Japanese netsuke of Kabuki dancer with Samurai Helmet, Meiji period late 19th

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Japanese netsuke of Kabuki dancer with Samurai Helmet, Meiji period late 19th :
$360.00

Kabuki dancer netsuke from the late 19th century, Meiji period.

Amazing details such a Samurai Helmet, figure witheboshi heat and much more. Himotoshi holes on his back.

Please, take a look on thepicturestojustifythe beauty of this piece.

Kabuki’s highly lyrical plays are regarded, with notable exceptions, less as literature than as vehicles for actors to demonstrate their enormous range of skills in

visual and vocal performance. These actors have carried the traditions of Kabuki from one generation to the next with only slight alterations. Many of them trace

their ancestry and performing styles to the earliest Kabuki actors and add a “generation number” after their names to indicate their place in the long line of actors.

Age:Late19th century , Edo period

Dimensions:48 mm tall

Material:Cow Bone

Condition:Very good condition

The Kabuki formdates from the early 17th century, when a female dancer namedOkuni(who had been an attendantat the Grand Shrine of Izumo), achieved popularity with parodies of Buddhistprayers. She assembled around her a troupe of wandering female performers whodanced and acted. Okuni’s Kabuki was the first dramatic entertainment of anyimportance that was designed for the tastes of the common people in Japan. Thesensuous character of the dances (and the prostitutionof theactors) proved to be too disruptive for the government, which in 1629 bannedwomen from performing. Young boys dressed as women then performed the programs,but this type of Kabuki was suppressed in 1652, again because of concern formorals. Finally, older men took over the roles, and it is this form of all-maleentertainment that has endured to the present day. Kabuki plays grew in sophistication,and the acting became more subtle.

Eventually, by theearly 18th century, Kabuki had become an established art form that was capableof the serious, dramatic presentation of genuinely moving situations. Asmerchants and other commoners in Japan began to rise on the social and economicscale, Kabuki, as the people’s theatre, provided a vivid commentary oncontemporary society. Actual historical events were transferred to the stage;Chūshingura(1748), forexample, was an essentially faithful dramatization of the famous incident of1701–03 in which a band of 47rōnin(masterlesssamurai), after having waited patiently for almost two years, wreaked theirrevenge upon the man who had forced thesuicideof theirlord. Similarly, nearly all the “lovers’ double suicide” (shinjū) plays of the playwrightChikamatsu Monzaemonwere based on actual suicidepacts made between ill-fated lovers.

Bugaku, the dance ceremony of theimperial court, and theNoh theatre, both ofgreat antiquity, were long the exclusive domain of the nobility and the warriorclass known as samurai; Kabuki became the theatre of the townspeople and thefarmers.Bugakuand Noh have a fragile elegance and anextreme subtlety of movement. Kabuki is somewhat coarse and unrestrained, andits beauty is gaudy and extravagant.

The strongest tiesof Kabuki are to the Noh and tojōruri, the puppet theatre that developed during the17th century. Kabuki derived much of its material from the Noh, and, whenKabuki was banned in 1652, it reestablished itself by adapting and parodyingkyōgen(sketches that providecomic interludes during Noh performances). During this period a special groupof actors, calledonnagata,emerged toplay the female roles; these actors often became the most popular of their day.

Atpresent, regular performances are held at theNational Theatre inTokyo. The city was also home to theKabuki Theatre (Kabuki-za), which closed in 2010.An office tower—which would include the theatre—was scheduled to be built onthe site, with an opening date of 2013. Other theatres have occasionalperformances. Troupes of Kabuki actors also perform outside Tokyo. There areseveral such companies, but their memberships often overlap. At the NationalTheatre the length of an average program is about four hours. The theatrestresses the importance of the play itself, trying to maintain the historicaltradition and to preserve Kabuki as a classical form.

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Some background

Netsuke (Japanese:??) are miniature sculptures that were invented in 17th centuryJapan to serve a practical function (the two Japanese characters ne+tsuke mean \"root\" and \"to attach\"). Traditional Japanese garment—robes calledkosode and kimono —had no pockets, however men who wore them needed a place to store their personal belongings such as pipes, Tobacco, money, seals, or medicines.

Their solution was to place such objects in containers (called sagameno) hung by cords from the robes\' sash (obi). The containers may be a pouch or a small woven basket, but the most popular were beautifully crafted boxes (inro), which were held shut by anojime which were sliding beads on cords. Whatever the form of the container, the fastener that secured the cord at the top of the sash was a carved, button-like toggle called a netsuke.

Netsuke, like the inro and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular during theEdo periodin Japan, around 1615-1868.

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