Comparison of Sharaku( Shunrou)and Shunei’s techniques

 

                          Shun-ei                 Shun-ro                  Kiyo-masu

Muscled male body had been good motif in Japanese art.

The left and the center pictures are by Katukawa painters and the right one is by Torii Kiyomasu.

The positions of the ring and standing positions of the two wrestlers are almost the same ,　which suggests that these two artist worked competitively.

Left work by Shunei is inferior to the painting by Shunrou on the center in terms of harmony and balance.

Still, there is an irresistible line of fun that reminds us of the style of early ukiyo-e painter Torii Kiyomasu on the right.

The picture of Kiyomasu on the right is free and succeeds in creating a unique shape because there is no real model, but the highest technique.

These personal impressions can be quantified by the model.

             Shun ei [Sumo e] arc model

              Shun-ei  [Sumo e]  framed circle cross model

 Purple units of Mawashi belts form the basic structure.

Smaller circles form groups and are locally distributed:

The blue circle is on the lower left side, the vermilion is on the upper right, the green circle is on the lower right, and the green circle is on the lower left.

Shunrou [Kimenzan Dewanoumi] circle-arc model

The largest blue circle forms the foundation structure.

The third largest red circle is distributed throughout, which has an overwhelming harmony effect.

Shunrou [Kimenzan Dewanoumi]

the smallest unit of shape is an arc.

 an arc is the part of the circle.

The circle has vertical and horizontal diameters and can be framed by a square, which I call a framed circle-arc unit.

When the units overlap, the balance effect can be easily obtained.

Just by looking at two sumo-e

It can be said that the two Katukawa school artists had used the same technique.