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

Two prints of the same design are something highly valued in collections. These two. although very close in terms of colour, differ considerably in condition occasioned by the way they have been maintained, which results in different distribution of accentuations. A close analysis of both prints will enable the viewer to discover the subtle differences and the mastery in the use of the blind embossing technique - karazuri. 23 Fujisawa from the album: Tokaido gojusan-tsugi czukushi 23.3 x 17.6 cm publisher: Tsuru-ya Kinsuke 1810 MNK VI - 568 The print is a sheet taken out of an album of 57 woodblock illustrations depicting stations along the Tokaido Road between Edo (today's Tokyo) and the former capital of Japan - Kyoto. Although the various sheets are not signed, the name of Hokusai was mentioned on the wrapper of the album. 24 Shiohigari - Gathering Shellfish 21.6 x 18.4 cm signature: Taito circa 1814-1819 MNK VI - 570 The Kyoka verse refers directly to the gathering of edible shellfish in which the salt beaches of Enoshima near Kamakura abounded in April and May. To suggest a pattern on an umbrella, the artist employed the karazuri. or the blind embossing, technique, which consists in the textural impressing of forms without ink. 25 Fisherman 21.8 x 19.4 cm circa 1835 MNK VI - 573 There is a hypothesis that the humorous portrait of a fisherman is actually the master's own self-portrait, made as a surimono (print for a special occasion) to celebrate the Year of the Sheep (Hitsuji), 1835. Wnc7f a novel sight to see the young bride growing in the sand of the beach! The text included in the plate can be an expression of joy at the arrival of the young bride at the artist's grandson's house ("young bride" being also the name of a type of Japanese lettuce), who actually did get married in 1835. [Matthi Forrer, Hokusai. Paris 1988, p. 324.] 26 Shinagawa. Women Feeding Silkworms from the series: The Fifty-three Stations on the Tokaido Road / Tokaido gojusan-tsugi 12.8 x 17.9 cm signature: Gakyojin Hokusai ga 1804 MNK VI - 622 The woodblock illustrations refer to the famous Tokaido Road linking the two capitals of Japan, and this particular plate depicts the Shinagawa station. The Japanese name of this station is placed in the cartouche in the top right corner. The women are busy feeding silkworms with mulberry leaves. Hokusai. who changed his artistic pseudonyms over 60 times, in 1804 used the name Gakyojin Hokusai among a number of other aliases to sign his works. 27 Men on the Bridge 11.7 x 11.2 cm 1810-1820s. MNK VI - 682 Using a rather small plate, the artist demonstrates his masterly skill by creating a metaphorical composition. In the foreground, to all appearances the most important part of the image, the figures of porters appear as they cross a bridge that has been presented in a fragmentary manner only. The people and the transitory nature of the landscape enter the framed view and already have the direction of their departure set, while the eternal, motionless and invariable Mount Fuji, although pushed into the background, remains the most static element of both the Japanese landscape and the composition of this picture. 28 Two Boys Playing 1810-1820s. 19.7 x 17.2 cm MNK VI - 685 A surimono (woodblock print for special occasions) illustrating playing boys shows the snow-covered summit of Fuji in the distance. The use of silver embossing to underscore the waves and golden embossing to depict the qualities of the sand and rocks has a significant impact on the value of this work. 29 Mishima Pass in Kai Province / Koshu Mishima-goe from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25 x 37 cm signature: zen Hokusai litsu hitsu publisher: Nishimura-ya Yohachi (Eijudo) 1823-1829 (later impression) Private Collection A powerful cryptomeria whose branches underscore the line of a slope of Fuji forms the compositional axis for this woodblock print. It is one of the few examples of the majesty of the mountain being juxtaposed with such a strong accent attracting the viewer's attention to the foreground. What is characteristic of Hokusai's work is his observation of people: in this case, he shows us an almost childish delight on the part of wanderers trying to embrace the thick trunk of the old tree. Seven works from the collection of the Chester Beatty Library, Dublin 30 Kajikazawa in Kai Province / Koshu Kajikazawa from the series: Thirty-six Views of Mt. Fuji / Fugaku sanju-rokkei 25.3 x 37 cm signature: zen Hokusai litsu hitsu censor's seal: kiwame publisher's seal: Eijudo 1823-1829 CBL J2741 The composition of this woodblock plate is one of the finest in the whole series. Delightful is the masterly combination of the figure of a fisherman leaning toward the net he is casting with the ascending