Art of Asia
- Edo period, an introduction
- Tea bowl with dragon roundels
- Scenes from The Tale of Genji
- Genji Ukifune
- Dog chasing
- A portrait of St. Francis Xavier and Christianity in Japan
- Ogata Kōrin, Red and White Plum Blossoms
- Hon’ami Kōetsu, Folding Screen mounted with poems
- Archery practice
- The evolution of ukiyo-e and woodblock prints
- Utagawa Kunisada I, Visiting Komachi, from the series Modern Beauties as the Seven Komachi
- Hokusai, Under the Wave off Kanagawa (The Great Wave)
- Beyond the Great Wave — Hokusai at 90
- Hokusai’s printed illustrated books
- Hokusai, Five Beautiful Women
- The Floating World of Edo Japan
- Hunting for fireflies
- Street scene in the pleasure quarter of Edo Japan
- Courtesan playing with a cat
- Courtesans of the South Station
- An introduction to Kabuki theater
- The actor Ichikawa Danzo IV in a Shibaraku role
- Fire procession costume
- Arrival of a Portuguese ship
- Matchlock gun and pistol
- Military camp jacket
- Military leader's fan
- An American ship
- The steamship Powhatan
- Conserving the Gan Ku Tiger scroll painting at the British Museum
Hokusai, Under the Wave off Kanagawa (The Great Wave)
Katsushika Hokusai’s Under the Wave off Kanagawa, also called The Great Wave has became one of the most famous works of art in the world—and debatably the most iconic work of Japanese art. Initially, thousands of copies of this print were quickly produced and sold cheaply. Despite the fact that it was created at a time when Japanese trade was heavily restricted, Hokusai’s print displays the influence of Dutch art, and proved to be inspirational for many artists working in Europe later in the nineteenth century.
Thirty-six Views of Mount Fuji
Fishing boats (detail), Under the Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, c. 1830-32, polychrome woodblock print; ink and color on paper, 10 1/8 x 14 15 /16 inches / 25.7 x 37.9 cm (The Metropolitan Museum of Art, New York)
Under the Wave off Kanagawa is part of a series of prints titled Thirty-six views of Mount Fuji, which Hokusai made between 1830 and 1833. It is a polychrome (multi-colored) woodblock print, made of ink and color on paper that is approximately 10 x 14 inches. All of the images in the series feature a glimpse of the mountain, but as you can see from this example, Mount Fuji does not always dominate the frame. Instead, here, the foreground is filled with a massive cresting wave. The threatening wave is pictured just moments before crashing down on to three fishing boats below. Under the Wave off Kanagawa is full of visual play. The mountain, made tiny by the use of perspective, appears as if it too will be swallowed up by the wave. Hokusai’s optical play can also be lighthearted, and the spray from top of the crashing wave looks like snow falling on the mountain.
Hokusai has arranged the composition to frame Mount Fuji. The curves of the wave and hull of one boat dip down just low enough to allow the base of Mount Fuji to be visible, and the white top of the great wave creates a diagonal line that leads the viewers eye directly to the peak of the mountain top.
Across the thirty-six prints that constitute this series, Hokusai varies his representation of the mountain. In other prints the mountain fills the composition, or is reduced to a small detail in the background of bustling city life.
Who was Katsushika Hokusai?
Hokusai was born in 1760 in Edo (now Tokyo), Japan. During the artists’ lifetime he went by many different names; he began calling himself Hokusai in 1797. Hokusai discovered Western prints that came to Japan by way of Dutch trade. From the Dutch artwork Hokusai became interested in linear perspective. Subsequently, Hokusai created a Japanese variant of linear perspective. The influence of Dutch art can also be seen in the use of a low horizon line and the distinctive European color, Prussian blue.
Hokusai was interested in oblique angles, contrasts of near and far, and contrasts of manmade and the natural. These can be seen in Under the Wave off Kanagawa through the juxtaposition of the large wave in the foreground which dwarfs the small mountain in the distance, as well as the inclusion of the men and boats amidst the powerful waves.
Why Mount Fuji?
Mount Fuji is the highest mountain in Japan and has long been considered sacred. Hokusai is often described as having a personal fascination with the mountain, which sparked his interest in making this series. However, he was also responding to a boom in domestic travel and the corresponding market for images of Mount Fuji. Japanese woodblock prints were often purchased as souvenirs. The original audience for Hokusai’s prints was ordinary townspeople who were followers of the “Fuji cult” and made pilgrimages to climb the mountain, or tourists visiting the new capital city. Although the skyscrapers in Tokyo obscure the view of Mount Fuji today, for Hokusai’s audience the peak of the mountain would have been visible across the city.
