The subjects were usually landscapes with small figures, but other subjects,
such as
Genji
are also encountered; the latter continued a long tradition of decorating
domestic objects with Genji-related imagery. They come in two different
shapes; the so-called 'fan' shape, and 'kidney' shaped. Both formats are
actually fan-shaped, in the sense that they are both representing two
different uchiwa contours that were 'en vogue' in the 18th century.
Most are produced using the hand-coloured
urushi-e
technique, although some also had areas of metallic power applied. The cloudy
areas outside the main cartouche were produced using a technique known as
fuki-bokashi
or fuki-e.
This page attempts to catalog all known haribako-e (although it is by no
means complete).
Note:
If you know of any haribako-e that aren't listed here, please let me know
(and scans are really appreciated, so that I don't have to track down the
reference).
| Thumbnail |
Number |
Source |
 |
#1, "Kiritsubo (The Paulownia Court)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19127 |
 |
#2, "Hahakigi (The Broom Tree)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19131 |
 |
#3, "Utsusemi (The Shell of the Locust)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19130 |
 |
#6, "Suetsumuhana (The Safflower-Princess)" |
"Japanese and Chinese Prints: The Walter Amstutz Collection",
Sotheby's, Tokyo, 1991; #28, pp. 64-65
|
 |
#9, "Aoi (Heartvine)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19129 |
 |
#13, "Akashi" |
David Waterhouse, "Images of Eighteenth Century Japan",
Royal Ontario Museum, 1975;
#40, pp. 82-83
|
 |
#13, "Akashi" |
Rose Hempel, "Ukiyo-e: Die Kunst der Heiteren Vergänglichen Welt, Japan
17.-19. Jahrhundert - Sammlung Scheiwe",
Villa Hugel, Recklinghausen, 1972;
#34, pp. 28
|
 |
#14, "Miozukushi (Pilgrimage to Sumiyoshi)" |
David Waterhouse, "Images of Eighteenth Century Japan",
Royal Ontario Museum, 1975;
#41, pp. 84-85
|
 |
#15, "Yomogiū (The Overgrowth of Weeds)" |
Art Institute of Chicago - Buckingham collection; (1927.1381)
Margaret O. Gunsaulus, "The Clarence Buckingham Collection of Japanese
Prints: Volume I - The Primitives", Art Institute of Chicago,
Chicago, 1955; #16, pp. 191-192
Howard Link, "Ukiyo-e Prints and Paintings of the Primitive Period",
AIC, 1971; #179, pp. 119
|
 |
#15, "Yomogiū (The Overgrowth of Weeds)" |
Rose Hempel, "Ukiyo-e: Die Kunst der Heiteren Vergänglichen Welt, Japan
17.-19. Jahrhundert - Sammlung Scheiwe",
Villa Hugel, Recklinghausen, 1972;
#35, pp. 28
|
 |
#16, "Sekiya (The Gatehouse)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19133 |
 |
#16, "Sekiya (At The Pass)" |
Rose Hempel, "Ukiyo-e: Die Kunst der Heiteren Vergänglichen Welt, Japan
17.-19. Jahrhundert - Sammlung Scheiwe",
Villa Hugel, Recklinghausen, 1972;
#36, pp. 28
|
 |
#17, "E-Awase (Picture Contest)" |
David Waterhouse, "Images of Eighteenth Century Japan",
Royal Ontario Museum, 1975;
#42, pp. 86-87
|
 |
#18, "Matsukaze (The Wind in the Pines)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19132
Timothy Clark et al, "The Dawn of the Floating World 1650-1765",
Royal Academy of Arts, London, 2001; #102, pp. 246-248
|
 |
#19, "Usugumo (Wisps of Cloud)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19128 |
 |
#21, "Otome (The Maiden)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19141 |
 |
#22, "Tamakazura (The Jeweled Chaplet)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.19140 |
 |
#27, "Kagaribi (Flares)" |
Museum of Fine Arts - William Sturgis Bigelow Collection;
11.13334
Timothy Clark et al, "The Dawn of the Floating World 1650-1765",
Royal Academy of Arts, London, 2001; #103, pp. 246-248
|
 |
#28, "Nowake (The Typhoon)" |
Siegfried Salzmann, Andreas Kreul, "Szenen aus dem Alten Japan: Japanische
Farbholzschnitte aus eigenem Besitz", Kunsthalle, Bremen, 1993;
#11, pp. 38ff
|
 |
#29, "Miyuki (Imperial Progress)" |
