One of the most recognized pieces of Japanese art from the series Thirty-six Views of Mount Fuji by Hokusai that depicts a huge tidal wave is titled The Great Wave off what place?
"April 5 through August 9, 2015. The Thirty-six Views of Mount Fuji prints were displayed at the National Gallery of Victoria, Melbourne, Australia as part of a Hokusai exhibit 21 July through 22 October 2017, featuring two copies of The Great Wave off Kanagawa, one from the NGV and one from Japan Ukiyo-e Museum. Thirty-six Views of Mount Fuji The series was produced from to 1832, when Hokusai was in his seventies and at the height of his career, and published by Nishimura Yohachi. Among the prints are three of Hokusai's most famous: ""The Great Wave off Kanagawa"" (or ""The"
"""Manga"". His ""Thirty-six Views of Mount Fuji"", from which ""The Great Wave"" comes, was produced from . From the sixteenth century fantastic depictions of waves crashing on rocky shores were painted on folding screens known as ""rough seas screens"" (""ariso byōbu""). Hokusai drew many waves throughout his career; the genesis of the ""Great Wave"" can be traced back over thirty years. The combination of wave and mountain was inspired by an oil painting by Shiba Kōkan, an artist strongly influenced by the Western art, particularly Dutch paintings, he had seen at Nagasaki, the only port open to foreigners in this"
"Hokusai Hokusai created the ""Thirty-Six Views"" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically ""The Great Wave"" print and ""Fine Wind, Clear Morning"", that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, ""Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series"". While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition. Hokusai's date of birth is"
"works of art by Hokusai, these particular works are recommended. Monographs dedicated to Hokusai art works: Hokusai Hokusai created the ""Thirty-Six Views"" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically ""The Great Wave"" print and ""Fine Wind, Clear Morning"", that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, ""Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series"". While Hokusai's work prior to this series is certainly important,"
"background. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background. Original impressions of the print are in many Western collections, including the Metropolitan Museum of Art, the British Museum, the Art Institute of Chicago, the Los Angeles County Museum of Art, the National Gallery of Victoria in Melbourne, and in Claude Monet's home in Giverny, France, among many other collections. Hokusai began painting when"
"in the midst of a storm, beneath a great wave that threatens to devour them. An analysis of the differences between the two works and the ""Great Wave"" demonstrates the artistic and technical development of Hokusai: This print is a ""yoko-e"", that is, a landscape format produced to the ""ōban"" size, about 25 cm high by 37 cm wide. The composition comprises three main elements: the sea whipped up by a storm, three boats and a mountain. It includes the signature in the upper left-hand corner. The mountain with a snow-capped peak is Mount Fuji, which in Japan is considered"
"seen as the emblematic Japanese artist and images from his prints and books influenced many different works. Vincent van Gogh, a great admirer of Hokusai, praised the quality of drawing and use of line in the ""Great Wave"", and said it had a terrifying emotional impact. French sculptor Camille Claudel's ""La Vague"" (1897) replaces the boats in Hokusai's ""Great Wave"" with sea-nymphs. The image inspired Claude Debussy's orchestral work, ""La mer"", and appeared on the cover of the score's first edition published by A. Durand & Fils in 1905. Indigenous Australian artist Lin Onus used the ""Great Wave"" as the"
"sketch of turbulence in water, The Deluge (1571–1518), was composed of small swirls within larger swirls of water. In The Great Wave off Kanagawa (1830–1833), Hokusai portrayed a wave crashing on a shore with small waves on top of a large wave. Other woodcuts from the same period also feature repeating patterns at several size scales: The Ghost of Kohada Koheiji shows fissures in a skull and The Falls At Mt. Kurokami features branching channels in a waterfall. Voss's 1998 study of Chinese art was the first demonstration of using fractal analysis to distinguish between the works of different artists."
