Suzuki Harunobu

Nishiki-e is the generic term for the Ukiyo-e multi-colored woodblock prints which were developed and popularized during the Edo era.

Often referred to as Bijin-e or Onna-e from the Edo through the Meiji era, Bijin-ga is a genre of Japanese painting illustrating the beauty of women. Famous works of the genre include Moronobu Hishikawa’s Mikaeri Bijin-zu (Beauty Looking Back).

Hiraga organized the first exhibition of medicinal products in Japan and, as a scientist during the Edo period, created the Elikiter; he also wrote joruri

A master of ukiyo-e prints in the late Edo period, known also for his eccentricities

A ukiyo-e artist of the late Edo period who influenced Vincent van Gogh

A painter who helped develop woodblock prints in their early days; most famous for his composition Beauty Looking Back d. 1694

A mysterious ukiyo-e artist who drew unique pictures of actors in the late Edo period

〔鈴木春信〕

『新古今和歌集』に収録された藤原定家の歌を題材にした見立絵。絵暦の作品で、橋の側面に暦を示す細かな字が描かれる。

鈴木春信、なし

夏の盛りの六月、大川端で涼をとる若衆と茶屋の女を描く。女が持つ団扇に描かれるのは、当時の人気歌舞伎役者・瀬川菊之丞の桔梗紋。

鈴木春信、なし

梅の枝を折ろうとする少年と、それを眺める少女が描かれる。上部には『後拾遺集』の和歌が引用される。

〔鈴木春信//画〕,舟木嘉助〔ほか〕

春信晩年の彩色摺絵本。実在する遊女を四季風俗に沿って描く。青楼＜せいろう＞は「よしわら」とも読む。

鈴木春信 画,西宮新六[ほか1名]

宝暦13年（1763）に刊行された、春信最初期の絵本。

鈴木春信 画,山崎金兵衛

明和5年（1768）に刊行された、墨摺りの和歌絵本。

永井荷風 著,春陽堂

浮世絵を中心に江戸芸術を論じた、大正9年（1920）の永井荷風の著作。

関根只誠 編,六合館

幕末から明治期の演劇研究家・関根只誠による浮世絵師の評伝。

関根金四郎 編,修学堂

明治から大正にかけて活躍した演劇・芸能の評論家・関根金四郎（黙庵）による浮世絵師の評伝。

野口米次郎 著,野口米次郎

詩人・英文学者として明治～昭和初期に活躍した野口米次郎による鈴木春信評。

藤懸静也 著,雄山閣

大正・昭和期の日本美術史学者・藤懸静也による鈴木春信評。

野口米次郎 著,第一書房

野口米次郎 著,京都印書館

関根金四郎 著,萩原新陽館

鈴木春信筆,By Suzuki Harunobu (possibly 1725–1770),東京国立博物館,Tokyo National Museum

笠森稲荷門前の水茶屋「鍵屋」で働いていた看板娘・お仙（笠森お仙）が描かれる。

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

七夕の短冊に願いを書く美人を描いた、明和2-3年（1765-66）の作品。円窓の外には七夕の飾り付けをした笹竹が描かれる。

鈴木春信筆,By Suzuki Harunobu (possibly 1725–1770),東京国立博物館,Tokyo National Museum

明和4-5年（1767-68）頃の作品。『絵本古金鑭』に似た図様が収録される。

鈴木春信筆,By Suzuki Harunobu (1725?-70),東京国立博物館,Tokyo National Museum

<p>瓶から龍を出すという神通力をみせた半托迦（はんたか）という羅漢を美人に変えて描いたもの。江戸時代には、今の年賀状のように元旦に摺り物を交換する習慣があり、これもそうした歳旦摺物のひとつ。昇って行く龍の姿は縁起がいいと喜ばれたのだろう。<br /></p>

鈴木春信筆,By Suzuki Harunobu (1725?-70),東京国立博物館,Tokyo National Museum

鈴木春信筆,By Suzuki Harunobu (1725?-70),東京国立博物館,Tokyo National Museum

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

<p>竹林に集い文雅の交わりをした、古代中国の七人の隠士「竹林七賢（ちくりんしちけん）」は、多くの絵師が取り組んできた画題です。春信はその伝統的な画題を、七人の女性が美しさを競う（妍（けん）を競う）「竹林七妍」の姿にやつして描いています。「賢人もしゃれの浮世や君が春。」<br /></p>

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

<p>This print of a young couple alludes to a famous scene from the literary classic [The Tales of Ise] in which a traveler composes a poem at a plank bridge with blooming irises.<br /></p><br /><p>Two travellers, a young man and woman, stand beside a bridge that spans a flowing river. The travellers, the zig-zagging bridge, and the irises all tell us this is a parody of the “Yatsuhashi Bridge” chapter from The Tales of Ise, an ancient classic of Japanese literature. In the original story, a heartbroken man is approaching a river as he travels from Kyoto to the eastern provinces. The river is divided into 8 separate sections, with a bridge spanning each one, hence the name 'Yatsuhashi,' which means 'eight bridges' in Japanese. The protagonist composed a 5-line poem about his feelings during the trip. He began each line with a syllable taken from the word kakitsubata, the 5-syllable Japanese name for the flowers blooming here. The poem recounts his painful longing for his wife and for Kyoto. In this parody, though, the sad poet has been replaced by a contemporary-looking couple who seem very happy in each other's company. The real Yatsuhashi Bridge no long existed when Suzuki Harunobu produced this work, but it remained a popular, much-loved motif from poems.</p>

鈴木春信筆,By Suzuki Harunobu (possibly 1725–1770),東京国立博物館,Tokyo National Museum

中国の瀟湘八景の「江天暮雪」の見立絵。塗桶にかかぶせた白い綿で、雪を表現している。

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

『古今和歌集』の僧正遍照の和歌『はちす葉のにこりにそまぬ心もて　なにかは露を玉とあさむく」を上部の紅色の雲型に配し、蓮を眺める女性を描く。

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

<p>縄のれんに手をかけ、そっと山吹の枝を差しだす娘は、太田道灌(おおたどうかん)が貧しい家で雨具を借りようとしたところ、｢七重八重 花は咲けども山吹の みの(実の＝蓑)一つだになきぞ悲しき｣(『後拾遺和歌集』)になぞらえ、雨具を断ったという逸話の娘に見立てられたものです。<br /></p>

鈴木春信筆,By Suzuki Harunobu (possibly 1725–70),東京国立博物館,Tokyo National Museum

<p>This image shows a paper seller holding a bow with a letter tied to the arrow. Contemporary viewers were expected to connect Harunobu's playful image to a famous scene of the 12th-century [Tale of Heike].<br /></p>

鈴木春信筆,By Suzuki Harunobu (1725?–70),東京国立博物館,Tokyo National Museum

<p>This ukiyo-e woodblock print was created by Suzuki Harunobu. It depicts a woman standing by the water's edge with an umbrella. In the background lies a willow tree. A frog peeks out from the stream, while another jumps up at a willow branch. The scene is based on an anecdote about the renowned Heian-period calligrapher Ono no Tofu. After failing time and time again, it is said that Tofu redoubled his efforts and finally attained greatness after observing a frog making several leaps before achieving its goal. <br /><br />This episode was also featured in a puppet show that debuted during the Edo period in 1754. At the time this print was made, many people would have recognized it as a parody of Ono no Tofu solely from the willow, frog, rain, and umbrella motifs. Harunobu has elegantly used a young woman to represent Tofu here.</p>