The Actor Bando Matataro IV as Bando Taro in the Play Gohiiki Kanjincho, Performed at the Nakamura Theater in the Eleventh Month, 1773

Art Historical Context

In the vibrant world of 18th-century Edo (modern-day Tokyo), Katsukawa Shunsho captured the drama of kabuki theater in this color woodblock print from around 1773. Titled *The Actor Bando Mato IV as Bando Taro in the Play Gohiki Kanjincho, at the Nakamura Theater in the Eleventh Month, 177*, it depicts the star performer in a dynamic pose, likely mid-performance. Shunsho, a leading figure in the uki-e tradition—"pictures of the floating world"—specialized in yakusha-e, or actor prints, that immortalized kabuki idols as celebrities of their time. This hosoban-format print, narrow at 32.1 × 14.9 cm, is the left sheet of what may be a diptych, allowing for intimate, affordable viewing in homes. Produced through meticulous woodblock techniques, layers of color blocks created Shunsho's signature realism: expressive faces, flowing robes, and subtle shading that brought the stage to life. Kabuki, with its all-male casts and elaborate roles like the loyal samurai Bando Taro, was a cultural phenomenon blending history, myth, and spectacle at theaters like Nakamura. Housed in the Art Institute of Chicago's Arts of Asia department, this work highlights Shunsho's influence on later masters like Hokusai and Hiroshige, preserving a slice of Japan's theatrical golden age for today's visitors.