Hokusai. Thirty-six Views of Mount Fuji

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Mount Fuji is the highest mountain in Japan at 3,776.24 m (12,389 ft). It is a dormant volcano that last erupted in 1707–1708. Mount Fuji lies about 100 kilometers (60 mi) south-west of Tokyo and can be seen from there on a clear day. American professor Davidson’s luminous memoir of her initial four trips to Japan transports readers there through her intelligence, clarity, wit, and passion.” — Jeri Lynn Crippen, Lovin' Life After 50 There are variant impressions of this image. The original prints have a deliberately uneven blue sky, which increases the sky’s brightness and gives movement to the clouds. Smith, Lawrence. 'Twelve Views of Mount Fuji'. London, Trustees of the British Museum, 1981, [no. 2]. Zelazny, Roger (1985). "24 Views of Mount Fuji". In "Cthulu 2000: Stories" (1995). Arkham House, Sauk City, WI. ISBN 978-0345422033

Thompson, Sarah (2019). "Hokusai's Landscapes: The Complete Series". MFA Publications, Boston. ISBN 978-0878468669. In the print Hukosei depicts a scenic location on a teahouse called Fujimi Chaya, which translates to a teahouse with a view of Mount Fuji. The name is also written on the horizontal panel at the center of the print. There are two women who seem to be enjoying the Vista of Fuji. It has a triangular arrangement of figures in the foreground who represent the shape of The Mount Fuji.Buddhists found in Fuji an inspiring symbol of meditation and called its summit “ zenjo,” a Buddhist term describing a perfect meditative state. Buddhists also came to regard Fuji as the abode of the Buddha of All-Illuminating Wisdom. Mount Fuji is also an important religious center; nearly two thousand religious organizations are based around the mountain, including one of Japan’s largest Buddhist sects. They also seem to be enjoying the beautiful sightseeing of the Mount Fuji. But the three-men on the left-side of the Goten-yama-hill at Shinagawa on the Tokaido print seem to be enjoying their drinking and eating. A Japanese classical scholar in the Edo period, Hirata Atsutane, speculated that the name is from a word meaning "a mountain standing up shapely as an ear (ho) of a rice plant." A British missionary, John Batchelor (1854-1944), argued that the name is from the Ainu word for ' fire' (huchi) of fire-deity (huchi kamuy), but the Japanese linguist Kyosuke Kindaichi (1882-1971) denied this on grounds of phonetic development (sound change). It is also pointed out that huchi in Ainu means an 'old woman' and ape is the word for 'fire,' ape huchi kamuy being the fire deity. Research on the distribution of place names that include Fuji also suggest the origin of the word fuji is in Yamato language rather than Ainu. A Japanese toponymist Kanji Kagami argued that the name has the same root as 'wisteria' (fuji) and 'rainbow' ( niji, but with an alternative word fuji), and came from its "long well-shaped slope." Looks like one of our young helpers in those days was a bit over-ambitious, and the boss - me - was

In 684 (the sixth year of the Jōgan era) there was an eruption on the northeast side of Mount Fuji, which produced a great amount of lava. Some of the lava filled up a large lake (Senoumi, せの海) which existed at the time, dividing it into two lakes, Saiko (西湖) and Shōjiko (精進湖). This is known as the Aokigahara lava (青木ヶ原溶岩) and at present is covered by forest. Thirty-six views of Mount Fuji is a series by the very talented Katsushika Hokusai. The art is also loved as much as people love the real mountain Fuji. His work is so valuable that it is hard to see the original art. If you’re hiking off-season then wearing crampons is advised and you may also need hiking poles or ice axes depending on conditions.Hokusai was a prolific printmaker of the Edo period in Japan. He worked in the late 1700s and early 1800s and created hundreds of gorgeous prints. The ukiyo-e prints overall all seem to have a set of similar characteristics. The common characteristics of an art period or style are called the conventions. 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. [10] See also [ edit ]

Thirty-six Views of Mount Fuji” is one of the world’s unique series of images of various conditions and vantage points of the mountain that is synonymous with Japan. The picture shows a group of men and women on the terrace of a tea house, looking up at Mount Fuji. The tea house might appear to be an innocent location but, at the time Hokusai was working, a tea house was often a place for a couple to meet privately. Nevertheless, as everyone gazes at the transformed landscape, there is a suggestion of awe and wonder at the change brought about by the snowfall. What emotions do you feel when looking at this artwork? What emotions do you think the artist was feeling?Binyon, Laurence. 'A Catalogue of Japanese and Chinese Woodcuts in the British Museum'. London, British Museum, 1916, [Hiroshige] no. 533. The print is completed with various fishing and boat scenes underneath, which invoke the agrarian and mercantile setting of early nineteenth-century Fukagawa, a district of Tokyo. Beneath the bridge in the distance, Mount Fuji, the iconic symbol of Japan, can be seen with its snow-covered peak. While Hokusai's Thirty-six Views of Mount Fuji is the most famous ukiyo-e series to focus on Mount Fuji, there are several other works with the same subject, including Hiroshige's later series Thirty-six Views of Mount Fuji and Hokusai's subsequent book One Hundred Views of Mount Fuji (published 1834–1835). [5] What can you tell about the Japanese way of life in the Edo Period by looking at these artworks? What types of things are the people doing?