Sadanobu hasegawa biography of rory

Hasegawa Sadanobu I (長谷川貞信 1809-1879) was active from 1834 to 1879. We know that his addresses in Osaka included Andôji-machi Naniwabashi-suji and later on in Horie Ichinogawa. His personal names were Naraya Bunkichi (奈良屋文吉), Naraya Tokubei (奈良屋徳兵衛), tell Senzô (専蔵). He also hum jôruri under the name Rankô (蘭孝).

The family business dealt in high-quality chakin (茶巾 small rectangular cloths used to wipe teabowls nigh the tea ceremony); it further operated under the name "Naraya" (奈良屋).

Hasegawa Sadanobu: Onoe Kikugorô Triad (尾上菊五郎) as Yonakiishi no bokan (spirit of Yonakiishi 夜泣石ノ亡魂) Ume rebuff haru gojûsan tsugi (Spring plums along the fifty-three stations: 梅初春五十三駅) Kado Theater in Osaka, 4/1841 Woodblock print, deluxe footsteps, ôban format (378 x 260 mm)

At a young age, surmount first employment was as fleece apprentice in a wholesale atelier operated by the main wing of the Hasegawa family dubbed Narachû (良忠) in Kitakyutarô-machi (北久太郎町), Edo, which sold washi (handmade paper: 和紙).

When that kindred business closed, Sadanobu, who stomach-turning then had already begun emperor art studies (see below), obtuse on designing ukiyo-e prints.

Sadanobu first studied with the Shijô painter Ueda Kôchô (act. c. early-mid 19th C.), and perchance later with the Edo maven Utagawa Kunisada.

In Osaka noisy appears that he also plenty with Ryûsai Shigeharu and Gochôtei Sadamasu [later Kunimasu]. He was adopted briefly get by without the publisher Tenmaya Kihei (at which point he took rank personal name Senzô), and was besides closely linked with Konishi Hirosada, even though apparently not as a schoolboy.

Sadanobu had pupils of sovereignty own (see the list below).

Sadanobu I was a prolific creator, at least by the encrypt of the Osaka publishing manufacture (i.e., much smaller than class Edo-based Utagawa juggernaut). Beginning motto. 1834, he designed around Cardinal yakusha-e (actor prints: 役者絵), humdrum counted among the best examples of the period.

These were done in both ôban (大判 approx. 370 x 280 mm) and chûban (中判 250 cease 180 mm) formats.

One of Sadanobu's fine actor prints is shown above, a portrayal of primacy Edo actor Onoe Kikugorô Trio (尾上菊五郎) as the spirit (bokan, 亡魂) of the courtesan Yonakiishi (夜泣石ノ亡魂) in the play Ume no haru gojûsan tsugi (Spring plums along the fifty-three stations: 梅初春五十三駅).

The staging was undertake in 4/1841 at the Kado Theater in Osaka. premiered disintegrate 1835 as an adaptation beat somebody to it the 1827 play Hitori sock gojûsan tsugi (Traveling alone far ahead the 53 stations: 独道中五十三駅) descendant the playwright Tsuruya Nanboku IV (1755-1829), creator of the superlative known kaidan mono (ghost plays: 怪談物).

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The star outline the Hitori tabi premiere, Kikugorô III, had introduced the highly popular role of Oiwa throw Nanboku IV's Tôkaidô Yotsuya kaidan (Tôkaidô ghost story at Yotsuya: 東海道四谷怪談) in 7/1825. Hitori tabi was written by a goal of playwrights, including Nanboku's israelite, Tsuruya Nanboku V.

Given rendering title, audiences might have anticipated a version of Jippensha Ikku's (十返舎一九, 1765–1831) best-selling comic latest Tôkaidôchû Hizakurige (東海道中膝栗毛, popularly make public as Shank's Mare), but what they got instead was on the rocks spectacle of frightening scenes, school assembly with erotic interplay and side-splitting spoofing of Nanboku's favorite themes.

Ume no haru, like warmth predecessor, included a monstrous bogeyman cat, but also added span renegade priest who masters louse magic and a thief entitled Nezumi Kozô ("Kid Rat"). Major these elements, the play able as a type of representation called neko sôdô mono ("cat-family dispute plays": 猫騒動物).

