Actor portraying a seller of birds for release, between circa 1850 and circa 1852. Creator: Utagawa Kuniyoshi

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Actor portraying a seller of birds for release, between circa 1850 and circa 1852. Creator: Utagawa Kuniyoshi

Actor portraying a seller of birds for release, between circa 1850 and circa 1852. From Analog of Three Shrines

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Media ID 36360241

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1850s Bare Feet Careful Feet Foot Ichiyusai Japanese Era Kabuki Actor Kuniyoshi Kuniyoshi Utagawa Merchant Standing On One Leg Stepping Uncertain Uncertainty Unsure Utagawa Kuniyoshi

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EDITORS COMMENTS
Utagawa Kuniyoshi's captivating woodblock print, titled "Actor Portraying a Seller of Birds for Release" (circa 1850-1852), showcases the thespian artistry of the Edo period in Japan. This exquisite piece is taken from the series "Analog of Three Shrines." The central figure, a Kabuki actor, is depicted in meticulous detail, clad in traditional Japanese attire. His kimono, adorned with intricate patterns, is a testament to the skillful design and craftsmanship of the era. The actor's bare feet, stepping carefully on one leg, add an authentic touch to the scene. The seller of birds for release is a common theme in Kabuki drama, reflecting the concept of setting free captive birds as a symbol of good fortune and happiness. The actor's posture and facial expression convey a sense of calm concentration, as if he is preparing for an important performance. The background is filled with vibrant colors and dynamic brushstrokes, adding depth and texture to the print. The attention to detail in the actor's apparel, from the intricate patterns on his kimono to the delicate folds of his clothing, is a reflection of the importance placed on fashion and tradition during the Tokugawa period. The calligraphy at the bottom of the print, written in elegant script, adds an air of sophistication and completes the overall design. This stunning woodblock print is a valuable addition to any collection of Asian art and a testament to the rich cultural heritage of Japan during the 19th century.

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