"Thirty-six Views of Mount Fuji (Hiroshige) Thirty-six Views of Mount Fuji (Japanese: 富士三十六景; ""Fuji Sanjū-Rokkei"") is the title of two series of woodblock prints by the Japanese ukiyo-e artist Andō Hiroshige, depicting Mount Fuji in differing seasons and weather conditions from a variety of different places and distances. The 1852 series are in landscape orientation; the 1858 series are in portrait orientation. The same subject had previously been dealt with by Hokusai in two of his own series, ""Thirty-six Views of Mount Fuji"" and ""One Hundred Views of Mount Fuji"". Note: All locations use the modern place names. This series"
"Fine Wind, Clear Morning Fine Wind, Clear Morning (), also known as South Wind, Clear Sky or Red Fuji, is a wood block print by Japanese artist Hokusai (1760–1849), part of his ""Thirty-six Views of Mount Fuji"" series, dating from to 1832. The work has been described as ""one of the simplest and at the same time one of the most outstanding of all Japanese prints"". In early autumn when, as the title specifies, the wind is southerly and the sky is clear, the rising sun can turn Mount Fuji red. Hokusai captures this moment with compositional abstraction but meteorological"
"the original was destroyed in 1945, promotional handbills from that time survived and are preserved at the Nagoya City Museum. Based on studies, a reproduction of the large painting was done at a large public event on 23 November 2017 to commemorate the 200-year anniversary of the painting, using the same size and techniques and material as the original. In 1820, Hokusai changed his name yet again, this time to ""Iitsu,"" a change which marked the start of a period in which he secured fame as an artist throughout Japan. His most famous work, ""Thirty-six Views of Mount Fuji"", including"
"same subject, including Hiroshige's series ""Thirty-six Views of Mount Fuji"" and Hokusai's subsequent book ""One Hundred Views of Mount Fuji"". From to 1892, the series of , the parody of number 36, was produced by Yoshitoshi, and published by . The French artist Henri Rivière (1864-1951) published the set of color lithographs ""Thirty-six views of the Tour Eiffel"" in 1902, inspired by the seminal print set of Hokusai, one of the many influences of Japanese art on late 19th century and early 20th century French art (Japonism, known as ""Japonisme"" in French) These images are of modern facsimile prints made"
"such as trees, rocks or animals. In the Waterfall series, using newly imported blue Prussian pigment that was fashionable at that time, Hokusai paints each waterfall differently, in order to emphasize the unique beauty of each site and to outline his belief that water was sacred. The waterfalls Hokusai chose to illustrate are located in the central, western and eastern parts of Japan's main island (Honshu). The regions chosen were well known for pilgriming and by the travelers of his time, while three of the waterfalls, Kirifuri, Amida and Yōrō, are among Japan's 100 most beautiful even today. All the"
"the Eastern Capital"" appeared, and seem to bear the influence of Hokusai, whose popular landscape series ""Thirty-six Views of Mount Fuji"" had recently seen publication. An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series ""The Fifty-three Stations of the Tōkaidō"", which contains some of his best-known prints. Hiroshige built on the series' success by following it with others, such as the ""Illustrated Places of Naniwa"" (1834),"
"using the same techniques. A collection of Thirty-six Views of Mount Fuji prints contained in the wellness spa of the Costa Concordia was lost during the collision of the ship on January 13, 2012. All forty-six prints (the original thirty-six plus the ten additions) were featured in the exhibition ""Hokusai: 36 Views of Mount Fuji"" at the Freer Gallery of Art and the Arthur M. Sackler Gallery, the Smithsonian's museums of Asian art, in the spring of 2012. The Thirty-six Views of Mount Fuji prints were displayed at the Museum of Fine Arts, Boston as part of a Hokusai exhibit"
"coasts of Mie and Wakayama Prefectures. The tsunami was observed along the Pacific coast of Japan from Izu Peninsula to Kyushu, and recorded by tide gauges from Alaska to Hawaii. The segment of the megathrust to the east of the rupture area for the 1944 earthquake has not ruptured since 1854 and the likelihood of a 'Tokai earthquake' is considered to be high. There is no evidence that this segment has ruptured on its own in the past, although this cannot be ruled out. Any rupture of segment E may also include segments C & D, possibly causing a repeat"
