Parody of the Nō Play Hakurakuten - Suzuki Harunobu
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Description
A refined woodblock print by Suzuki Harunobu, depicting a contemporary parody of a classical Nō play through the interaction of two figures in boats.
This woodblock print by Suzuki Harunobu belongs to the nishiki-e, or brocade print, tradition that emerged in the mid-eighteenth century. Harunobu is credited with the technical refinement of multi-colour printing, which allowed for a greater range of pigments and subtle tonal shifts. This work functions as a mitate-e, a parody or contemporary adaptation of a classical theme. The subject references the Nō play Hakurakuten, which depicts a meeting between the Chinese poet Bai Juyi and a Japanese deity. Here, the artist replaces the traditional figures with a Chinese scholar and a Japanese woman, each holding a scroll. The scholar displays an ink orchid painting, while the woman holds a pillar print, a format Harunobu himself popularised.
The composition is balanced across two boats, creating a sense of gentle movement on the water. The figures are rendered with the slender, ethereal proportions characteristic of Harunobu's style. Their garments are decorated with distinct patterns, such as the cranes on the woman's kimono, which demonstrate the precision of the woodblock carving. The colour palette is restrained, relying on soft ochres, muted greens, and subtle greys to maintain a harmonious atmosphere. The use of negative space, particularly in the water and the sky, directs the viewer's attention to the interaction between the two figures. This print is an example of the intellectual playfulness common in Edo-period art, where viewers were expected to recognise the classical source material while appreciating the contemporary reinterpretation. The inclusion of a print within the print serves as a meta-commentary on the medium of ukiyo-e itself, acknowledging the popularity of these works among the urban population of Edo. The work remains a clear representation of the aesthetic values of the period, prioritising grace, literary allusion, and technical mastery.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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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
Parody of the Nō Play Hakurakuten - 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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