Young Man Riding a Giant Tortoise (Parody of Urashima Taro) - Suzuki Harunobu
Archival giclée
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Description
A refined woodblock print by Suzuki Harunobu, depicting a young man atop a giant tortoise in a playful parody of the classic Urashima Taro folktale.
This woodblock print by Suzuki Harunobu depicts a young man seated upon the back of a large tortoise, a clear reference to the Japanese folktale of Urashima Taro. Harunobu, a master of the nishiki-e (brocade print) technique, uses a delicate palette and refined line work to present this scene. The work functions as a mitate-e, or parody print, where classical themes are reinterpreted through the lens of contemporary Edo-period fashion and aesthetics.
The figure is dressed in the attire of a young man of the period, holding a fishing rod, which aligns with the traditional narrative of the fisherman who visits the undersea palace of the Dragon King. The tortoise, rendered with decorative patterns on its shell, serves as the mythical vessel for this journey. Harunobu avoids heavy shading, opting instead for flat planes of colour and subtle gradients that define the forms of the figure and the creature. The background features a stylised sun, adding a graphic element to the composition.
Harunobu was instrumental in the development of multi-coloured printing in the 1760s. His prints are known for their slender, graceful figures and their ability to blend literary allusion with the everyday life of the floating world. This specific print demonstrates his skill in balancing the fantastical nature of the subject with the grounded, humanised portrayal of the protagonist. The inclusion of calligraphy at the top of the print integrates text with image, a common practice in ukiyo-e that adds a layer of poetic context to the visual narrative. The print remains a fine example of the sophisticated print culture that flourished in Japan during the mid-eighteenth century.
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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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Young Man Riding a Giant Tortoise (Parody of Urashima Taro) - 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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