"sacred and a symbol of national identity, as well as a symbol of beauty. Mount Fuji is an iconic figure in many Japanese representations of famous places (""meisho-e""), as is the case in Hokusai's series of ""Thirty-six Views of Mount Fuji"", which opens with the present scene. The dark color around Mount Fuji seems to indicate that the scene occurs early in the morning, with the sun rising from behind the observer, illuminating the mountain's snowy peak. While cumulonimbus storm clouds seem to be hanging in the sky between the viewer and Mount Fuji, no rain is to be seen"
"wars, earthquakes, fires and other natural disasters, few early impressions survive in which the lines of the woodblocks were still sharp at the time of printing. The remaining prints and subsequent reproductions vary considerably in quality and condition. Later impressions typically have a darker grey sky, and can be identified by a break in the line of the wave behind the boat on the right. The highest price paid for a ""Great Wave"" print in a public sale is a relatively low $160,000. Hokusai's auction record is nearly $1.5 million as of 2012. The print owned by the British Museum"
"Lake Ashi , also referred to as Hakone Lake or Ashinoko Lake, is a scenic lake in the Hakone area of Kanagawa Prefecture in Honshū, Japan. It is a crater lake that lies along the southwest wall of the caldera of Mount Hakone, a complex volcano that last erupted in 1170 CE at Owakudani. The lake is known for its views of Mt. Fuji, its numerous hot springs, historical sites, and ryokan. The lake is located on the Tōkaidō road, the main link between Kyoto and Tokyo. A number of pleasure boats and ferries traverse the lake, providing scenic views"
"of detailed individual images of flowers and birds, including the extraordinarily detailed ""Poppies"" and ""Flock of Chickens"". The next period, beginning in 1834, saw Hokusai working under the name ""Gakyō Rōjin Manji"" (The Old Man Mad About Art). It was at this time that Hokusai produced ""Thirty-six Views of Mount Fuji"", another significant landscape series. In the postscript to this work, Hokusai writes: In 1839, a fire destroyed Hokusai's studio and much of his work. By this time, his career was beginning to fade as younger artists such as Andō Hiroshige became increasingly popular. But Hokusai never stopped painting and"
"Hiroshige Utagawa Hiroshige (), also Andō Hiroshige (; 1797 – 12 October 1858), was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series ""The Fifty-three Stations of the Tōkaidō"" and for his vertical-format landscape series ""One Hundred Famous Views of Edo"". The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular series ""Thirty-six Views of Mount Fuji"" by Hokusai was a strong influence"
"formalist Hokusai, whose ""Great Wave off Kanagawa"" is one of the best-known works of Japanese art; and the serene, atmospheric Hiroshige, most noted for his series ""The Fifty-three Stations of the Tōkaidō"". Following the deaths of these two masters, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline. Some ukiyo-e artists specialized in making paintings, but most works were prints. Artists rarely carved their own woodblocks for printing; rather, production was divided between the artist, who designed the prints; the carver, who cut the woodblocks; the printer, who inked"
"Fugaku Wind Cave Fugaku Wind Cave () is a lava tube at the northern foot of Mount Fuji, Japan. It is the largest of the several lava tubes that are found in the Aokigahara forest in Fujikawaguchiko Town, Yamanashi Prefecture. The 864 A.D. eruption of Mount Fuji brought huge lava flows, creating Lake Shōji and Lake Sai of the Fuji Five Lakes by dividing Se-no-umi into two, several cinder cones such as Ōmuro and Nagao mountains, and a large flat area now called the Aokigahara Forest. In this forest can be found several lava tubes, including: All three were declared"
"crossing the river against the background of Mount Fuji is a celebrated scene representative of Japan. (mouth) Fuji River The is a river in Yamanashi and Shizuoka Prefectures of central Japan. It is long and has a watershed of . With the Mogami River and the Kuma River, it is regarded as one of the three most rapid flows of Japan. The river arises from Mount Nokogiri in the Akaishi Mountains in northwest Yamanashi as the , and meets the Fuefuki River at the town of Ichikawamisato. There it changes its name to the Fuji River. It then flows around"
"house on the right, and Mount Fuji in the distance. Sundai, Edo Sundai, Edo is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was produced as the fifth print in the series ""Thirty-six Views of Mount Fuji"" from c. 1830 to 1832 in the late Edo period. This print is a ""yoko-e"", that is, a landscape format produced to the ""ōban"" size, about 25 cm high by 37 cm wide. It is a polychrome woodblock print, composed of ink and color on paper. The composition is made up of travelers and workers on a road, with a large"