David Waterhouse, "Images of Eighteenth Century Japan",
Royal Ontario Museum, 1975;
#9, pp. 34-35
|
 |
#31, "Makibashira (Handsome Pillar)" |
Siegfried Salzmann, Andreas Kreul, "Szenen aus dem Alten Japan: Japanische
Farbholzschnitte aus eigenem Besitz", Kunsthalle, Bremen, 1993;
#12, pp. 38ff
|
 |
#32, "Umegae (Plum Tree Branch)" |
Rose Hempel, "Gems of the Floating World: Ukiyo-e Prints from the
Dresden Kupferstich-Kabinett", Japan Society, New York, 1995;
#5, pp. 26-27
|
 |
#34, "Wakana no Jō (Spring Shoots)" |
"Genshoku Ukiyo-E Daihyaaka Jiten 3", Tokyo, 1982;
#229
|
 |
#39, "Yūgiri (Evening Mist)" |
Philadelphia Museum of Art; 31-54-85
David Waterhouse, "Early Japanese Prints in the Philadelphia Museum of Art",
University of Toronto, Toronto, 1983; #14, pp. 28
|
 |
#39, "Yūgiri (Evening Mist)" (Note: The text says
this is chapter 38, but that is incorrect; both the number and
genji-mon are for 39.) |
Rose Hempel, "Ukiyo-e: Die Kunst der Heiteren Vergänglichen Welt, Japan
17.-19. Jahrhundert - Sammlung Scheiwe",
Villa Hugel, Recklinghausen, 1972;
#37, pp. 28
|
 |
#47, "Agemaki (Trefoil Knots)" |
David Waterhouse, "Images of Eighteenth Century Japan",
Royal Ontario Museum, 1975;
#10, pp. 36-37
|
| Thumbnail |
Number |
Source |
 |
#1, "Kiritsubo (Paulownia Pavilion)" |
Klefisch, Asiatische Kunst, Auktion 83, 10 Dezember 2005; # 1A, p.15 |
 |
#2, "Hahakigi (The Broom-Tree)" |
Musée Guimet, Paris; MA2113(01)
|
 |
#13, "Akashi" |
Klefisch, Asiatische Kunst, Auktion 83, 10 Dezember 2005; # 1A, p.15 |
 |
#14, "Miotsukushi (Pilgrimage to Sumiyoshi)" |
Weatherspoon Art Museum, University of North Carolina at Greensboro,
Gift of Dr. Lenoir C. Wright, 1996; 1996.22.1
|
 |
#15, "Yomogiu (Waste of Weeds)" |
Klefisch, Asiatische Kunst, Auktion 83, 10 Dezember 2005; # 1A, p.15 |
 |
#16, "Sekiya (The Barrier-Station)" |
Musée Guimet, Paris; MA2113(02)
|
 |
#22, "Tamakazura (Tendril Wreath)" |
Weatherspoon Art Museum, University of North Carolina at
Greensboro, Gift of Dr. Lenoir C. Wright, 1996;
1996.22.2-1996.22.5
|
 |
#26, "Tokonatsu (Pink)" |
 |
#35?, "Wakana: Ge (Spring Shoots II)"
Note: The
genji-mon
shown in this print quite clearly seems to be that for Chapter #1 - but the
number written next to the title cartouche in
kanji
seems to be "35" (definitely '30-something'), and another print (see above)
has been identified as Chapter #1.
|
 |
#37, "Yokobue (Flute)" |
 |
#38?, "Suzumushi (Bell Cricket)"
Note: Another numbering mystery: the genji-mon shown in
this print quite clearly seems to be that for Chapter #34 ("Wakana no
jō") - but the number written next to the title cartouche in
kanji is clearly "38".
|
Private collection
|
 |
#53, "Te'narai (Writing Practice)" |
Klefisch, Asiatische Kunst, Auktion 83, 10 Dezember 2005; # 1A, p.15
|
 |
#53, "Te'narai (Writing Practice)" |
Lempertz Auktion #726, December/1995; #1258
|
Unknown (Attributed to Kiyomasu II)
From a series of four (almost certainly).
This print clearly belongs to a series about the four seasons, but the exact
title, and artist, are as yet unknown.
However, in the 1720's-30's period, it was common for the same series themes to
be used in both haribako-e and vertical
hosoban
series, and there is a hosoban series by Kiyomasu II on the seasons,
'Shiki no Hyakushō (Four Seasons of the Farmer)', which is
another possibility for the title. This latter series is especially
interesting, because the Winter scene from that series,
illustrated
in:
Gunhild Avitabile, "Early Masters: Ukiyo-e Prints and Paintings
from 1680 to 1750", Japan Society, New York, 1991; pp. 98-99
shows many very marked similarities to this print, including the title, so
it's likely this that print is from a haribako-e series of the same name by
Kiyomasu II.
Also, Toshinobu did a haribako-e
series
on this theme, 'Shiki no Asobi (Pleasures of the Four Seasons)', and
so given the title, this print is surely some artist's take on that, or a
similar, subject.
