page_title: Zashiki Hakkei
section_title: Publication
hierarchical_section_title: Zashiki Hakkei / Publication
caption_attribution_description: English: Wrapper to Japasnese artist Suzuki Harunobu's ukiyo-e print series Zashiki Hakkei
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: The series appeared in chūban size from the publisher Shokakudō of Yokoyama-chō in Edo (modern Tokyo) in c. 1766.  As was common at the time, the higher-quality first printing of the series bore the seal of the client who commissioned it: Kyosen (巨川), for Ōkubo Kyosen.  Kyosen distributed some of the print sets, which came in an expensive paulownia box in which a packet wrapping the prints displayed Harunobu's name and the titles of the prints, which did not appear on the prints themselves in this printing.
  Shōkakudō republished the prints for the general public with Harunobu's name on the wrapper, on which it advertised the new full-colour technique as Azuma nishiki-e ("brocade pictures of the Eastern Capital"—"Azuma" refers to the country's administrative capital Edo, found in eastern Japan).  The publisher sold this edition of the set without Kyosen's seal, and with an index sheet listing the names of the prints.  The publisher sold the prints individually without a wrapper from the third printing on with Harunobu's seal on them.  Later printings appeared from other publishers as well, some of the full set, others of individual prints, sometimes with certain prints reused in other series.
  Art historians have traced major compositional elements in Harunobu's work to earlier works by artists such as Nishikawa Sukenobu (1671–1750), Okumura Masanobu (1686–1764), Ishikawa Toyonobu.  Harunobu's appropriations are so close in detail to the originals that he appears not to have tried to hide them.  Art historian Akiko Tanabe considered this a deliberate approach demonstrating Harunobu's appreciation of the traditional themes of his art.
  Harunobu produced an erotic shunga version of the series in c. 1768–70 titled Fūryū Zashiki Hakkei "Eight Fashionable Parlour Views" or "Eight Modern Parlour Views").  These were also in chūban size, and were likely sold separately, whereas the original Zashiki Hakkei was sold at first as a bundle.  Art historians did not have access to a complete set of Fūryū Zashiki Hakkei until 1994.  Tadashi Kobayashi published the first study of the complete in 1999.  Monta Hayakawa provided an in-depth interpretation of mitate elements in them in a book on Harunobu's use of mitate in 2002.
  It is thought that Kyosen had the prints based on kyōka poems by Fukuo Kichijirō and Nagata Teiryū (1654–1734); both had produced sets of poems on the Eight Views of Xiaoxiang, Teiryū in c. 1722 and Kichijirō in c. 1725.  Kyosen and Harunobu were almost certainly familiar with their work, and the poems on the Fūryū Zashiki Hakkei prints bear a close resemblance to Kichijirō's.  Kichijirō, from Owari Province, put his humorous Zashiki Hakkei in domestic settings.  He was an adolescent when his series appeared in the Kyōhō Sesetsu, a collection of poetry assembled in the Kyōhō era (1716–36).  The Kyōhō Sesetsu exists only in hand-written manuscript copies, amongst which there may have been small differences.  Because not one of Harunobu's is precisely the same as known copies of Kichijirō's, it is likely they were based on Kichijirō's with changes made.  It is possible they came from a copy of the manuscript unknown to scholars, but differences in known copies are slight.
  Harunobu re-used compositional elements from the series in other prints, as did other artists.  There is a series on the four seasons that uses rearranged visual elements from Zashiki Hakkei with the poems from Fūryū Zashiki Hakkei attached; it is signed "Harunobu" but is likely the work of Shiba Kōkan, who signed many of his works with Harunobu's name.  In c. 1777 Torii Kiyonaga (1752–1815) produced two of his own versions of Harunobu's Zashiki Hakkei under the titles Fūryū Zashiki Hakkei (1877) and Zashiki Hakkei Mono (1778), to both of which he added the poems from Harunobu's Fūryū Zashiki Hakkei.  Kiyonaga's versions modernize the styles of the hair and kimonos and rearrange the figures and viewpoints of Harunobu's originals.
  Zashiki Hakkei has come to be seen as a representative example of Harunobu's work.  The art scholar Monta Hayakawa considers 
caption: Wrapper to the private first printing of Zashiki Hakkei
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