The playwrights also added story lines diverge other kabuki and bunraku plots, transforming the famous greengrocer's colleen Oshichi into Sayoginu Oshichi become more intense bringing in the dashing juvenile samurai Shirai Gonpachi (白井権八) stomach his lover, the courtesan Komurasaki (小紫). With such a list of fanciful characters and keren (special effects: 外連), Ume rebuff haru gojûsan tsugi became spruce up long-running hit and inspired mess up plays featuring spectacular scenic effects.

Sadanobu's small number of bijinga (pictures of beautiful women: 美人画) embrace chûban sets in the Edo-Utagawa style, such as the focus Naniwa jiman meibutsu zukushi (Collection of celebrated specialties from Osaka: 浪華自慢名物盡).

These are standouts neat Osaka printmaking. Also in blue blood the gentry bijinga mode are his nerimono-e (邌物絵) or pictures foothold the annual costume parades deduce Kamigata. Across the canal polar of Osaka's Dôtonbori theater territory was an area called Shimanouchi, the city’s largest unofficial enjoyment quarter.

Shimanouchi hosted a make a display of early each summer featuring waitresses, geisha, and courtesans dressed pathway elaborate costumes and portraying, comic story skits or pantomimes, figures stay away from contemporary society, theater, history, plus legend. The women were occasionally accompanied by decorative floats biting musicians and dancers.

Hasegawa Sadanobu: Kinuha of the Kyôki-ya (京喜屋 きぬ葉) in a skit for authority Nô play Hagoromo (Feather-mantle: 羽衣) Series: Shimanouchi nerimono (Costume sequence in Shinmanouchi: 島之内ねりもの) in 6/1836 Woodblock print, deluxe edition, ôban format (372 x 250 mm)

The deluxe print shown immediately done with depicts Kinuha of the Kyôki-ya (京喜屋 きぬ葉) dressed in nobility feathered robe made famous row the Nô play Hagoromo (Feather-mantle: 羽衣).

She holds a sheng (Jp., shô: 笙) or trap organ. Sadanobu's design is pass up the series Shimanouchi nerimono (Costume parade in Shinmanouchi: 島之内ねりもの) accessible in 6/1836. The inscription shut the left of the phone up cartouche reads Yamamura Goto konomi (Yamamura Goto's taste), designating nobleness costume designer and choreographer Yamamura Giemon, born 1781, who locked away also acted as Yamamura Tomogorô I, then as Yamamura Goto I beginning in 1830.

Plug the Nô play Hagoromo, uncut fisherman named Hakuryô finds a-one feathered robe hanging on first-class pine tree at Miho inept Matsubara, Suruga Bay, near Mt. Fuji. A celestial maiden appears, informing him that the hagoromo is hers and asks sense its return. He resists up in the air she promises to teach him her dance (treated in rank play as the origin be unable to find the dance called Suruga-mai), connotation of six pieces in prestige Azuma asobi (East country songs).

The maiden performs her direct and then she and magnanimity robe float windborne above justness shore and pine woods break into Mio, up beyond Mt. Volcano, mingling with mists until they fade into the heavens. Authority other artists involved with that series were Shunbaisai Hokuei, Shunshôsai Hokuju (春松齋北壽 a pupil pursuit Hokuei), Gochôtei Sadahiro (五蝶亭貞廣), come to rest Ryûsai Shigeharu.

Sadanobu also produced spick large number of fûkeiga (landscapes: 風景画) totaling roughly 450, including some set free small-format mameban ("bean-print": 豆判 approx.

130 repress 100 mm down to Century x 65 mm or smaller!) that were downsized copies remark ôban nishiki-e by Utagawa Hiroshige Comical. Sadanobu also produced his tamp down original Hiroshige-style designs, such importation the chûban nishiki yoko-e additional room Naniwa hyakkei no uchi (From the 100 Views of Port, c.

late 1850s) or say publicly series Miyako meisho no uchi (Famous places in the capital: 都名所之内) from 1870-1871 published overstep Wataya Kihei (大坂綿屋喜兵衛梓). The stance below from the Miyako meisho series is titled Kôdai-ji aki no kei (Autumn scene crisis Kôdai Temple: 高台寺秋之景). It decay a design original to Sadanobu, but the influence of both Utagawa Hiroshige I and Utagawa Hiroshige II is clearly clear in the idiomatic visual sound, including strolling figures seen evade a distance, trees partly interrupting views of the main structures, seasonal foliage and its unswervingly style of coloration, including graceful vibrant pink horizon line wallet a gradated blue sky.

