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- Herausgeber: Books on Demand
- Kategorie: Religion und Spiritualität
- Sprache: Englisch
- Veröffentlichungsjahr: 2023
Hokusais 53 Stations of the Tokaido 1801 is something completely different. It is his first. And it is one of the first at all. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long lifes work. It is different from much of Hokusais other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home. It was a great and earlier contribution to the Tokaido literature.
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About the authors
Cristina Berna loves photographing and writing. She also creates designs and advice on fashion and styling.
Eric Thomsen has published in science, economics and law, created exhibitions and arranged concerts.
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Contact the authors
[email protected] Published by www.missysclan.net
Cover picture: Front: Print no 3 station 2 Kawasaki FerryInside Print No 36, station 35 Goyu
Contents
Introduction
Katsushika Hokusai
Japanese Historical Periods
Edo period 1615 – 1868
Bushido
Woodblock Printing in Japan
Common Japanese Print Sizes
Chinese Landscape Painting
The Fifty-Three Stations of the Tōkaidō: Hokusai 1801
No 1: Start: Nihonbashi
No 2: 1
st
station: Shinagawa-juku
No 3: 2
nd
station: Kawasaki-juku
No 4: 3
rd
station: Kanagawa-juku
No 5: 4
th
station: Hodogaya-juku
No 6: 5
th
station: Totsuka-juku
No 7: 6
th
station: Fujisawa-shuku
No 8: 7
th
station: Hiratsuka-juku
No 9: 8
th
station: Ōiso-juku
No 10: 9
th
station: Odawara-juku
No 11: 10
th
station: Hakone-juku
No 12: 11
th
station: Mishima-shuku
No 13: 12
th
station: Numazu-juku
No 14: 13
th
station: Hara-juku
No 15: 14
th
station: Yoshiwara-juku
No 16: 15
th
station: Kanbara-juku
No 17: 16
th
station: Yui-shuku
No 18: 17
th
station: Okitsu-juku
No 19: 18
th
station: Ejiri-juku
No 20: 19
th
station: Fuchū-shuku
No 21: 20
th
station Mariko-juku
No 22: 21
st
station Okabe-juku
No 23: 22
nd
station: Fujieda-juku
No 24: 23
rd
station: Shimada-juku
No 25: 24
th
station: Kanaya-juku
No 26: 25
th
station: Nissaka-shuku
No 27: 26
th
station: Kakegawa-juku
No 28: 27
th
station: Fukuroi-juku
No 29: 28
th
station: Mitsuke-juku
No 30: 29
th
station: Hamamatsu-juku
No 31: 30
th
station: Maisaka-juku
No 32: 31
st
station: Arai-juku
No 33: 32
nd
station: Shirasuka-juku
No 34: 33
rd
station: Futagawa-juku
No 35: 34
th
Station Yoshida-juku
No 36: 35
th
station: Goyu-shuku
No 37: 36
th
station: Akasaka-juku
No 38: 37
th
station: Fujikawa-shuku
No 39: 38
th
station: Okazaki-shuku
No 40: 39
th
station: Chiryū-juku
No 41: 40
th
station: Narumi-juku
No 42: 41
st
station: Miya-juku
No 43: 42
nd
station: Kuwana-juku
No 44: 43
rd
station: Yokkaichi-juku
No 45: 44
th
station: Ishiyakushi-juku
No 46: 45
th
station: Shōno-juku
No 47: 46
th
station: Kameyama-juku
No 48: 47
th
station: Seki-juku
No 49: 48
th
station: Sakashita-juku
No 50: 49
th
station: Tsuchiyama-juku
No 51: 50
th
station: Minakuchi-juku
No 52: 51
st
station: Ishibe-juku
No 53: 52
nd
station: Kusatsu-juku
No 54: 53
rd
station: Ōtsu-juku
No 55: terminus: Kyoto
References
Introduction
Hokusai’s 53 Stations of the Tōkaidō 1801 is something completely different! It is his first. And it is one of the first!
It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life’s work.
It is different from much of Hokusai’s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here.
It is different from the many other well known 53 Stations of the Tōkaidō in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home.
It was a great and earlier contribution to the Tōkaidō literature.
Katsushika Hokusai
Katsushika Hokusai (c. October 31, 1760 – May 10, 1849) was a Japanese artist, painter and printmaker in Edo (Tokyo) period 1760–1849.
Hokusai established landscape as a new print genre in Japan.
At a young age, Hokusai was adopted by an uncle who held the prestigious position of mirror polisher in the household of the shogun, the commander-in-chief of feudal Japan. It was assumed that the young Hokusai would succeed him in the family business, and he likely received an excellent education in preparation for a job that would place him in direct contact with the upper class. In 19th-century Japan, learning to write also meant learning to draw, since the skills and materials required for either activity were almost identical.
When Hokusai’s formal education began at age six, he displayed an early artistic talent that would lead him down a new path. He began to separate himself from his uncle’s trade in his early teens—perhaps because of a personal argument, or perhaps because he believed polishable metal mirrors would soon be replaced by the silvered glass mirrors being imported by the Dutch—and worked first as a clerk at a lending library and then later as a woodblock carver. At age 19, Hokusai joined the studio of ukiyo-e artist Katsukawa Shunshō and embarked on what would become a seven-decade-long career in art.
Hokusai was never in one place for long. He found cleaning distasteful—instead, he allowed dirt and grime to build up in his studio until the place became unbearable and then simply moved out. The artist changed residences 93 times throughout his life. Hokusai also had difficulty settling on a single moniker.