"decor items. Ogata's painting ""Rough Waves"" is the most important image of the unapproachable sea elements to be created in Japanese painting before Hokusai's ""The Great Wave off Kanagawa"". To create it, Ogata used an ancient Chinese technique of drawing with two brushes, held together in one hand. The materials Ogata used for the painting were ink, paint and gilded paper. He conveyed the threatening and dangerous nature of the waves with the help of elongated and contrastingly contoured, finger- or dragon-claw-like wave crests and sea foam. The expressiveness of the work appears to be unusual for Ogata, with the"
"separation resulted from the sankin-kōtai system and the merchants' need to travel to obtain and sell goods. Records of women obtaining shunga themselves from book lenders show that they were consumers of it. It was traditional to present a bride with ukiyo-e depicting erotic scenes from ""The Tale of Genji"". Shunga may have served as sexual guidance for the sons and daughters of wealthy families. Hokusai had a long career, but he produced most of his important work after age 60. His most popular work is the ukiyo-e series ""Thirty-six Views of Mount Fuji"", which was created between 1826 and"
"first through Chinese Western-style paintings rather than directly from Western works. Long after becoming familiar with these techniques, artists continued to harmonize them with traditional methods according to their compositional and expressive needs. Other ways of indicating depth included the Chinese tripartite composition method used in Buddhist pictures, where a large form is placed in the foreground, a smaller in the midground, and yet a smaller in the background; this can be seen in Hokusai's ""Great Wave"", with a large boat in the foreground, a smaller behind it, and a small Mt Fuji behind them. There was a tendency since"
"the best known, ""The Fifty-Three Stations of the Tōkaidō"" was such a popular subject that it led Hiroshige to create some 30 different series of woodcut prints on it, all very different one from the other by their size (""ōban"" or ""chuban""), their designs or even their number (some series include just a few prints). The Hōeidō edition of the ""Tōkaidō"" is Hiroshige's best known work, and the best sold ever ""ukiyo-e"" Japanese prints. Coming just after Hokusai's ""Thirty-six Views of Mount Fuji"" series, it established this new major theme of ""ukiyo-e"", the landscape print, or ""fūkei-ga"", with a special"
"another selection of them: ""Thirty-six Views of Mount Fuji"".) A widow makes a pilgrimage in Japan to some of the locations of Hokusai's views of Mt. Fuji, ultimately attempting to confront her former husband who had become a nearly all-powerful digital being. 24 Views of Mt. Fuji, by Hokusai ""24 Views of Mt. Fuji, by Hokusai "" is a science fiction novella by American writer Roger Zelazny. It won the Hugo Award for Best Novella in 1986 and was also nominated for the Nebula Award for Best Novella in 1985. The novella was partly inspired by ""Hokusai’s Views of Mt."
"his life he also used the given names Hatsugorō (), and Kin'emon (), and the art names Aoigazono (), Aoigaoka () and Kyōsai (). Amongst Hokkei's students are known the names Yashima Gakutei, Nishimoto Keisetsu (), Keiri (), Keiyu (), Keigetsu (), Keishō (), Keisei (), and Keirin (). Hokkei's work is light and simple, and shows the influence of his master Hokusai: the ""Famous Places from Various Provinces"" series appeared shortly after Hokusai's popular ""Thirty-six Views of Mount Fuji"". Hokkei was an individualistic and versatile artist who made use of a variety of approaches and worked in styles varying"
"The tsunami also hit the rest of Hokkaidō and Tōhoku Region. The tallest wave recorded in Japan was at Tsubota (坪田), Miyakejima (三宅島) in the Izu Shotō of the Tokyo To, at 84 centimetres. Tsunami also hit as far as Anami in Kagoshima Prefecture and Naha in Okinawa Prefecture, and reached the Hawaiian and California coasts. A 176-centimetre wave in the harbor at Crescent City, California caused an estimated $10 million in damage to the docks there. The United States authorities had issued warnings for the Russian Far East, Japan, Wake Island and Midway Atoll. The nearfield tsunami struck islands"
"during these exposures. Many of these works have been shot outdoors, but this does not mean it is a series of landscape images, as several interiors and even seemingly abstract motives are included in the series. The Seventh Wave includes landscapes from Finland, park views from the Versailles of Louis XIV, the surroundings of Donald Judd’s Marfa in Texas, interiors and exteriors from Hong Kong, Great Barrier Island in New Zealand, seascapes from Vietnam, a car vendor’s display room and the artist’s home and neighbourhood. The title of the series comes from the popular belief, that on sea, the seventh"