The making of Ukiyo-e Prints
Ukiyo-e is the name for Japanese woodblock prints made during the Edo Period. Ukiyo-e, which originated as a Buddhist term, means "floating world" and refers to the impermanence of the world. The earliest prints were made in only black and white, but later, as is evident from Hokusai’s work, additional colors were added. A separate block of wood was used for each color. Each print is made with a final overlay of black line, which helps to break up the flat colors. Ukiyo-e prints are recognizable for their emphasis on line and pure, bright color, as well as their ability to distill form down to the minimum.
Hokusai moved away from the tradition of making images of courtesans and actors, which was the customary subject of ukiyo-e prints. Instead, his work focused on the daily life of Japanese people from a variety of social levels. Such as the quotidian scene of fishermen battling the sea off the coast of Mount Fuji that we see in The Great Wave. This change of subject matter was a breakthrough in both ukiyo-e prints and in Hokusai’s career.
Popularity of Ukiyo-e prints in Europe
Beginning in 1640, Japan was largely closed off to the world and only limited interaction with China and Holland was allowed. This changed in the 1850s, when trade was forced open by American naval commodore, Matthew C. Perry. After this, there was a flood of Japanese visual culture into the West. At the 1867 International Exposition in Paris, Hokusai’s work was on view at the Japanese pavilion. This was the first introduction of Japanese culture to mass audiences in the West, and a craze for collecting art called Japonisme ensued. Additionally, Impressionist artists in Paris, such as Claude Monet, were great fans of Japanese prints. The flattening of space, an interest in atmospheric conditions, and the impermanence of modern city life—all visible in Hokusai’s prints—both reaffirmed their own artistic interests and inspired many future works of art.
Text by Leila Anne Harris
Want to join the conversation?
- Is this an Early representation of a tsunami before they knew what it was ?(6 votes)
- Probably not. It's just a big wave, as are common on the Pacific Ocean, especially when there's a typhoon somewhere in the region.(5 votes)
- What is the writing in the upper left corner?(2 votes)
- no, not a poem - the characters in the cartouche give us the series title then the picture title; the free-standing script is Hokusai's signature David Bell(1 vote)
- Where can I find out a more detailed biography of Katsushika Hokusai and his various art works?(1 vote)
- Unfortunately, none is available, to my knowledge, in English. There are a number of coffee table books on Hokusai that include thoughtful opening essays, but a full biography of the artist and his inner world yet awaits the west.(2 votes)
- Is the great wave based off of a wave the creator saw or is it a random wave he created?(1 vote)
- Do you mean like, 'was this painted from a photo'? It appears to me to be stylized and imagined.(1 vote)
- How did the museum get this piece?(1 vote)
- Mrs. H. O. (Louisine W.) Havemeyer , New York (until d. 1929; bequeathed to MMA).(1 vote)
- how did the audience react to the great wave off kanagawa?
this is a question in my art comparative study assignment and i cant find a single article that mentions this lmao(1 vote)
- What was different about Hokusai’s prints from traditional ukiyo-e prints?(1 vote)
- Instead of making portraits of courtesans and actors, Hokusai showed scenes of daily life. For example, this print shows fishermen.(1 vote)
- What is the narrative?(0 votes)
- Although this is not widely considered a narrative piece, I can see a possible narrative read from the outside in. The first thing that one notices when they look at the print is naturally the wave, which dominates the foreground. As the eye travels down the wave, one notices the fishermen in their boats being drawn into the crest of the wave. This tells of the conditions that poor Japanese fishermen had to endure in order to work, telling a small story about one of the various classes that were depicted in Hokusai's other prints. Finally, at the very center, there is Mt. Fuji itself, which is surprisingly not dominating the canvas as in many of Hukosai's other prints. The tip of the wave is just above the peak of Fuji, which can be seen as bringing the "narrative" full circle in that it started with a natural phenomenon (the wave), and ending with another large part of nature (Mt. Fuji). This brings the earthly elements together at the center, bringing the eye outward again to take in the wave once again.
I hope this helped explain a possible narrative in this woodblock print.(1 vote)
- what is the word for a passion for collecting Japanese art(0 votes)
- japonisme :::) is the word for a passion for collecting japanese art(1 vote)
- Why does Khan Academy never provide the date the articles where published or name of author? If anyone knows the details of this specific article I would really appreciate it!(0 votes)
- This may be, in part, to encourage you to learn how to dig for information. Much of the art history curriculum comes from www.smarthistory.org I went there, found the article in question, and found the citation at the bottom of the page. Leila Anne Harris, "Hokusai, Under the Wave off Kanagawa (The Great Wave)," in Smarthistory, August 9, 2015, accessed September 24, 2020,(0 votes)