Theater
Artist
Murakami Michiho
(Japanese, 1899 – 1938)
Date1924
PeriodTaishō period (1912–1926)
MediumPainting mounted as a framed panel; ink, color, and gold on paper
DimensionsOverall: 72 5/16 × 71 7/16 × 1 1/4 in. (183.7 × 181.5 × 3.2 cm)
ClassificationsPaintings
Credit LineMuseum purchase, 2017
Object numberSN11584
Murakami Michiho's (Japanese, 1899–1938) Theater presents a highly detailed exterior and interior view of Kyoto’s Minamiza theater during the annual "Kichirei kaomise" or “face-showing” festival. The event, held at the end of each year, featured actors newly contracted to perform during the year ahead, making it one of the most eagerly anticipated items on the kabuki calendar.
Onstage, the warrior Watanabe no Tsuna confronts a white-maned demon in a climactic scene from the play Ibaraki. The boxes below jostle with almost three hundred audience members, including young men in military uniform, mothers with children, and apprentice geisha in their silken finery. Some are absorbed in the action unfolding before them, while others share hot tea or sake, read programs, or chat among themselves.
Murakami’s choice of subject — a crowded theater rendered in exaggerated linear perspective — derives from a genre of woodblock prints called uki-e or “floating pictures” because of the way the images appeared to float off the paper surface. Likely informed by Chinese texts imported by Dutch traders, uki-e were popular in the mid- to late 18th century. The artist updated the theme to celebrate the continued vibrancy of kabuki in modern Japan.
The painting was first presented in the 1924 exhibition of the Imperial Art Academy, a government-organized juried show modeled after the French salon. Probably for ease of transport, Murakami had his painting cut in half and mounted as a two-panel folding screen. By the time The Ringling acquired the painting in 2017, the underlying structure had deteriorated, making remounting necessary. Rather than retain the folding screen format, however, the Museum opted instead for a single panel so as not to disrupt the dramatic geometry of the composition. A smaller version of the painting from 1927 on display at the Minamiza is mounted as a panel, suggesting that this would have been the artist’s preference. The Museum is grateful to the Peck Stacpoole Foundation for sponsoring this treatment.
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