葛飾北齋1760 – 1849と浮世絵 HOKUSAI TRUTH 2024 ˊthe location that inspired "Rainstorm beneath the Summit ."飛龍 2017-09-15 漢清講堂 199 到 “Groups of mountain climbers.”Credit... "One Hundred Views of Mt. Fuji" (富嶽百景, Fugaku Hyakkei 1834),

HOKUSAI TRUTH
Time and Tide
Japan's iconic ukiyo-e artist Katsushika Hokusai left an indelible mark on the art world. We trace the development of "The Great Wave" and the location that inspired "Rainstorm beneath the Summit."

HOKUSAI TRUTH

Time and Tide

Japan's iconic ukiyo-e artist Katsushika Hokusai left an indelible mark on the art world. We trace the development of "The Great Wave" and the location that inspired "Rainstorm beneath the Summit."

An event in Hokusai's youth motivated him to become a great artist

We search for the landscape that inspired "Rainstorm beneath the Summit"

Hokusai produced some 30,000 works during his lifetime, and age didn't dim his passion for art

On Air Schedule

March 30, 2024. 下午12:10 - 下午12:38 / 下午07:10 - 下午07:38

March 31, 2024. 上午12:10 - 上午12:38 / 上午07:10 - 上午07:38

“Groups of mountain climbers.”Credit...via Christie's

One Collector’s High Mountain Road to Hokusai

A professor’s 30-year dream of assembling a complete set of “Thirty-Six Views of Mount Fuji,” the pinnacle of the artist’s career, leads to an auction.

199 葛飾北齋と浮世絵　2017-09-15 漢清講堂

 https://www.youtube.com/watch?v=r2mvLSoT3OQ&t=330s

Image

Twelve of the 46 prints in Dr. SIngh’s series. He says he paid about $3 million over 10 years to collect the entire set. The estimate is $3 to $5 million.Credit...via Christie's

日本藝術家葛飾北齋（Katsushika Hokusai，1760-1849）曾寫道：「我從6歲起，就酷愛描繪事物的形象，大約從50歲起，我的畫就經常發表；但是直到70歲，我畫的東西都不值一提。」

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對於北齋本人及其早年作品，這番自述有點太嚴苛了。

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他的作品產量十分可觀，在70歲之前，他已經畫出至少12卷漫畫（manga，素描或滑稽諷刺畫，現代連環漫畫的前身），為書籍及印刷品製作了數千幅插畫，還有數不清的圖畫，包括動物、本土動植物、宗教人物、傳統浮世繪（ukiyo-e）風格的高級妓女及演員，以及受荷蘭版畫影響的西式日本風景。

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1635年頒布的鎖國令禁止日本人出國，實際上也禁止歐洲人進入日本。在北齋漫長的一生中，鎖國令始終有效 ，這多少限制了他接觸外來影響的機會。然而很少有藝術家像他這樣具有好奇與探索精神，可以說他的一生都在追求藝術的絕對完美，這樣的追求一直持續到他最後在世的日子。

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據說他在臨終前哭著說：「要是上天再給我10年……5年，我就能成為真正的畫家。」無論如何，就在1830年，北齋以70高齡開始創作一個新系列，最終實現了他在作品中灌注3種精神元素的抱負，這3種元素即天、地、人。

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在這些畫作中，《神奈川沖浪裡》（The Great Wave off Kanagawa）是迄今北齋在歐美最著名的作品。這幅畫面的重心是高大的滔滔白浪，既有威脅感，又莫名令人感到親切，近幾十年來被複製到了各種物品上，包括浴巾、沖浪板、啤酒罐。

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然而就像該系列的其他畫作一樣，這幅畫的真正主題，其實是背景中遠方的富士山，從1830年到1833年，北齋癡迷地環繞著這處日本地標，創作了這個系列。

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在某些方面，富士山可說一直是北齋心馳神往的對象，在他最早的書中可以找到它的零星跡象。

