Daikokuten, from the series The Seven Gods of Good Luck in Modern Life - Suzuki Harunobu
Archival giclée
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Description
A refined woodblock print by Suzuki Harunobu depicting a contemporary scene inspired by the deity Daikokuten, from the series The Seven Gods of Good Luck.
This woodblock print by Suzuki Harunobu belongs to the series Tosei Shichi Fukujin, or The Seven Gods of Good Luck in Modern Life. Harunobu is credited with the development of nishiki-e, or brocade prints, which allowed for the use of multiple colours in a single composition. This work demonstrates his mastery of the medium through the precise registration of blocks and the subtle application of pigment.
The scene depicts a contemporary interpretation of Daikokuten, one of the seven gods of fortune. Rather than a traditional religious icon, the figure is presented as a man in everyday attire, carrying a child on his shoulders. The child reaches up to hang a small votive tablet on a pine branch, a common New Year custom. To the right, a woman observes the activity, her posture and kimono design rendered with the characteristic grace associated with Harunobu's figures. The composition balances the domestic narrative with the symbolic elements of the deity, such as the large rice bale upon which the man stands.
Harunobu's work is noted for its slender, ethereal figures and the use of soft, muted colour palettes. The print captures a moment of quiet interaction, typical of the ukiyo-e genre, which focused on the floating world of Edo-period urban life. The inclusion of calligraphy at the top of the print provides a poetic context, linking the visual imagery to the cultural practices of the time. The architectural elements, such as the red post and the simple wooden stand, provide a sense of space without relying on Western-style perspective. This print offers a glimpse into the aesthetic values of mid-eighteenth-century Japan, where classical themes were frequently reimagined through the lens of contemporary fashion and social customs.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Daikokuten, from the series The Seven Gods of Good Luck in Modern Life - Suzuki Harunobu
Artist Biography
Suzuki Harunobu
Harunobu moved away from the stiff portraits of kabuki actors common in his era. He preferred to depict young women in their daily lives, often using an elevated viewpoint to look into private spaces. His series Zashiki hakkei, or Eight Parlour Views, provides a clear example of his method. He took classical Chinese themes and reimagined them as domestic scenes. A temple bell might become a chiming clock. A distant storm is represented by a woman drying herself after a bath.
Modern collectors value these prints for their quiet atmosphere and precise compositions. Harunobu avoided the aggressive energy of later ukiyo-e artists. He chose instead to focus on slender figures and soft colour harmonies. His work captures specific moments of leisure, such as playing cat's cradle or walking by the shore. These scenes offer a calm window into eighteenth-century Japan. They remain popular because they balance historical detail with a clean, graphic sensibility that suits contemporary interiors.
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