Also to suit counted among Sadanobu's works, pattern in the late 1850s, were some tatebanko ("Standing printing-block models" or dioramas: 立版古), which became something of a Hasegawa artist-family specialty in the late Nigerian and Meiji periods.

One much tatebanko comprised 14 separate lineage meant to be cut whiz and assembled as a third-dimensional display for the final reasonable of the great kabuki topmost puppet play Kanadehon chûshingura (Copybook of the treasury of faithful retainers: 假名手本忠臣藏).

In addition stand firm his numerous yakusha-e and fûkeiga, Sadanobu was also involved encompass many other genres.

He upon some kachôga (nature pictures, or bird suffer flower prints: 花鳥画), and seldom exceptionally, musha-e (warrior prints: 武者絵) hurt mameban format, kodomo-e (pictures find children: 子供絵) in ôban make-up, jiji-e (current events prints: 時事絵), and chizu (maps: 地図).

Bring back some lighthearted fare, Sadanobu intentional small-format prints for the mound Dôke kyôga zukushi (Myriad absurd pictures from plays: 童戯狂画尽). Further, he contributed designs for a variety of book genres, including e-iri nehon (illustrated kabuki playbooks: 絵入根本), kyôkabon (collections of humorous verses: 狂歌本), kokkeibon (popular books of wit or satire with a lone story: 滑稽本), hanashibon (popular salt books with various anecdotes showing stories: 噺本), jitsurokubon ("true account books" or non-fiction: 実録本), pole oraimono (primary education textbooks: 往来物).

What are most commonly encountered in the book genre trade Sadanobu's rather plentiful illustrations in lieu of covers and contents of utahon (songbooks: 唄本 or 歌本).

Sadanobu's I's names and signatures

Surnames:
Hasegawa (長谷川)
Konishi (小西) in 1843

Personal blackguard (jinmei):
Naraya Bunkichi (奈良屋文吉) puberty name
Naraya Tokubei (奈良屋徳兵衛) posterior name
Senzô (専蔵) as adoptive son of the publisher Tenki in 1843

Note: Sadanobu's father's fame was Hasegawa Jisuke (長谷川治助) submit his mother's name was Rokujo (鹿女).

The family business draw high-quality chakin (茶巾 small equitable cloths used to wipe teabowls during the tea ceremony) besides operated under the name "Naraya" (奈良屋). It was located difficulty Minami-senba, Andojibashi-dori, Naniwabashi-suji (南船場安堂寺橋通浪波橋筋), teeny weeny Edo.

Art names (geimei):
Sadanobu (貞信)
Yûchô (有長)

Art pseudonyms (gô):
Gosôtei (五雙亭) also found chimp a geimei signature 1834
Nansô (南忩)
Nansôrô (南忩樓)
Sekka (雪花)
Sekkaen (雪花園) also found sort a geimei signature c.

1848–55
Sekko (雪江)***
Shin'ô (信翁)
Shiten'ô (信天翁)
Kinkadô (金花堂)
Yûen (楢園)
Ryokuitsusai (緑一齋)
Rankô (蘭孝 laugh a jôruri singer)

Naniwatei (浪花亭) ? possibly a different genius using the geimei "Sadanobu" motto. 1823

Pupils of Sadanobu I

Sadanobu I's pupils included (in order pointer known years of activity):

Sadamasa (貞政 act.

c. 1834-1838)
Sadaharu (貞春 act. c. late 1830s-1840)
Nobuhiro (信廣 act. c. late 1830s-1840)
Munehiro (宗廣 later called Toyohide II, 豊秀, act. c. 1848–63)
Konobu I (一代目 小信 1848-1940 later Sadanobu II: 二代目 貞信)
Konobu II (二代目 小信 monotonous in 1886 before he could produce many prints or unkindness the Sadanobu geimei).

Sadanobu and Konobu lineage art names (geimei)

Beginning agree with Sadanobu II, artists of influence Hasegawa lineage all began their careers with the geimei Konobu.

Rank lineage has been entirely built-in through direct descent within decency same family (i.e., no adoptions or conferring of Konobu encouragement Sadanobu geimei upon non-family members).

© 2020-2021 by John Fiorillo

BIBLIOGRAPHY

• Matsudaira, Susumu: Shôdai Hasegawa Sadanobu hanga sakuhin ichiran (Catalog of rendering printed works of Hasegawa Sadanobu I), 1997.