File:Painting, hanging scroll, mitate-e (BM 1983,0629,0.1 1).jpg

Height: 221 centimetres (with mount)

Height: 129 centimetres

Width: 74 centimetres (with mount)

Width: 53 centimetres

Clark 1992

Wada no Saburo Yoshihide, generally known by the name Asahina, was a fabled warrior of the early Kamakura period (1185-1333), who in the Edo period was adopted as a popular hero into early Kabuki drama, appearing as the henchman of the Soga brothers Goro and Juro in New Year Soga plays. Asahina's moment of glory comes when he grabs the skirt of the armour worn by Goro to prevent him impetuously dashing off after their enemy Kudo Suketsune, in a trial of strength known as the 'armour-tugging' ('kusazuri-biki') scene. In a performance of 1759, however, a new variation on this standard treatment was introduced in which Goro's place was taken by his sweetheart, the courtesan Kewaizaka no Shosho of the Oiso pleasure quarter. Learning that the evil Kudo Suketsune is in the same quarter, she determines to rush off and challenge him but is restrained by Asahina who grasps the end of her 'obi' ('obi hiki'). This was a chance to introduce a softer mood and display the talents of the great female impersonator Segawa Kikunojo II. Since the figures in this painting do not bear actors' crests on their costumes, it is unlikely that it relates to a theatrical performance. Rather the idea may be to match a courtesan of the day with the muscular hero in a kind of 'mitate' treatment.

The figure of the courtesan is executed entirely in shades of 'sumi' with shell white on her face and hands and just a touch of colour in her hair ornaments. The butterfly pattern on the end of her sleeve is the emblem of her lover, Goro. Asahina, in contrast, is portrayed in whiskery, full-blooded colour, holding a large sake cup and grimacing with somewhat befuddled determination. He wears his standard voluminous blue costume, white 'strength' papers in his hair and a massive curved sword. The lines of the drapery are executed with a kind of mannered nervousness.

The painting has in the past been attributed to Eishosai Choki, and certainly the face of the woman is reminiscent of the woodblock-print bust portraits of courtesans with mica backgrounds designed by Choki in the middle years of the Kansei era (1789-1801). No other signed paintings by Choki from this period are known at present, however, and for the time being the attribution must remain tentative. His woodblock prints never employ such mannered brushwork.

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