Hokusai. Thirty-six Views of Mount Fuji

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The snow at the peak of the mountain contrast with the dark shadows of the forest at its base. The delicate clouds balance Mt. Fuji’s solid symmetrical shape on the right half of the image to the left. Hokusai captures this moment with abstraction but symbolic specificity. The three shades of deepening blue of the sky mirror the three hues of the mountain.

Smith, Henry D. II (1988). Hokusai: One Hundred Views of Mt. Fuji. George Braziller, Inc., Publishers, New York. ISBN 0-8076-1195-6. Hokusai later made a book named One-Hundred Views of Mount Fuji. It was published around 1835. It had drawings of one-hundred different views of Mount Fuji in it. [3] Prints [ change | change source ] First thirty-six prints [ change | change source ] No.

The Evolution of The Great Wave off Kanazawa: See Four Versions That Hokusai Painted Over Nearly 40 Years As always, use these tips for how to look at art with kids. Always let them look and think about it before you give them any information! Also, use my free art appreciation worksheets with these works to help your students form a deeper connection with the art. Hokusai was a prolific printmaker of the Edo period in Japan. He worked in the late 1700s and early 1800s and created hundreds of gorgeous prints. The ukiyo-e prints overall all seem to have a set of similar characteristics. The common characteristics of an art period or style are called the conventions. Hokusai's "Thirty-six Views of Mount Fuji" is justly celebrated as one of the world's greatest series of images of various conditions and vantage points of a particular place, in this case, the mountain synonymous with Japan. Juxtaposed here with the clear brilliant calm of "South Wind, Clear Sky" (the "Red Fuji"), the Storm Below Fuji reveals the expressive range and power of Hokusai's vision. Forky across the inky base, a bolt of white lightning dramatizes the sudden change from a cloud filled summer sky to the murky violence that obscures all below Fuji's magnificent cone. Gray, Basil, 'The Work of Hokusai-Woodcuts, Illustrated Books, Drawings and Paintings: A Catalogue of an Exhibition held on the Occasion of the Centenary of his Death', British Museum, London, 1948, no. 62.

Hokusai portrays a farmer with a horse and the angler hand seemingly over the shade looking up to The Mount Fuji. They may be talking about the panoramic view of the mountain as the horse walks leisurely. The geometrical sluice gate is drawn in front to highlight the beauty of the mountain. Thirty-six Views of Mount Fuji is a series of landscape prints by Hokusai that depicts Mount Fuji from different locations and in various seasons and weather conditions. Binyon, Laurence. 'A Catalogue of Japanese and Chinese Woodcuts in the British Museum'. London, British Museum, 1916, [Hiroshige] no. 533.The picture shows a group of men and women on the terrace of a tea house, looking up at Mount Fuji. The tea house might appear to be an innocent location but, at the time Hokusai was working, a tea house was often a place for a couple to meet privately. Nevertheless, as everyone gazes at the transformed landscape, there is a suggestion of awe and wonder at the change brought about by the snowfall. A collection of Thirty-six Views of Mount Fuji prints contained in the wellness spa of the Costa Concordia was lost during the collision of the ship on January 13, 2012. [8]

Mount Fuji’s exceptionally symmetrical cone, which is snow-capped for about five months a year, is a well-known symbol of Japan.Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries.” Katsushika Hokusai This series is also celebrated for its particular blue color, called “Berlin indigo” (bero-ai), a pigment that had been newly introduced by Dutch merchants to Japan. Rainstorm Beneath the Summit Fugaku Sanjūrokkei, อังกฤษ: Thirty-six Views of Mount Fuji) เป็นภาพชุด อูกิโยะ (Ukiyo-e) ภาพพิมพ์แกะไม้ โดยจิตรกรชาวญี่ปุ่น คัตสึชิกะ โฮกูไซ เป็นภาพ ภูเขาฟูจิในฤดูต่าง ๆ และในสภาวะอากาศต่าง ๆ ทั้งใกล้และไกล อันที่จริงแล้วเป็นชุดที่มีด้วยกันทั้งหมด 46 ภาพที่สร้างระหว่าง ค.ศ. 1826 ถึง ค.ศ. 1833 แต่ชุดแรกมี 36 ภาพที่รวมเป็นเล่มและตีพิมพ์ เมื่อเป็นที่แพร่หลายและนิยมกันเป็นอันมาก ก็ได้มีการเพิ่มอีกภาพสิบภาพในหนังสือรวมภาพฉบับต่อมา [1] ประวัติ [ แก้ ] In 684 (the sixth year of the Jōgan era) there was an eruption on the northeast side of Mount Fuji, which produced a great amount of lava. Some of the lava filled up a large lake (Senoumi, せの海) which existed at the time, dividing it into two lakes, Saiko (西湖) and Shōjiko (精進湖). This is known as the Aokigahara lava (青木ヶ原溶岩) and at present is covered by forest.The image depicts Lake Suwa from above with Mount Fuji barely visible in the distance. Centered in the foreground atop a hill is a hut, possibly a shrine, overshadowed by two large trees. To the left a boat heads towards a village nestled in dense vegetation, possibly Shiwo Suwa. Presently well inland, Takashima Castle is depicted on a promontory just below Fuji. An idyllic scene, with five figures - men, women and children - standing upon a veranda outside a temple.Before them lies a lake or marsh, spreading out to meet the horizon in the distance. The image is composed so that most of the nine figures are seen from the rear, as though the viewer is standing behind them, also observing the view. Mt Fuji, a recurring theme in Hokusai's work, can be seen in the distance; also identifiable to those familiar with Japanese geography are the lumber yards of Fukagawa. Hokusai's skill at portraying human subjects is as adept at his mastery of the natural world: the nine figures each have their own character, from the one on the left eagerly pointing in the direction of Mt Fuji, to the one towards the right mobbing sweat from his forehead. diagonal or curves lines that guide your eye through the composition– these lines help tie it all together and add a sense of energy to the work It depicts Mt Fuji in early autumn when the wind is southerly, and the sky is clear, and the rising sun can turn Mount Fuji red. Julia White, 'et al.', 'Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts', Asian Art Museum of San Francisco, 1998 (commentaries by Yoko Woodson), no. 6.