The Warrior Genroku Goro – Japanese Woodblock Print

In 1893, Kunichika undertook a commission to create the renowned series “One Hundred Roles of Ichikawa Danjuro IX.” This collection depicts the kabuki star in his most iconic roles, including those from classic kabuki dramas. The deluxe prints feature half-length portraits of Danjuro IX, typically set against a solid background or with clouds across the top. The minimalistic backgrounds direct focus to the expressive figures and vibrant costumes. Each print includes a rectangular inset with a poem or a small image, surrounded by peonies framing the title cartouche, associated with the actor. These high-quality images were produced using expensive techniques and materials such as burnishing, embossing, and mica. The series was completed in 1903, and it is considered one of Kunichika’s greatest works, making these subjects valuable additions to any kabuki or Kunichika print collection.

One specific print from the series is the 1898 portrayal of Ichikawa Danjuro IX as Genroku Goro. This dramatic portrait depicts the warrior glaring angrily over his shoulder, with an open mouth in a grimace. His kimono showcases a unique pattern with a plate of armor on one shoulder and a red demon’s arm with three claws on the other, along with a battle helmet below. Two long locks of loose hair forming wings at the side of his face, and his fierce appearance is accentuated by pink stage makeup. The background features a delicate silver mica scroll pattern, enhancing the overall bold design with attractive color.

This print displays outstanding color and detail, as depicted. There is faint toning, a few small spots, and a couple of light creases. For a closer examination of these details, please refer to the attached photos. Overall, the condition is considered good.

These Woodblock Prints were created using the traditional Japanese Woodblock Printing technique, much like the way we use rubber stamps today.

The text or image was first drawn onto washi (Japanese paper), then glued face-down onto a plank of wood, usually cherry. Wood was then cut away, based on the drawing outlines. A small wooden hard object called a baren was used to press or burnish the paper against the inked woodblock to apply the ink to the paper. Although this may have been done purely by hand at first, complex wooden mechanisms were soon invented and adopted to help hold the woodblock perfectly still and apply proper pressure in the printing process. This was especially helpful with the introduction of multiple colours that had to be applied with precision over previous ink layers.

While, again, text was nearly always monochrome, as were images in books, the growth of the popularity of ukiyo-e brought with it demand for ever increasing numbers of colours and complexity of techniques.

These prints are rendered using Nishiki-e (“brocade pictures”)—a method of using multiple blocks for separate portions of the image, using a number of colours to achieve complex and detailed images. A separate block was carved to apply only the part of the image designated for a single colour.