Today the name of the painter Suzuki Harunobu (鈴木 春信, Spirit Wood Xuan Tin, 1725?–1770) of the Ukyo-e Fufu painting style is often overshadowed by world-renowned names such as Hokusai and Utamaro, but in Ukyo-e history, he was a painter who made an important revolution. In particular, in the world of woodblock painting mainly in black ink (sumizuri) (see picture), Harunobu was the first artist, in 1765, to create multicolored woodblock paintings (see picture). These Troubled woodblocks add vibrant colors and subtle craftsmanship that had previously been essentially black and white, creating a visual shock to the Edo townsfolk of the time, indeed, throughout Japan. This type of woodblock painting is called Edo-e (Edo painting) or nishiki-e (錦絵 brocade painting, “brocade painting”, interwoven like brocade with colorful patterns). Haronobu uses a variety of special techniques and depicts a wide variety of documentary subjects, from classical poetry to contemporary beauties. Like many other artists, Harunobu created many shunga or spring paintings. One’s life is very little known.
Torii Kiyonobu I, founder of the Torii school with monochrome woodblock prints, A prostitute painting on a screen, 1711
Suzuki Harunobu, The Carpenter, 1765, the combination of the vibrant colors of the kimono with the bleached red background, Must have surprised the people of Edo at the time, as they were familiar with black and white sumizuri paintings.
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Holding the pedestal of the mandarin (The lute sachets down on the fretboard), the miitate of the Binh sa Nhan Lac 平沙雁落 (The sandal harem)Poem title: Is it because of the passionate music, the first fiddle of this year, fell from the sky. This is the full meaning minimization technique. The following scene is a screen depicting the scene of the piano swooping down on the sand, viewers can easily recognize the string of koto keys that the young girl is playing, an imitation for “lost swallow” and the top of the koto is an imitation for “jar sa”. In the painting depicting the first love of a very young couple, the boy put his arm around the girl’s shoulder who was playing the piano, they were about to get married. The squid dog turned away as if not seeing the romance of its owner.
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(Light of the Lantern), mitate of Fisherman’s Village (漁村夕照)The wife holding the Lantern Hairpin entered a scene: the husband in a feverish climax in the small room below the stairs. We see the wife kissing the iwataobi (a pregnant woman’s cloth wrapped around her belly to protect the fetus) so it can be guessed that she is suspecting that her husband has a fat cat, here it is with a girl.The dub mute that the wife holds is an imitator of ‘passionate’. In other words, the pregnant wife is the miitate of the “afternoon”, the transition from the sun forbidden to the morning, and the sunset, and then the lights go out. Caring for the husband now turns to the “house light” for the daughter in the house. The events of her husband’s unfaithfulness changed like an unforeseeable twilight.The contrast between the hot wife’s face and the still dazed daughter, while the husband in the middle had a natural expression that realized something had happened.
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Tomb of Snow 塗桶の暮雪 (Snow in the afternoon on a cotton shelf), the lady of Jiang Tianxue 江天暮雪 (Zhao Snow on the River)Poetry: The foot of Mount Fuji has color, but when I look up at the dark sky, it’s filled with white snow. This poem compares the snowy mountain Fuji at dusk to “the snow on the river”. In the picture is a cotton rack that contrasts the exposed black lacquered bottom with the white cotton canvas upper that soothes Mount Fuji. In Edo at that time, women spread cotton sheets, behind them often hunting prostitutes. In the picture, a man and a woman make love in a cotton room, behind the man is an accounting book on which there is a “cotton notebook” written on it, one can guess that he is a handy one-stop clerk who comes to collect cotton goods, and the professions of these two types of people often interact.