Maple Money Magic: Quick And Easy Financial Enchantment

Maple Money Magic: Quick And Easy Financial Enchantment

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Maple Money Magic: Quick And Easy Financial Enchantment – Katsushika Hokusai (葛飾北斎, about October 31, 1760 – May 10, 1849), simply known as Hokusai, was a Japanese ukiyo-e artist of the Edo period, who was active as a painter and printmaker.

It is known for the thirty-six views of the Mount Fuji woodblock series, including the iconic print The Great Wave off Kanagawa. Hokusai was instrumental in the development of ukiyo-e from a style of portraiture that focused primarily on courtiers and actors to a much broader art style that focused on landscapes, plants, and animals. His works are believed to have had a significant influence on Vincent van Gogh and Claude Monet during the wave of saponism that swept Europe in the late 19th century.

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Hokusai created the landmark Thirty-Six Views of Mount Fuji in response to the boom in domestic travel in Japan and as part of a personal interest in Mount Fuji.

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It was this series, especially The Great Wave off Kanagawa and Fine Wind, Clear Morning, that made him famous in Japan and abroad.

Hokusai was best known for his ukiyo-e woodblock prints, but he worked in a variety of media, including painting and book illustrations. He began as a young child and continued to work and perfect his style until his death at the age of 88. During a long and successful career, Hokusai produced more than 30,000 paintings, sketches, woodblock prints and photographs for picture books. Innovative in his compositions and exceptional in drawing technique, Hokusai is considered one of the greatest masters in art history.

Hokusai’s date of birth is unclear, but it is often given as the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar or October 31, 1760) for a family of craftsmen in Katsushika.

Hokusai began painting around the age of six, perhaps learning from his father, and his work featured patterns painted around mirrors.

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Hokusai was known by at least thirty names during his lifetime. Although the use of multiple names was a common practice among Japanese artists of this time, his number of pseudonyms exceeds that of any other major Japanese artist. His name changes so often and his artistic performance and style change so often that they are used to divide his life into periods.

At the age of 12, his father put him to work in a bookstore and library, a popular institution in Japanese cities where the middle and upper classes like to read books from wooden blocks.

At the age of 14, he worked as an apprentice for a carver until he was 18, when he founded the Katsukawa Shunshō studio. Shunshō was an artist of ukiyo-e, a style of woodblock prints and paintings mastered by Hokusai, and the leader of the so-called Katsukawa school.

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Ukiyo-e, as practiced by artists such as Shunshō, focused on images of courtesans (bijin-ga) and kabuki actors (jakusha-e) that were popular in Japanese cities at the time.

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After a year, Hokusai’s name changed for the first time when his master called him Shunrō. It was under this name that he published his first prints, a series of photographs of kabuki actors published in 1779. During the ten years he worked in Shunshō’s studio, Hokusai was married to his first wife, of whom only they know that she died. . in the early 1890s. He married again in 1797, although this second wife also died soon after. He had two sons and three daughters with these two women, and his youngest daughter Ei, also known as Ōi, eventually became an artist and assistant.

After Shunshō’s death in 1793, Hokusai began to explore other art styles, including the European styles he had been exposed to by Frch and the Dutch copper engravings he could find.

He was soon expelled from the school by Katsukawa Shunkō, Shunshō’s chief student, probably because of his studies at the Kanō school. This event, in his own words, was inspiring: “What really inspired the development of my artistic style was the humiliation I suffered at the hands of Šunkó.”

Hokusai also changed the subjects of his works, moving away from the images of courtiers and actors who were the traditional subjects of ukiyo-e. Instead, his work focused on landscapes and images of the daily lives of Japanese people of various social levels. This change of subject was prominent in ukiyo-e and throughout Hokusai’s career.

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The Great Wave off Kanagawa, Hokusai’s most famous print, the first of the series Thirty-Six Views of Mount Fuji,

In the following period, Hokusai joined the Tawaraya school and adopted the name “Tawaraya Sōri”. During that time, he made many private prints for special occasions (surimono) and illustrations for comic books (kyōka ehon). In 1798, Hokusai gave his name to a student and went out as an independent artist, for the first time without connection to a school, and took the name Hokusai Tomisa.

In the 1800s, Hokusai further developed his use of ukiyo-e for purposes other than portraiture. He also took the name by which he was known, Katsushika Hokusai, the first referring to the part of Edo where he was born, the second meaning “northern studio”, in honor of the North Pole, the symbol of the deity. important in his religion Nichi Buddhism.

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That year he published two collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo (modern Tokyo). He also began to attract his own students, teaching 50 students over the course of his life.

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Over the next ten years he became famous, both for his artwork and for his self-promotion. During the Edo Festival in 1804, he used a broom and buckets full of ink to create a huge portrait of the Buddhist prelate Daruma, believed to be 200 square meters.

Another story places him in the court of Shogun Tokugawa Iari, who was invited to compete with another artist who painted more traditional brush strokes. Hokusai painted a blue curve on paper and chased a chick whose feet were dipped in red color all over the painting. He described the picture for the shogun as a landscape showing the Tatsuta River with red maple leaves floating in it, and won the competition.

Between 1804 and 1815, Hokusai collaborated with the popular writer Takizawa Bakin on a series of illustrated books. The fantasy novel Chinsetsu Yumiharizuki (Strange Tales of the Crescent Moon, 1807–1811) by Minamoto no Tametomo was very popular, and Hokusai became famous for his creative and powerful illustrations, but the collaboration ended after three volumes eleven There are various theories about why they break up, like personality mismatches and conflicting opinions on how to draw diagrams.

Hokusai created several erotic art albums (shunga). His most famous painting in this section is The Dream of a Fisherwoman, which shows a young woman sexually involved with a pair of octopuses, from Kinoe no Komatsu, a three-part shunga book from 1814.

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Hokusai paid great attention to the production of his work. In letters during his collaboration with Toshis Ehon, a Japanese edition of an anthology of Chinese poetry, Hokusai wrote to the publisher that the sculptor Egawa Tomekichi, with whom Hokusai had previously worked and admired, had deviated from Hokusai’s style and he cut a certain one. . He also wrote directly to another block cutter involved in the project, Sugita Kinsuke, saying that he did not like the style of the Utagawa school, in which Kinsuke cut out the character’s eyes and nose, and that additions were needed to make the final prints match his style. In his letter, Hokusai included examples of his style of rendering eyes and nose and the style of the Utagawa school.

In 1811, at the age of 51, Hokusai changed his name to Taito, ending the period in which Hokusai created Manga and etehon, or various art manuals.

Beginning in 1812 with Quick Lessons in Simplified Drawing, these manuals were intended as a powerful way to make money and attract more horses. The first volume of Manga (which means random drawings) was published in 1814 and was an immediate success.

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By 1820 he had compiled twelve volumes (and published three more posthumously) with thousands of drawings of objects, plants, animals, religious figures and ordinary people, often with a humorous wit.

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On October 5, 1817, he painted the Great Daruma at Hongan-ji Nagoya Betsuin in Nagoya. This portrait was 18 x 10.8 meters on paper and may have attracted large crowds. This feat was depicted in a popular song and was given the name “Darus” or “Daruma Master”.

Although the original was destroyed in 1945, Hokusai’s propaganda leaflets from that time have survived and are housed in the Nagoya City Museum.

In 1820, Hokusai changed his name again, this time to “Iitsu”, a change that began a period in which he achieved fame as an artist throughout Japan. His most famous work, Thirty-Six Views

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