The identity of the mysterious Edo print artist, Tōshūsai Sharaku, has been the subject of numerous theories and postulations since the Edo period. An examination of stylistic fea­tures, such as Sharaku's choice of subject matter and method of depicting highly individualized facial expressions and bodily postures, shows strong similarities to the work of Shunro (an early name used by the great landscape artist Katsushika Hokusai). Additional consideration of political and personal artistic concerns which would have lead a great artist such as Hokusai to guard his true identity so closely serve to solidify the theory that these two artists were in fact the same person.