Artist: Suzuki Harunobu (鈴木春信)

Print: Komachi at Kiyomizu Temple - Shimizu (しみづ)
from the series Seven Fashionable Komachis (Fūryū nana Komachi - 風流七小町)

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Dates: 1768 - 1769,created
Dimensions: 4.25 in,26.3 in,Overall dimensions
Medium: color woodblock print

Signed: Suzuki Harunobu ga (鈴木春信画)
Publisher: Harimaya Shinshichi (Marks 97 - seal 01-002)

Related links: Museum of Fine Arts, Boston; Museum of Fine Arts - Torii Kiyomasu II print of Komachi visiting Kiyomizu - 1735-40; Art Institute of Chicago - Eishi, ca. 1788 of same scene; Google maps - Kiyomizu-dera, Kyoto;

Physical description:

A lady and her attendant walking past a cascade of water pouring from a stone spout above them. Pins 143.

Publisher seals rarely appear on Harunobu prints. In the copy shown in black and white in Pins there is no such seal. The intensity of the inking of this seal makes us feel that it might have been added at some point (long) after the publication of this print. However, there is another example of this same printing at the Museum of Fine Arts, Boston - (see the related link added above) - which bears this same block-like stamp. No other examples of this publisher's seal appear this way.

The example in Boston entered their collection in 1911 with the donation of prints by William Sturgis Bigelow.

The title to this print is supplied by the text shown above Komachi and her attendant. But much of that text is missing from the example in the Lyon Collection due to to previous damage. Fortunately it appears in full on the example in Boston.


The poem at the top, which is only partially showing due to damage, is the same as a poem on another Harunobu print based on the same theme.

nani wo shite
mi wo itazura ni
obi token
taki no keshiki
kawaranu mono wo
Come what may, from my
body I seem to loose the
sash to no avail -
since the waterfall has not
changed its appearance at all!


"The publisher's mark on the Boston print [and the one in the Lyon Collection] looks like a later addition. There are specimens of an earlier state, lacking this mark in Bristol and in an unknown private collection."

Quoted from: The Harunobu Decade by David Waterhouse, vol. 1, text, p. 311.