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Photo 1/3 du lotsketches of a drawing of a man with a sword in his handdrawing of a man with a sword in his hand on a sheet of paper
FRANCOIS EPIN ART & DESIGN CONSULTING

104 - Naruto (ナルト) Madara Uchiha Doga in graphite and coloured pen…
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Estimate €300 - €500
Sale commission
Description
Naruto (ナルト) Madara Uchiha Doga in graphite and coloured pencils, created for the anime, based on the work of Masashi Kishimoto (岸本 斉史) and Hayato Date (伊達 勇登). Produced by Studio Pierrot 2002–2017, Japan H21 L26.5 cm The pose and what it conveys There is an inversion in this dôga that sets it apart from almost all other depictions of Madara Uchiha in the series. Madara is almost always shown in a posture of initiative: standing tall, commanding, looking down upon an opponent or a battlefield. He is the one who strikes, who decides, who sets the pace. This posture is the visual embodiment of his philosophy: power as a given, domination as a natural state. This dôga shows him in the opposite state. Arms crossed in front of his face, body hunched in on itself, gaze concealed behind the guard — this is the posture of someone who is on the receiving end. Who is taking the blows. Who is resisting something powerful enough to force this response upon him. This nuance is narratively precise. In the final arcs of Naruto Shippūden, Madara in his Six Paths form faces, for the first time, opponents capable of standing up to him — Naruto and Sasuke, bearers of Hagoromo’s seals; the Kage in a combined formation; and the Bijū freed from their seals. This scene captures the moment when Madara’s invincibility is no longer a given — when his defence must be active rather than implicit. This is not a weakness. It is something far more interesting: the revelation that even absolute power has its limits, and that Madara knows it. The Six Paths Armour The armour Madara wears in this scene is that of his ultimate form — attained after absorbing the Jūbi and receiving a portion of Hagoromo’s power via Black Zetsu. A segmented breastplate with geometric lines, massive shoulder guards, arm guards, a flowing cape: this is armour that belongs less to the military realm than to the mythological. It evokes Buddhist depictions of celestial guardians — the Niō, the Deva Kings — whose very purpose is to keep the forces of chaos at bay. The irony that Kishimoto has crafted here is characteristic of his approach to visual symbolism. Madara wears the armour of the guardians, but he is not a guardian — he is himself the force of chaos that this armour is meant to repel. He has turned the form against its meaning, just as he has turned the dream of peace into a plan for destruction. The sphere and the impact The arc of orange chakra enveloping the character is the visual trace of a strike of extraordinary power — a Bijūdama, a combined technique by allies, or the impact of an attack by Naruto in Six Paths Mode. The way the shards scatter around the point of impact suggests that something formidable has just struck this defence. The animators at Studio Pierrot had to solve a specific visual problem here: making the power of an attack visible not through the attacker but through the one receiving it. The solution – the impact sphere, the shards, the stance of resistance – is one of the most visually elaborate in the series. Cut AK19 places this moment within a specific sequence of an episode, and this dôga captures the tension in its purest form.
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About the sale Knights, Armour and Samurai + Animation Art Selection
Auction location
Auction time 06/28/2026 at 3:00 PM
Pictures credits: Contact the Auction House
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