Self portrait of Hokusai as an old manhttps://commons.wikimedia.org/wiki/File:Hokusai_portrait.jpg
Although changing one’s name was customary among Japanese artists at this time, Hokusai took the practice even further with a new noms d’artiste roughly each decade.
Together with his numerous informal pseudonyms, the printmaker claimed more than 30 names in total. His tombstone bears his final name, Gakyo Rojin Manji, which translates to “Old Man Mad about Painting.”
Hokusai was also a savvy self-promoter, creating massive paintings in public with the help of his students. At a festival in Edo in 1804, he painted a 180-meter-long portrait of a Buddhist monk using a broom as a brush. Years later, he publicized his best-selling series of sketchbooks with a three-story-high work depicting the founder of Zen Buddhism.
Hokusai was one of the 19th century’s leading designers of toy prints—sheets of paper meant to be cut into pieces and then assembled into three-dimensional dioramas. He also made several board games, one of which depicted a pilgrim’s route between Edo and nearby religious sites. Consisting of several small landscape designs, it probably served as a precursor for his eventual masterpiece, the series “Thirty-Six Views of Mount Fuji” (ca. 1830-32). He illustrated countless books of poetry and fiction, and even published his own how-to manuals for aspiring artists. One of these guides, titled Hokusai Manga (1814-19) and filled with drawings he originally made for his students to copy, became a best-seller that gave the artist his first taste of fame.
Although Hokusai was prosperous in middle age, a series of setbacks—intermittent paralysis, the death of his second wife, and serious misconduct by his wayward grandson—left him in financial straits in his later years. In response, the elderly artist funneled his energy into his work, beginning his famous series “Thirty-Six Views of Mount Fuji” (which included The Great Wave) in 1830.
Another catalyst for the iconic set of images was the introduction of Prussian blue to the market. As a synthetic pigment, it lowered the price enough that it became feasible to use the shade in prints for the first time. Although The Great Wave made his name monumental, he was already a famous artist by this time, in his seventies.
Hokusai is ckaimed to have produced more than 30,000 works. This number is due in part to the exceptional length of his career, which officially began in 1779 and lasted until his death in 1849 at the age of 89. Hokusai was also intensely productive, rising with the sun and painting late into the night. Although a fire in his studio destroyed much of his work in 1839, he is thought to have produced some 30,000 paintings, sketches, woodblock prints, and picture books in total. His last words were recorded as follows: 'If Heaven will extend my life by ten more years…' then, after a pause, 'If Heaven will afford me five more years of life, then I'll manage to become a true artist. ' During Hokusai’s life, the Japanese government enforced isolationist policies that prevented foreigners from entering and citizens from leaving. However, that didn’t stop his work from influencing some of the biggest names in Western art history. When Japan opened its borders in the 1850s, Hokusai’s work crossed continents to land in the hands of artists such as Claude Monet, who acquired 23 of the Japanese artist’s prints. Edgar Degas also took cues from Hokusai, in particular his thousands of sketches of the human form. The rapid embrace of his prints by European artists may have been in part due to his use of a Western-style vanishing point perspective. Other print designers in Japan employed the Asian perspective, which positioned far-away objects higher on the picture plane, an effect that, to a Western eye, made it appear as though the ground was tilting upwards.
Above a print of Hokusai painting the Great Daruma in 1817.https://commons.wikimedia.org/wiki/File:Hokusai_Daruma_1817.jpg15
The mark of Eijudö, the publishers of the series 36 Views of Mt Fuji is often found in the prints – humorously placed on saddle bags etc. A rare print of the first owner, Nishimuraya Yohachi I, on his seventyfirst birthday can be seen at the Honolulu Museum of Art, which has a large collection of Hokusai’s work.
Shogun Tokugawa Ieyasu, by Kanō Tan'yū (1602–1674), early Edo Period (cropped).https://commons.wikimedia.org/wiki/File:Tokugawa_Ieyasu2.JPG16
Japanese Historical Periods
Shōwa (1926-1989): This lengthy reign covered a period of almost un-imaginable change in Japan. At the start of it, while urban Japan had absorbed some Western influences, the country-side had changed little from centuries before; at the end of it, after the calamity of World War II, and the re-building of Japan, Japan was a fully integrated part of the modern world, and its people had a very different outlook on life.
Taisho (1912-1926): During this period, while the modernization and industrialization of Japan proceeded, the Japanese became convinced that Japanese culture could be preserved, while incorporating the best of Western ideas and technology.
Meiji (1868-1912): After the arrival of U.S. ships demanding the opening of Japan, in 1854, the power of the Shoguns, hollowed out over the centuries, fell in the Meiji Restoration of November, 1867. The Imperial system was restored, in league with a massive effort to modernize the country, during which the old feudal Japan all but disappeared almost overnight.
Edo (1615-1867): The Tokugawa family of Shoguns kept an iron grip on the country, and tried to keep out foreign influences, and freeze the feudal social structure, but under the surface slow change occurred, with the declining influence of the samurai and the rise of chonin. In the peace, a thriving popular culture grew up, with theatre, woodblock prints, and other popular art forms.
Momoyama (1568-1615): Three successive warlords, Oda Nobunaga (assassinated 1582), Toyotomi Hideyoshi (died 1598) and Tokugawa Ieyasu (died 1616) re-unified the country, ending with the Tokugawa victory over the forces of Hideyoshi's successors at Osaka in 1615. Zen arts such as the tea ceremony, sumi-e (ink-painting) and garden design became popular.
Muromachi (1333-1568)
