Maple Money Mastery: Easy Financial Wins In Canada – Katsushika Hokusai (葛飾 北斎, October 31, 1760 – May 10, 1849), known simply as Hokusai, was a Japanese ukiyo-e artist of the Edo period who worked as a painter and draftsman.
He is known for his thirty-six views of Mount Fuji woodblock print series, which includes the iconic print The Great Wave off Kanagawa. Hokusai was instrumental in developing ukiyo-e, a style of painting that focused on courtiers and dancers, into a more artistic style that focused on landscapes, plants, and animals. His work is believed to have greatly influenced Vincent van Gogh and Claude Monet during the Japanese wave that swept Europe in the late 19th century.
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Hokusai created the monumental Thirty-Six Views of Mount Fuji as part of domestic tourism in Japan and personal interest in Mount Fuji.
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This series, in particular, solidified Kanagawa’s popularity beyond The Great Wave and Good Wind, Clear Morning, both in Japan and abroad.
Hokusai is best known for his ukiyo-e woodblock prints, but he also worked in a variety of genres, including painting and book illustration. From a young age, he continued to develop his style until his death at the age of 88. During a long and successful career, Hokusai produced more than 30,000 paintings, drawings, woodcuts and illustrations for art books. . With innovative writing and exceptional drawing skills, Hokusai is considered one of the greatest figures in art history.
The date of Hokusai’s birth is uncertain, but it is generally given as the 23rd day of the 10th year of the 9th month of the Horekian era (Old Calder or 31 October 1760) for the artistic family in Katsushika.
Hokusai began painting at the age of six, probably learning from his father, whose work involved painting images around glass.
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Hokusai was known by at least 30 names during his lifetime. Although it was common practice for Japanese artists at the time to use multiple names, his number of pseudonyms exceeded that of any other major Japanese artist. His name changes are so frequent and so often associated with changes in his artistic production and style that they serve to derail his career.
At the age of twelve, his father sent him to work in a bookstore and library, a popular place in Japanese cities where reading books made of wooden blocks was a popular pastime for the middle and upper classes.
At age 14, he worked as an apprentice woodcarver until age 18, when he took over Katsukawa Shunsho’s studio. Shunsho was an artist of ukiyo-e, a style of woodblock prints and drawings that Hokusai would use, and the leader of a school known as the Katsukawa School.
Ukyo-e, practiced by artists such as Shunsho, focused on portraits of dancers (bijin-ka) and kabuki actors (yakusha-e) that were popular in Japanese cities at the time.
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A year later, Hokusai’s name was changed for the first time to Mr. Shunro. It was under this name that he published his first works, a series of portraits of Kabuki artists published in 1779. During his ten years at Shunsho’s studio, Hokusai married his first wife, about whom little is known other than her death. In the early 1790s. He married again in 1797, but this second wife also died soon after. By these two wives he had two sons and three daughters, and his youngest daughter Oi, also known as Oi, became a painter and his assistant.
After Shunshō’s death in 1793, Hokusai began to explore other artistic styles, including the European styles he saw in French and Dutch copper engravings.
He was soon kicked out of Katsukawa’s school by Shungo, Shunsho’s senior student, possibly for attending Kane’s school. It was inspiring in his own words: “The greatest stimulus to the development of my artistic style was the humiliation I received from Shungo.”
Hokusai also changed the subject matter of his works, moving away from the portraits of courtiers and dancers that were the traditional subjects of ukiyo-e. Instead, his work focuses on everyday life situations and images of Japanese people from various social backgrounds. This change of theme was a turning point in the work of Ukiyo-e and Hokusai.
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The Great Wave off Kanagawa, Hokusai’s most famous work, is the first in a series of thirty-six views of Mount Fuji.
In the following period, Hokusai was associated with the Tavaraya school and received the name “Tavaraya Sori”. During this time, he published several personal notes of important events (Surimono) and comic book illustrations (Kyoka Ehoni). In 1798, Hokusai changed his name to become a student and began as a freelance artist, freed from the obligation to attend school for the first time, and took the name Hokusai Tomisa.
By 1800, Hokusai had expanded the use of ukiyo-e for purposes other than portraiture. He also took the name Katsushika Hokusai, a name that refers to the Edo region where he was born, the latter meaning “Northern Studio”, symbolizing the North Star, Lord. His religion is prominent in Nichir Buddhism.
That year he published two landscape collections, the famous Views of the Eastern Capital and Eight Views of Edo (modern Tokyo). He began to attract students and taught 50 students during his lifetime.
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He became very popular over the next decade thanks to his talent and ability to promote himself. During the Edo Festival of 1804, he created a crude image of the Buddhist priest Daruma using a broom and ink buckets on an area of 200 square meters.
Another story places him in the court of Shogun Tokugawa Iri, who is invited to compete with an artist who uses traditional brush painting. Hokusai drew a blue cloth on paper and chased the chick, whose legs were drawn in red from the drawing. He explained the image to the Shogun as a land showing the Tatsuda River with red rice leaves that won the competition.
Between 1804 and 1815, Hokusai collaborated with the famous novelist Takizawa Peking on a series of illustrated books. The fantasy book Shinsetsu Yumiharizuki (Tales of the Crescent Moon, 1807–1811), featuring Minamoto no Tametomo as the main character, was very popular and Hokusai gained fame for his creative and powerful images, but the collaboration continued after three works. There are various theories as to why they stopped collaborating, people disagreeing, conflicting opinions on the use of images.
Hokusai also created several albums of sensual art (shunga). His most famous painting in this genre is The Fisherman’s Wife’s Dream, from the 1814 three-volume manga Kino no Komatsu, which depicts a young woman sexually engaged with a pair of octopuses.
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Hokusai meticulously prepared his work. In a letter to Toshi Ehon, a Japanese publisher of Chinese poetry, Egawa Tomekichi, who had previously worked with and respected Hokusai, wrote to the publisher that he was moving away from Hokusai’s cutting style. other topics. He wrote directly to Sukita Kinsuke, another block cutter involved in the project, saying that he did not like the Utagawa School method in which Kinsuke cut out the eyes and nose of the image, and that he needed amdmts to write the final text. Be true to her style. In his letter, Hokusai cited examples of eye and nose modeling techniques and the Utagawa school.
In 1811, at the age of 51, Hokusai changed his name to Taito and devoted his time to creating manga and various edhon, or picture books.
The manuscript began in 1812 with quick lessons in simplified drawing, presented as a surefire way to make money and attract more students. The first volume of manga (meaning extraordinary pictures) was published in 1814 and became an instant hit.
By 1820, he had published a dozen volumes (three more published posthumously) containing thousands of images of objects, plants, animals, religious figures, and everyday people, mostly humorous.
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On October 5, 1817, he painted the Great Dharma in Nagoya, outside the Honkan-ji Nagoya Betsuin. This ink painting on paper measured 18 × 10.8 meters and attracted large crowds. The game was described in a popular song and earned the name “Dharas” or “Dharuma Master”.
Although the original was destroyed in 1945, Hokusai’s promotional brochures from that time survive and are housed in the Nagoya City Museum.
In 1820, Hokusai changed his name again, this time to “Aitsu”, and began his period of popularity as an artist throughout Japan. His most famous work is The 36 Views
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