@culturaltutor on Twitter
The Great Wave Off Kanag...
The Great Wave off Kanagawa, created by Hokusai in 1831, is one of the world's most famous paintings. But why are there more than 100 different versions of it in galleries all around the world? Because it isn't actually a painting...
The Great Wave off Kanagawa comes from a series called Thirty Six View of Mount Fuji, created in 1831 by the master Katsushika Hokusai. It is but one of thousands of beautiful different designs produced by the prolific Hokusai. Here are four more from that 1831 series.
The Great Wave is a woodblock print in the Japanese ukiyo-e style. The artist would create an ink drawing on paper, to be pasted onto a wooden block as a guide for the engraver. This engraving was then used to print multiple, coloured copies of the original design.
The roots of the ukiyo-e style are important. Traditional Japanese art, heavily influenced by that of China, was never about directly representing reality. Rather, it sought to capture the essence or mood of a moment, place, or person, almost like visual poetry.
And it could be startlingly minimalist in places, if not quasi-abstract, as in the astonishingly beautiful Pine Trees Screen by Hasegawa Tōhaku, from 1595, in which barely any of the screen is actually painted. Such art was often monochromatic, painted with inkbrushes on silk.
In the 17th century linear perspective entered Japanese art via Dutch merchants. But Japanese artists didn't simply imitate Western painting - they synthesised its methods into their own art. Notice how Ōkyo brings some subtle vanishing point into his Cracked Ice Screen:
Moronobu was one of the first to develop the distinctive ukiyo-e style, drawing on these many disparate themes in Japanese art - of Chinese styles, traditional Japanese forms, and Western methods - to create something new and cohesive in the 17th century:
Crucial about ukiyo-e prints is that, despite being works of art, they were also deeply commercial in nature. The growing middle class in Edo, the capital, were living lives of increasing luxury, and ukiyo-e prints were both a reflection and part of that.
From one design by an artist, transferred to woodblock, thousands of prints could be produced and sold. A key moment had come in the 1740s, when Masanobu introduced formal Western perspective and full colour into the previously two or three-toned ukiyo-e prints.
And so a popular art form was born, increasingly colourful and dedicated to the lives of normal people; they were the ones buying these prints. But that old stylised depiction of reality endured, unafraid to simplify or alter the real world into an impression of a moment.
Many these ukiyo-e prints depicted courtesans and other women of the legalised red-light districts in Edo; a sign of the era's relative hedonism and prosperity. Such as Utamaro's numerous series, either on "Beautiful Ladies" or "The Physiognomies of Women":
Or actors from kabuki, a form of traditional Japanese theatre involving dance, sumptuous costumes, and heavily stylised drama. The mysterious Sharaku produced many such designs in the 1790s. Theatre-goers could buy prints of their favourite actors, just like modern posters.
Hence the name ukiyo-e itself, which means "Images of the Floating World." The Floating World referred to was a metaphor for the luxury and pleasure of this urban lifestyle. Ukiyo-e became big business, with hundreds of publishers competing in Edo to cater to this market.
But in the early 1840s such licentiousness in art was prohibited by governmental reform, and so ukiyo-e turned to landscapes. It was in this climate, combined with a growing domestic travel and tourism industry, that Hokusai rose to prominence, even producing fishing prints:
He created one series in 1834 called A Tour of the Waterfalls of the Provinces, wherein he called back to the traditional Japanese and Chinese landscapes, infused with Buddhist ideals about nature, and presented it with his own, striking visual language:
Another of the late landscape ukiyo-e masters was Hiroshige. He helped produce The Sixty-Nine Stations of the Nakasendō in 1842, a series of views from a major road through Japan. These were places and scene with which many people would have been familiar:
And then there's something like his Eight Views of Omi, where Hiroshige shows his sensitivity toward colour:
Beyond landscapes and scenes from urban life, ukiyo-e prints also featured images from mythology and folk tales:
And ghost stories:
And were very often playful and inventive:
And this is where we see that the difference between a painting and a print isn't trivial. An oil-on-panel painting, for example, exists in one place at one time. Imitations can be made by other artists, but without quality photography there can be no truly accurate copies.
Unlike with ukiyo-e prints, which by design doesn't have a single, original form, but exist as thousands of copies. Hence why museums and galleries all around the world have slightly different versions of the Great Wave off Kanagawa, all of which are technically "original".
After the Meiji Restoration in 1868 Japan opened its borders to the world and to international travel again - after a 250 year period of strict isolation. Via trade Japanese prints soon flooded Europe, and they changed the course of art forever.
With their stylised representations of reality, vivid colours, focus on mood and atmosphere, unusual angles, and depiction of ordinary life, ukiyo-e prints were a direct inspiration to the Impressionists and all who followed. Van Gogh made his own copies of Hiroshige prints:
The Great Wave off Kanagawa isn't a painting, then, but an ukiyo-e woodblock print designed for mass distribution - a difference crucial in its appearance, nature, and influence. None of which prevents it from being one of the most stunning works of art ever created. (View Tweet)