Ichikawa Danjūrō II in the Role of Soga Gorō from the Play "Yanone" 1780 - 1800

Curator: This is Torii Kiyonaga's woodblock print, "Ichikawa Danjūrō II in the Role of Soga Gorō from the Play "Yanone", created sometime between 1780 and 1800. It’s a vibrant example of ukiyo-e from the Metropolitan Museum. Editor: He’s rather intense looking, isn't he? I mean, that fierce brow and the grip on that oversized arrow! It really speaks to some serious pent-up energy, perhaps theatrical anger? Curator: Absolutely, this captures the very essence of Kabuki theater. Notice how Kiyonaga renders Danjūrō's pose – the deliberate positioning of the arms, the subtle tension in the face. The actor embodies Soga Gorō's raw emotion right before he engages in a fight. Editor: And the outfit, such incredible patterning. The costume, it's wild – almost psychedelic with those geometric shapes! There's the arrow theme repeated throughout—quite effective visually and in reinforcing the concept. And what's he touching there, some sort of ice block? Curator: That “ice block” is actually hardened bean curd, which he's about to launch into the audience with his arrow, a common trope in Kabuki performance. And the arrows in the backdrop aren't mere decoration either, they add weight and context. It’s said the props symbolize the Soga brother's planned revenge. Editor: Revenge served cold, like tofu! I get it, it’s symbolic on different levels. Kiyonaga's use of line is really what strikes me. Precise, definite lines that define the subject matter and really add drama. So much dynamism in a static image. It's striking, how this one image tells a whole dramatic story. Curator: I think this woodblock cut tells us not only about a specific theatrical performance but also about the aesthetics and cultural values that shaped late 18th-century Japan. It’s a fleeting moment preserved in vibrant color. Editor: Exactly—it lets us connect with the artist and the actor’s world across the years. Thank you.