Kikunojō Segawa III as Nakai Ohama in Hana No Miyako Kuruwa No Nawabari 1795

Editor: This is a woodblock print from 1795 by Tōshūsai Sharaku, titled "Kikunojō Segawa III as Nakai Ohama in Hana No Miyako Kuruwa No Nawabari." There's a striking exaggeration to the features of the figure depicted, and a somewhat unsettling quality to the gaze. How do you interpret this work? Curator: Notice how Sharaku uses the actor’s exaggerated features to tell us a deeper story. Caricature wasn't merely for laughs; it was a way to capture the *essence* of a character, and to comment on societal roles. Do you see how the symbols embedded in the clothing might relate to themes within the play, perhaps of social status? Editor: Yes, the circular emblems on the kimono seem like they could represent something beyond mere decoration. It’s as if Sharaku is hinting at layers of meaning beneath the surface of this kabuki performance. Curator: Exactly. Kabuki itself is steeped in symbolism. Sharaku captures the tension between public performance and private identity. The large head, the set mouth, the stylized hair... all contribute to a codified representation, immediately legible to contemporary viewers. What lasting impression does that visual vocabulary have on you today? Editor: It makes me consider how performance shapes our perception of identity, both then and now. The visual language may be different, but the underlying themes still resonate. Curator: Precisely. We can almost feel the echoes of ritual and representation bouncing through the ages! By understanding these symbols, we’re better able to decipher the messages within the art and consider the influence cultural memory has on shaping both it, and our reaction to it.