽の本質・魅力は薄れている。
While it was a real evil, it can be seen that there was lightness in acting which Ryuzo is good at from the actor's reputation note, Sharaku might have read the atmosphere in expressions. In the case of
It is slightly smaller than the first phase in the work of the third term. Kaemon · Yagoh · Haimei is written in the margin. This figure has a line which is self-replicating the work of the first period "The first Arashi Ryuzo's money lender Ishibe Kinkiti", but this figure is clearer. The essence and charm of Shunraku is diluted.
二代目坂東三津五郎の石井源蔵(ⅡBando Mitugoro's Ishii Genzo)
鉢巻・襷掛けに緊迫した表情から、敵水右衛門に返り討ちに遭う場面であることが分かる。この絵は 寛政6年5月都座上演の「花菖蒲文禄曽我」に取材した作品。
「花菖蒲文禄曽我」は、元禄14年（1701）に実際に起こった、幼い兄弟が父と兄の仇を28年を経て伊勢国亀山城下で討ち取った「亀山の仇討ち」をもとに脚色された。
It is understood that it is a scene of falling back to Kataki Mizuemon from the expressions that are tense due to the ruffling · crowing. This painting was interviewed on "Hanasyoubu Bunroku Sohga" in Kansei 6 May performance in Myakoza.
"Hanasyoubu Bunroku Sohga" was adapted based on the "villain of Kameyama" actually broke out in Genroku14(1701), a young brother caught his father and brother's enemies under Isenokuni Kameyama castle after 28 years.