Only the requested title, as a content writer, in title case, no extra text: Sharaku’s Actor Ichikawa Ebizo as Takemura Sadanoshin – A Masterpiece on NHK World-Japan

NHK World-Japan is featuring a special episode on the masterpieces of Tsutaju, a prominent ukiyo-e producer of the Edo period, highlighting the work of renowned artist Tōshūsai Sharaku. The episode focuses on Sharaku’s depiction of the actor Ichikawa Ebizo as Takemura Sadanoshin in the kabuki play “The Loving Wife’s Parti-Colored Reins.”

The artwork, created in 1794, portrays Ichikawa Ebizō IV (also known as Danjurō) in the role of Takemura Sadanoshin. According to the Cleveland Museum of Art, the scene captures a poignant moment where the actor is permitted to perform opposite his daughter for the final time before her banishment due to a forbidden love affair. This narrative element adds emotional depth to the visual representation of the kabuki performance.

The piece is classified as a yakusha-e, or actor print, a genre popular among fans of kabuki actors during the Edo period. These prints served as collectibles that celebrated the likenesses and performances of celebrated stage artists. Ichikawa Ebizō IV is identifiable in the print by his family crest—three nested boxes—visible on his robes, a detail noted by the Cleveland Museum of Art.

Sharaku, active between 1794 and 1795, is recognized for his striking and expressive portrayals of kabuki actors. His work often emphasized the dramatic intensity and stylized poses, known as mie, that are central to kabuki performance. The art form itself evolved from simple dance performances into elaborate productions featuring complex narratives, detailed costumes, makeup, and musical accompaniment.

The Tokyo National Museum has also housed this artwork, listing it as an Important Cultural Property. It was on display in the Japanese Gallery (Honkan) from April 8 to May 24, 2026, as part of a rotation that included other pieces such as “The White-Robed Bodhisattva Kannon” and “Outing in Mountains and Fields.”

The Art Institute of Chicago holds both an original and a facsimile version of the print. The original, dated 1794, measures 36 x 23.6 cm and is part of the Bequest of Edward L. Whittemore. The facsimile, produced later, is slightly larger at 38.6 × 26.6 cm and is supported by the Kate S. Buckingham Endowment. Both versions are credited to Tōshūsai Sharaku and depict the same subject: Ichikawa Ebizo as Takemura Sadanoshin.

Kabuki, which originated in the early Edo period, is characterized by its stylized dialogue, vibrant costumes, and expressive makeup. Performers often strike mie at climactic moments to emphasize emotional peaks in the narrative. The art form continues to be celebrated as a vital component of Japan’s cultural heritage, with ukiyo-e prints like Sharaku’s serving as historical records of its performances and performers.

The NHK World-Japan episode, titled “The Masterpieces of Ukiyo-e Producer Tsutaju: The Actor Ichikawa Ebizo as Takemura Sadanoshin,” explores these artistic and historical dimensions, offering viewers insight into the intersection of visual art and theatrical tradition in Edo-period Japan.