Portrait of Actor, Often Playing Roles
A psychodelic portrait of Jiraiya before known as Ogata Shuma Hiroyuki (尾形周馬寛行) from the series Eight Hundred Heroes of the Japanese Shuihuzhuan (Honcho Suikoden Goyu Happyakunin No Hitori – 本朝水滸伝剛勇八百人一個). As the inscription says Jiraiya, is killing the snake because it was terrorizing his friends the frogs.
In his youth, Jiraiya escaped certain death by joining a gang of bandits as his father’s domain fell to invading forces. After a brief apprenticeship with his criminal associates, Jiraiya soon became the leader of the gang. While on his way to rob a wealthy nobleman, Jiraiya was forced to seek shelter from a snowstorm in the hut of an old woman. During the night, he attempted to murder his host, but his sword shattered. The old woman was actually Gamma Sennin, the toad spirit, who offered to teach Jiraiya toad magic, if he renounced his evil ways. Jiraiya agreed and thereafter had the ability to control frogs. He later teamed up with Tsunedahime, a young woman who had mastered snail magic. Together they killed Orochimaru, the evil son of a giant serpent.”
“The Jiraiya, Tsunedahime, and Orochimaru legend became the basis of a popular game known as sansukumi, or the “three crouching ones.” It was played in much the same manner as scissors, rock, and paper is today. Participants counted three times, then formed their hands in the shape of a snake, frog, or snail. According to the rules of the game, the snake devours the frog, the frog eats the snail, and the slime of the snail is poisonous to the snake.”
“The exotic weapons wielded with finesse and often brutal consequences by the Chinese heroes featured in Kuniyoshi’s early Suikoden series… contributed tremendously to the popularity of those designs. The weapon used by Japanese heroes were obviously more familiar to warrior print consumers, but Kuniyoshi always seemed to find interesting ways to deploy them. In this print, the exceptionally large gun Jiraiya is about to jam behind the skull of the serpent provides the focal point of this design and the primary axis around which Kuniyoshi constructed this composition.”
Quoted from: Masterful illusions : Japanese prints in the Anne Van Biema collection, entry by Allen Hockley, p. 206.
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