1851, Utagawa Kuniyoshi, Ichikawa Kodanji IV as the Ghost of Kozakura Tōgo (right); Bandō Tikosaburō IV as Orikoshi Tairō (left) -- National Museum of Asian Art (Washington)
From the museum label: This play is based on a real man named Sakura Sogo. After his lord taxed his village into starvation, Sogo went directly to the shogun to beg for help, knowing he would be executed for his insubordination. His ghost returned to torment his wicked lord as revenge for his own death and those of his wife and children, who were also executed as punishment. As this was a politically sensitive story, the characters' names were changed for the kabuki version to avoid government censorship. The name of the real Lord Hotta Masanobu (1631-1680) was changed to "Lord Horikoshi" or "Orikoshi." and Sakura Sogo was changed to "Asakura Togo." However, the references were still quite obvious, so some publishers were also careful in how they marketed these prints. The print published by Enshūya Hikobei (below) is marked with an oval seal reading shita-uri, or "under sale," which suggests it was sold discreetly and was not prominently advertised.
1851, Utagawa Kuniyoshi, Ichikawa Kodanji IV as the Ghost of Kozakura Tōgo (right); Bandō Tikosaburō IV as Orikoshi Tairō (left) -- National Museum of Asian Art (Washington)
From the museum label: This play is based on a real man named Sakura Sogo. After his lord taxed his village into starvation, Sogo went directly to the shogun to beg for help, knowing he would be executed for his insubordination. His ghost returned to torment his wicked lord as revenge for his own death and those of his wife and children, who were also executed as punishment. As this was a politically sensitive story, the characters' names were changed for the kabuki version to avoid government censorship. The name of the real Lord Hotta Masanobu (1631-1680) was changed to "Lord Horikoshi" or "Orikoshi." and Sakura Sogo was changed to "Asakura Togo." However, the references were still quite obvious, so some publishers were also careful in how they marketed these prints. The print published by Enshūya Hikobei (below) is marked with an oval seal reading shita-uri, or "under sale," which suggests it was sold discreetly and was not prominently advertised.