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- Herausgeber: BoD - Books on Demand
- Kategorie: Religion und Spiritualität
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
Hokusai´s 53 Stations of the Tokaido 1804 Vertical is something completely different from his 1801 and 1802 series and from the 1804 horizontal. It is different from his famous 36 Views of Mt Fuji 1832, which are sublime artistic expressions distilling a long life´s work. This series shows his development of the themes based on the two first series, 1801 and 1802, and a transition to his 1804 horizontal series, which again is a precursor to his sublime 36 Views of Mt Fuji. As the reader progresses through Hokusai´s Tokaido series it will become evident how Hokusai develops the concept, develops the format, the themes and then mixes them with true genius. This series is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus only on the landscape and the markers that Hiroshige and others showed.
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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.
Also by the authors:
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Hiroshige 53 Stations of the Tōkaidō
Hiroshige 100 Famous Views of Edo
Hiroshige Famous Vies of the Sixty-Odd Provinces
Hiroshige 36 Views of Mt Fuji 1852
Hiroshige 36 Views of Mt Fuji 1858
Joaquin Sorolla Landscapes
Joaquin Sorolla Beach
Joaquin Sorolla Animals
Joaquin Sorolla Family
Joaquin Sorolla Nudes
Joaquin Sorolla Painter
and more titles
Christmas
Christmas Nativity – Spain
Christmas Nativity Hallstatt
Christmas Nativity Vienna
Christmas Nativity Innsbruck
Christmas Nativity Salzburg
Christmas Market Innsbruck
Christmas Market Vienna
Christmas Market Salzburg
and more titles
Outpets
Deer in Dyrehaven – Outpets in Denmark
Florida Outpets
Birds of Play
Missy’s Clan
Missy’s Clan – The Beginning
Missy’s Clan – Christmas
Missy’s Clan – Education
Missy’s Clan – Kittens
and more titles
Contact the authors
[email protected] Published by www.missysclan.net
Cover picture: Front: Print no 11 station 10 HakoneRear: Print no 30 station 29 HamamatsuInside: Print no 6, station 5 Totsuka (detail)
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 1804
No 1: Start: Nihonbashi
No 2: 1st station: Shinagawa-juku
No 3: 2nd station: Kawasaki-juku
No 4: 3rd station: Kanagawa-juku
No 5: 4th station: Hodogaya-juku
No 6: 5th station: Totsuka-juku
No 7: 6th station: Fujisawa-shuku
No 8: 7th station: Hiratsuka-juku
No 9: 8th station: Ōiso-juku
No 10: 9th station: Odawara-juku
No 11: 10th station: Hakone-juku
No 12: 11th station: Mishima-shuku
No 13: 12th station: Numazu-juku
No 14: 13th station: Hara-juku
No 15: 14th station: Yoshiwara-juku
No 16: 15th station: Kanbara-juku
No 17: 16th station: Yui-shuku
No 18: 17th station: Okitsu-juku
No 19: 18th station: Ejiri-juku
No 20: 19th station: Fuchū-shuku
No 21: 20th station Mariko-juku
No 22: 21st station Okabe-juku
No 23: 22nd station: Fujieda-juku
No 24: 23rd station Shimada-juku
No 25: 24th station Kanaya-juku
No 26: 25th station: Nissaka-shuku
No 27: 26th station: Kakegawa-juku
No 28: 27th station: Fukuroi-juku
No 29: 28th station: Mitsuke-juku
No 30: 29th station: Hamamatsu-juku
No 31: 30th station: Maisaka-juku
No 32: 31st station: Arai-juku
No 33: 32nd station: Shirasuka-juku
No 34: 33rd station: Futagawa-juku
No 35: 34th station Yoshida-juku
No 36: 35th station: Goyu-shuku
No 37: 36th station: Akasaka-juku
No 38: 37th station: Fujikawa-shuku
No 39: 38th station: Okazaki-shuku
No 40: 39th station: Chiryū-juku
No 41: 40th station: Narumi-juku
No 42: 41st station: Miya-juku
No 43: 42nd station: Kuwana-juku
No 44: 43rd station: Yokkaichi-juku
No 45: 44th station: Ishiyakushi-juku
No 46: 45th station: Shōno-juku
No 47: 46th station: Kameyama-juku
No 48: 47th station: Seki-juku
No 49: 48th station: Sakashita-juku
No 50: 49th station: Tsuchiyama-juku
No 51: 50th station: Minakuchi-juku
No 52: 51st station: Ishibe-juku
No 53: 52nd station: Kusatsu-juku
No 54: 53rd station: Ōtsu-juku
No 55: terminus: first print Kyoto
No 56: terminus: second print Kyoto
Notes
References
Introduction
Hokusai’s 53 Stations of the Tōkaidō 1804 Vertical is something completely different from his 1801 and 1802 series and from the 1804 horizontal.
It is different from his famous 36 Views of Mt Fuji 1832, which are sublime artistic expressions distilling a long life’s work.
This series shows his development of the themes based on the two first series, 1801 and 1802, and a transition to his 1804 horizontal series, which again is a precursor to his sublime 36 Views of Mt Fuji.
As the reader progresses through Hokusai’s Tōkaidō series it will become evident how Hokusai develops the concept, develops the format, the themes and then mixes them with true genius.
This series is different from the many other well known 53 Stations of the Tōkaidō in that Hokusai does not focus only on the landscape and the markers that Hiroshige and others showed.
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.
Above a self portrait of Hokusai as an old man
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.
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, the Manga, 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 was 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. 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.
Above a print of Hokusai painting the Great Daruma in 1817.
His last words were said to have been a request for five or 10 more years in which to paint.
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.
His publisher of the series 36 Views of Mt Fuji, Nishimuraya Yohachi (Eijudô) was one of the leading publishers of woodblock prints in late 18th Japan. The mark of Eijudö, the publishers, is often found in the prints – humorously placed on saddle bags etc. He is known to have been a member of the Fuji-kō, an Edo period cult centred around Mount Fuji. Founded by an ascetic named Hasegawa Kakugyō (1541–1646), the cult venerated the mountain as a female deity, and encouraged its members to climb it. In doing so they would be reborn, "purified and... able to find happiness." A rare print of the first owner, Nishimuraya Yohachi I, on his seventyfirst birthday can be seen at the Honolulu Museum of Art.
Shogun Yoshimitsu, 1408
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, Odo Nobunaga (assasinated 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)
