Prayers for Rain, from the series Seven Elegant Komachi - Kitagawa Utamaro
Archival giclée
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Description
A refined Ukiyo-e woodblock print by Kitagawa Utamaro, depicting a woman and child beneath a parasol from the Seven Elegant Komachi series.
This woodblock print by Kitagawa Utamaro belongs to the series Seven Elegant Komachi, a collection that reimagines the life of the ninth-century poet Ono no Komachi within the contemporary context of the Edo period. Utamaro, a master of the bijin-ga genre, focuses here on the domestic sphere rather than the courtly life typically associated with the historical figure. The composition features a woman holding a child beneath a large, circular parasol. The parasol serves as a structural element, framing the figures and providing a sense of enclosure. The child, dressed in a patterned kimono, rests against the woman, whose expression remains calm and composed.
Utamaro employs a refined line quality to define the contours of the figures and the delicate folds of their garments. The colour palette is restrained, relying on soft earth tones, muted reds, and black ink to create a balanced visual experience. The background is kept minimal, allowing the viewer to focus on the interaction between the mother and child. The series title refers to the legendary seven poems attributed to Komachi, with each print in the set referencing one of these works through visual metaphor or thematic allusion. In this instance, the reference to prayers for rain is suggested by the presence of the parasol, a common accessory for protection against the elements. The print demonstrates the artist's ability to blend classical literary themes with the everyday lives of the people of Edo. The technical execution, from the precise registration of the woodblocks to the subtle application of pigment, reflects the high standards of the Ukiyo-e tradition during the late eighteenth century. This work provides a window into the aesthetic values of the period, where elegance and simplicity were highly regarded in print production.
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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
Prayers for Rain, from the series Seven Elegant Komachi - Kitagawa Utamaro
Artist Biography
Kitagawa Utamaro
Almost nothing is certain about his early life. He was born around 1753, possibly in Edo, possibly in Kyoto, possibly in Kawagoe. He began publishing prints in the 1770s under the guidance of the publisher Tsutaya Juzaburo, who recognised what Utamaro could do with a portrait of a woman.
What he could do was unprecedented. He invented the okubi-e format: large head-and-shoulders portraits of individual women, mostly from the Yoshiwara pleasure district, printed in close-up with minimal background. Before Utamaro, bijin-ga (pictures of beautiful women) showed groups of figures in full length. He isolated the face, the tilt of the head, the expression. The prints are psychologically specific in a way that had not existed in Japanese printmaking.
He also published books of insect studies and volumes of shunga (erotica), and he made portraits of ordinary town women, not just courtesans. Ohisa and Okita, two shopgirls who appeared in his Three Beauties of the Present Day, became famous across Edo because of his prints. He turned real people into celebrities, which may be the first documented instance of an artist functioning as a kind of media platform.
Tsutaya Juzaburo died in 1797. Utamaro was reportedly devastated. Some critics feel his work never reached the same level afterward. He produced over two thousand prints in his career.
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