Surimono were privately published and emerged during the 18th century in two main forms; as an announcement of a special event; and as prints indivisually commissioned by poetry groups to serve as a vehicle for illustrating their poems. They share two features which differ from the commercial single sheet prints of the period. Their text was of equal importance to the illustration, and because the prints were privately commissioned, they do not have censorship seals and publisher’s marks. Surimono reached their apogee during the first third of the 19th century. The kakuban, or square format, because popular and many ukiyo-e artists were commissioned to design them. Two major groups of artists dominated production: Hokusai and his school, specializing in still life, landscape and illustrations of Japanese and Chinese legends; and the Utagawa school. Hokusai, who began his career as a surimono artist in the late 18th century, was a major influence on the development of this art form.
The present lotis an extremely rare example of surimono to retain the original overleaf section. The overleaf of this lotinscribes a program for theatrical performances organized by the renowned Tomimoto School shamisen players. The words Sen shu banzai daidai kano is wish for a safety and success of the performances. For a similar surimono by the artist, see Matthi Forrer, Hokusai, Prints and Drawings (Munich/London: Prestel-Verlag/Royal Academy of Arts, 1991), pl. 94.