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但是這個晚期的系列彙編，以《富嶽三十六景》（Thirty-Six Views of Mount Fuji，實際上有46幅）為名出版，既代表了北齋在闊別風景畫10年之後的回歸，也代表他在焦點與實際表現能力上的偉大飛躍。

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——摘錄自崔維斯．艾伯洛《以藝術家之眼看世界：激發靈感的三十場旅行》，天培出版。

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#天培 #崔維斯艾伯洛 #以藝術家之眼看世界 #激發靈感的三十場旅行 #葛飾北齋 #富士山

Jaded in Japan

A reprint published by Unsōdō of "Mt. Fuji seen through cherry blossoms" by Katsushika Hokusai (葛飾 北斎, 1760 – 1849) from "One Hundred Views of Mt. Fuji" (富嶽百景, Fugaku Hyakkei), originally published ca. 1834 in black and white by Nishimuraya Yohachi.

Hokusai's "One Hundred Views of Mount Fuji" (富嶽百景, Fugaku hyakkei) is a series of three illustrated books by Japanese ukiyo-e artist Katsushika Hokusai (葛飾北斎, 1760 - 1849). It is considered one of Japan's most exceptional illustrated books (e-hon), and alongside the "Hokusai Manga", the most influential in the West. The first two volumes were published in 1834 and 1835, shortly after completion of his seminal "Thirty-six Views of Mount Fuji" (富嶽三十六景, Fugaku Sanjūrokkei), with a third released in the late 1840s.

The books contain over a hundred views of Mount Fuji in various styles and settings; Hokusai shows the peak in pure landscapes, with flora and fauna, in religious and mythological scenes and with different atmospheric effects, but above all, he focuses on ordinary people at work.

The first two volumes are celebrated for their very high standards of woodblock printing, with "extremely fine cutting" and "exquisite gradation" (bokashi) of the grey blocks; they have been called a "masterpiece of monochrome printing".

The first two volumes have embossed pink covers and feature what is known as a "falcon-feather" title slip. They were published by Nishimuraya Yohachi, who had issued the "Thirty-six Views of Mount Fuji", and Nishimura Sukezo in 1834 and 1835. The blocks were cut by the workshop of Egawa Tomekichi and are praised for their extremely high quality. Eirakuya Toshiro of Nagoya, publisher of the "Hokusai Manga", issued the third volume, which is not as well printed as the first two. The date of publication is not known with certainty; the third is conventionally dated to 1849, though some prefer a date several years earlier.

The first volume is inscribed by the artist: "From the brush of the former Hokusai Iitsu changing name to Manji, the old man crazy about painting" (Saki no Hokusai Iitsu aratame Gakyo Rojin Manji hitsu)! The book is the first major project of his to use the name "Manji" which he wrote with a character meaning ten thousand, a symbol of longevity. In a later pressing, at the age of seventy-five, he added his famous autobiographical colophon: "From the age of six I had a penchant for copying the form of things, and from about fifty, my pictures were frequently published; but until the age of seventy, nothing that I drew was worthy of notice. At seventy-three years, I was somewhat able to fathom the growth of plants and trees, and the structure of birds, animals, insects, and fish. Thus, when I reach eighty years, I hope to have made increasing progress, and at ninety to see further into the underlying principles of things, so that at one hundred years I will have achieved a divine state in my art, and at one hundred and then, every dot and every stroke will be as though alive. Those of you who live long enough, bear witness that these words of mine prove not false."

Coming soon after the publication of his famous "Thirty-six Views of Mount Fuji", Hokusai continued his "artistic and spiritual exploration" of the mountain. Whereas the Thirty-six Views largely consists of images drawn from reality, this work features few designs rooted in a specific place. The preface to volume three describes the compositions as "eccentric". Scholar Henry Smith states the books show how Hokusai saw Fuji as "a powerful reservoir of immortality that would assist him in his personal quest to live beyond one hundred years of age and fathom ultimate artistic truths".

Art historian Jack Hillier regarded the One Hundred Views as Hokusai's "masterwork" and as a summation of his artistic philosophy and practice.

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