Tokai Gábor szerk.: Fujiyama, A japán szépség Hokusai, Hiroshige fametszetein és fényképeken (A Magyar Nemzeti Galéria kiadványai 2005/4)

Hokusai - List of Hokusai's exhibited works

7 Waterwheel at Onden / Onden no suisha from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.5 x 38 cm signature: zen Hokusai litsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 MNK VI - 482 11 Under the Wave off Kanagawa / Kanagawa-oki nami-ura from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25 x 37.3 cm signature: Hokusai aratame litsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1831 MNK VI - 486 The waterwheel near which we find working people is a large wooden structure with elements drawn by the artist with great precision. It is, however, a drawing based on 'apparent' perspective, which is more of a pretext for the draughtsman's amusement than an attempt at realism. It is with similar intentions that Hokusai reproduces water, indulging in decorative stylisation. 8 The Tama River in Musashi Province [Edo] / Bushu Tama-gawa from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.2 x 35.9 cm signature: Hokusai zen Fitsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 MNK VI - 483 This print, showing Fuji from the Tama River, is exceptional due to the gentle, wide vistas opening up serene spaces of intact nature before the viewer. The only human trace is a boat crossing the river and a wanderer standing on the bank with his horse. 9 At Sea off Kazusa / Kazusa no kairo from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 24.8 x 37.8 cm signature: zen Hokusai Fitsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 MNK VI - 484 This woodblock plate creates an impression of a portrait of a boat which has turned its portside towards the viewer. The stern conceals partly another boat, also shown at a short distance. And then there are small dots of other sails on the horizon. It is noteworthy that the horizon is marked by Hokusai as a gently arched line, proving his awareness of its optical spherical curving. A hypothesis has been proposed that he learnt it from the Dutch. 10 The Coast of Noboto [Shimosa Province] / Noboto-ura from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.6 x 38 cm signature: zen Hokusai Fitsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 MNK VI - 485 Noboto Bay was famous for mussels, which groups of people are picking in this woodblock print. Their figures represent motion, dynamics - so characteristic of Hokusai's work - which is always set in a specific direction while gestures have their significance. Although the human figures are in harmony with the Mount Fuji motif, we still find a witty scene of children chasing one another. Contrasted with Hokusai's masterly skill of reproducing motion and detail is the rigidity and unreal geometry of the orange torii gates. The dynamic element of water - framed and frozen - rivets our attention with the decorative quality of the frayed foam. But to the oarsmen, it is a dangerous power, which they have to overcome using just their fragile boats, The only static point of reference amongst the turmoil of the raging waves is Mount Fuji, which, just like us, is a passive witness to the struggle. It is one of the best known woodblock plates of the ukiyo-e school in Europe, the school which inspired both impressionists and postimpressionists. And the plate entitled "Under the Wave off Kanagawa" was also famous for the role it played in music, as it inspired Claude Debussy to compose La Mer. 12 Hodogaya on the Tokaido / Tokaido Hodogaya from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25 x 37.5 cm signature: zen Hokusai Fitsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 (later impression) MNK VI - 487 This print is a perfect example of looking at the world through the prism of several planes, distanced gradually much like wings on both sides of a stage: in the foreground, we see wandering travellers and the dynamism of these figures is emphasised; in the midground, the second plane is formed by slender red-pine trees, which seem to reveal the third plane: the background featuring a majestic, static Mount Fuji. Hokusai pays much attention to details, which enables us to decipher a multitude of elements making up the customs and tradition of his time. The palanquin bearers have taken a short break because one of them is tying his sandal. An interesting figure is that of the komuso monk, leaving the framed image as he heads right wearing the characteristic high head covering and carrying a flute, his only means of communicating with the world. 13 Shichiri-ga-hama in Suruga Province / Soshu Shichiri-ga-hama from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.9 x 37.7 cm signature: zen Hokusai Fitsu hitsu censor's seal: kiwame publisher's seal: Eijudo 1823-1829 MNK VI - 488 What is conspicuous is the adherence to a variety of shades of blue and green which endow this landscape with unique finesse. The silhouette of Mount Fuji is unusually large here, shown so close that its snow-covered parts are discernible. An interesting solution is the decorative treatment of clouds, hovering low above the horizon: their billowing forms had no precedent in the Japanese painting tradition. 14 Enoshima Island in Sagami Province / Soshu Enoshima from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.3 x 36.5 cm signature: zen Flokusai litsu hitsu