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Image / Our country's 24 examples of filial piety, the incense burning scene

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Title
Our country's 24 examples of filial piety, the incense burning scene
Alternative Title
Bamboo joints; Take no hito fushi: Honcho nijushiko, Jushuko no ba
Creator
Chikanobu, Yoshu
Date Created and/or Issued
1898, reprinted by Akiyama Buemon 1905-04-01
Publication Information
Ruth Chandler Williamson Gallery, Scripps College
Contributing Institution
Claremont Colleges Library
Collection
Chikanobu and Yoshitoshi Woodblock Prints
Rights Information
The contents of this item, including all images and text, are for personal, educational, and non-commercial use only. The contents of this item may not be reproduced in any form without the express permission of Scripps College. Any form of image reproduction, transmission, display, or storage in any retrieval system is prohibited without the written consent of Scripps College and other copyright holders. Scripps College retains all rights, including copyright, in data, images, documentation, text and other information contained in these files. For permissions, please contact: Scripps College, Ruth Chandler Williamson Gallery Attn: Rights and Reproductions, 1030 Columbia Avenue, Claremont, CA 91711
Description
Yaegaki-hime dances at center holding the sacred helmet known as the Suwa hossho or "Suwa's unchanging essence," given by the kami or deities of Lake Suwa in Nagano Prefecture to the Takeda clan. In the kabuki theater repertoire, this is considered one of the three greatest dance sequences. To the left of Yaegaki is Takeda Katsuyori, her beloved, and to the right is Shirasuga Rokuro, a retainer of her father sent to kill Katsuyori. According to historical traditions the Takeda lent the Suwa helmet to the Uesugi clan (known as the Nagao family in the kabuki play "Our Country's 24 Examples of Filial Piety"). Takeda Shingen suggested that his son Katsuyori marry Nagao Kenshin's daughter Yaegaki, thus uniting the warrior families and resolving their differences. But when the Nagao wanted to keep the helmet as a talisman and refused to return it, the two leaders had a falling out. At this time both clans were assigned guard duty of the shogun Ashikaga Yoshiharu, who was mysteriously assassinated. The government blamed both families, so in order to clear suspicions, Shingen and Kenshin vowed to find the murderer within three years or sacrifice their only sons. Various theatrical stories cover the next few years, but when time is up, the young men must lose their heads. A loyal Takeda clan retainer offers his own son's head instead of Katsuyori's, and Shingen orders his son to enter the Nagao residential compound disguised as a gardener named Minosaku in order to retrieve the Suwa helmet. Yaegaki, who thought her betrothed was dead, recognized the true identity of the gardener; Yaegaki's servant urged her to return the Suwa helmet as proof of her love. Kenshin entered the garden and ordered Minosaku to deliver a message to someone on the other side of Lake Suwa. When the young man leaves, Kenshin tells his retainers to kill Minosaku, whom he recognized as Katsuyori. Hearing this, Yaegaki took up the Suwa helmet, intending to deliver it to her beloved, but Lake Suwa was frozen so she could not take a boat to catch up with him. With the helmet in her arms, she crossed a bridge in the garden, and saw the reflection of a fox in the water. "I have heard that the god of Suwa has the fox as his emissary, and if this helmet represents his divine person, then there will be countless fox spirits in attendance. How miraculous, for without doubt they are protecting it." Yaegaki begins a dance, knowing that the fox-fires will guide her safely across the frozen lake. James R. Brandon and Samuel L. Leiter (ed.), Kabuki Plays on Stage, Volume I Brilliance and Bravado, 1697-1766 (University of Hawai'i Press, Honolulu, 2002), pp. 328-352.Arenie & Henk Herwig, Heroes of the Kabuki Stage (Hotei Press, Amsterdam, 2004), pp. 216-223. Aubrey S. and Giovanna M. Halford, The Kabuki Handbook (Tuttle, Tokyo, 1952), pp. 73-76.
Type
image
Format
image/jp2
Identifier
http://ccdl.claremont.edu/cdm/ref/collection/cyw/id/6
Language
Japanese
Subject
Single Built Works
Gardens
Bridges (built works)
Women
Men (male humans)
Kimonos
Hairstyles
Hair ornaments
Helmets
Swords
Halberds
Ukiyo-e
Print
Time Period
Meiji (Japan, 1869-1912)
Source
Woodcuts; Ink on Paper; 14 1/2 in. x 9 7/8 in. (36.83 cm x 25.08 cm); accession number 2003.1.57
Relation
Chikanobu and Yoshitoshi Woodblock Prints https://ccdl.claremont.edu/digital/collection/cyw

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