page_title: Zashiki Hakkei
section_title: Tokei no banshō
hierarchical_section_title: Zashiki Hakkei / Description and analysis / Tokei no banshō
caption_attribution_description: 日本語: 二挺天符櫓時計。和時計の一つ。江戸中期。国立科学博物館の展示。 English: Nicho Tenpu Yagura-dokei (Lantern clock with a double foliot mechanism). One of the Wadokei (Japanese clocks). Mid-Edo period. Exhibit in the National Museum of Nature and Science, Tokyo, Japan.
context_page_description: Zashiki Hakkei is a series of eight prints from 1766 by the Japanese ukiyo-e artist Suzuki Harunobu. They were the first full-colour nishiki-e prints and are considered representative examples of Harunobu's work. The prints are mitate-e parodies of popular themes of the 11th-century Chinese landscape painting series, Eight Views of Xiaoxiang; Harunobu replaces natural scenery with domestic scenes.
  Harunobu made an erotic shunga version of the series in c. 1768–70 called Fūryū Zashiki Hakkei, each accompanied with a poem. He appropriated images and poetry for them from works by earlier artists, particularly those of the artist Nishikawa Sukenobu and the poet Fukuo Kichijirō.
  The Zashiki Hakkei theme became popular with artists such as Torii Kiyonaga, who produced two series based on Harunobu's Zashiki Hakkei in the late 1770s, and Isoda Koryūsai, who produced a Zashiki Hakkei series of his own.
context_section_description: Tokei no banshō (時計の晩鐘, "Evening Bell of the Clock") parodies Evening Gong at Qingliang Temple (烟寺晩鐘 Enji banshō).
  The print depicts the proprietress of a bathhouse relaxing on the veranda outside the baths.  A female servant attends to her while looking back at a Japanese clock inside.  The indicates the evening hour, alluding to the evening gong, and sits upon a tall stand, alluding to the mountain Qingliang Temple sits upon.
  In the Fūryū Zashiki Hakkei version a female servant peeps from behind a fusuma sliding door at a man and woman having sex, a common theme in Harunobu's shunga prints as typified in his Maneemon series.  As in the original, a clock at the far right edge alludes to the gong in The Evening Gong at Qingliang Temple.  The clock and the thick bedding were costly items at the time and indicate the home of a wealthy merchant.  The composition and the poem about "becoming extremely lonely" draws attention to the servant, rather than the copulating couple as would be expected in an erotic print.
  Harunobu appears to have combined images from two e-hon for the composition of Fūryū Zashiki Hakkei.  The copulating pair share the positioning of a couple in the final volume of Sukenobu's Furyū Iro Hakkei of 1715, and Harunobu appears to have appropriated the peeping servant from the anonymous Nanshoku Yamaji no Tsuyu of c. 1733.
caption: A 17th-century Japanese clock on a stand
exif: {}