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Katsushika Hokusai

@katsushikahokusai.bsky.social

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Fan account of Hokusai, ukiyo-e painter and printmaker of the Edo period. 1760-1849 Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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Katsushika Hokusai @katsushikahokusai.bsky.social · 54m

Shore of Tago Bay, Ejiri at Tokaido https://www.wikiart.org/en/katsushika-hokusai/shore-of-tago-bay-ejiri-at-tokaido

Katsushika Hokusai @katsushikahokusai.bsky.social · 5h

Risshi by the Sea Watching Birds https://clevelandart.org/art/1985.263

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Katsushika Hokusai @katsushikahokusai.bsky.social · 6h

Rokurokubi https://www.wikiart.org/en/katsushika-hokusai/rokurokubi

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Katsushika Hokusai @katsushikahokusai.bsky.social · 8h

Peonies and Canary https://collections.artsmia.org/art/8220/

After the successful publication of his ten-print bird- and-flower (kachō-ga) series in the horizontal format (examples on view nearby), Hokusai released another kachō-ga series with the same publisher, Nishimuraya. The new set consisted of ten vertical compositions (three are on view) bearing a poem mentioning the featured flower. The Chinese-style poem at the upper right of this print is attributed to the Southern Song scholar Wang Shiming (1112–71). Double-flowered peonies from Yangzhou, the king of flowers in bloom this spring. The idea of cultivating plants as an elegant pastime was introduced from China as early as the 12th century and caught on among Japan’s aristocracy and military elite. By the Edo period, the hobby was pursued by all classes of society, even in thriving metropolitan areas like Edo. Peonies were especially popular, with blossoms of various colors, sizes, and types.

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Katsushika Hokusai @katsushikahokusai.bsky.social · 23h

Head of the snake woman https://www.wikiart.org/en/katsushika-hokusai/head-of-the-snake-woman

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Katsushika Hokusai @katsushikahokusai.bsky.social · 1d

Women Picnicing by the Tama River/The Short-Necked Clam Shell (Asarigai), from the series Shell-Matching Game with Genroku Poets (Genroku kasen kai-awase) https://www.harvardartmuseums.org/collections/object/207995

Harvard Art Museums/Arthur M. Sackler Museum, Gift of the Friends of Arthur B. Duel

Katsushika Hokusai @katsushikahokusai.bsky.social · 1d

Okijiro Hironari https://www.metmuseum.org/art/collection/search/57275

Gift of Annette Young, in memory of her brother, Innis Young, 1956

Katsushika Hokusai @katsushikahokusai.bsky.social · 1d

Poem by Yamabe no Akahito https://collections.artsmia.org/art/62801/

Source image: Yamabe Akihito in "Hyakunin isshu zue" from 1807 『百人一首図絵』山辺赤人.

Katsushika Hokusai @katsushikahokusai.bsky.social · 1d

Tachibana Armor with Chrysanthemum-Stream Motif (Kikusui yoroi) and Sutra Scroll of Universal Gate Chapter (Fumonbon), from the series Four Types of Existence (Shishō no uchi), with poem by Sōkaen Takemaru https://www.harvardartmuseums.org/collections/object/207681

Katsushika Hokusai @katsushikahokusai.bsky.social · 1d

Ochanomizu in Kanda Mojin Shrine https://www.artic.edu/artworks/152840/

Katsushika Hokusai @katsushikahokusai.bsky.social · 2d

Waterwheel at Onden https://collections.artsmia.org/art/8732/

During the Edo period, Onden was a quiet farm village near the Shibuya River, shown here beyond the mill. Today, the area is known as Harajuku, a hotspot for fashion-forward young people. The Shibuya River (also known as the Onden River) was covered over during road construction before the Olympic Games held in Tokyo in 1964. However, it once was a valuable natural resource. As early as 1769, farmers built waterwheels on the river’s tributaries and used them to run grain mills and threshing machines. In this image, two women—one with a wooden bucket, the other with a woven basket—appear to be doing laundry in the millrace. Near them, a boy stares curiously at the waterwheel while his pet turtle tugs at its leash. The two men approaching with heavy sacks are possibly bringing rice to be milled.

Katsushika Hokusai @katsushikahokusai.bsky.social · 2d

Ancient View of the Eight-planked Bridge in Mikawa Province (Mikawa no Yatsuhashi no kozu), from the series "Unusual Views of Famous Bridges in Various Provinces (Shokoku meikyo kiran)" https://www.artic.edu/artworks/25178/

Katsushika Hokusai @katsushikahokusai.bsky.social · 2d

Hydrangeas and Swallow https://collections.artsmia.org/art/8693/

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Katsushika Hokusai @katsushikahokusai.bsky.social · 2d

Kanaya, from an untitled series of the fifty-three stations of the Tokaido https://www.artic.edu/artworks/23705/

Katsushika Hokusai @katsushikahokusai.bsky.social · 2d

Ryöstö http://kokoelmat.fng.fi/app?si=C+IV+984

Katsushika Hokusai @katsushikahokusai.bsky.social · 3d

Flatfish, scorpion fish, and shells, from an untitled series of chuban prints https://www.artic.edu/artworks/23683/

Katsushika Hokusai @katsushikahokusai.bsky.social · 3d

Inume Pass in Kai Province (Koshu Inume-toge), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)" https://www.artic.edu/artworks/24794/

Katsushika Hokusai @katsushikahokusai.bsky.social · 3d

Pines and Waves at the Dragon Cavern https://collections.artsmia.org/art/62799/

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Katsushika Hokusai @katsushikahokusai.bsky.social · 3d

Hawfinch and Marvel-of-Peru https://collections.artsmia.org/art/8218/

Four-o’clocks were introduced to Japan in the early 17th century and became popular among amateur horticulturists. To protect the flowers from direct sunlight, gardeners typically planted four-o’clocks near a fence, as mentioned in the poem. In contrast to the large, showy blooms of peonies, the “king of flowers,” which thrive in sunlight, four-o’clock blossoms are small and modest, discreetly opening late in the day and withering in the morning sun. Orange gradation along the print’s upper edge suggests sunset, when four-o’clocks are open. The poem is ascribed to “a woman of Yōdai.” A reference to fairyland or the moon, Yōdai implies the poet has super- natural beauty. Four-o’clocks bloom near the fence behind the peonies.

Katsushika Hokusai @katsushikahokusai.bsky.social · 3d

Kingfisher, carnation, iris https://www.wikiart.org/en/katsushika-hokusai/kingfisher-carnation-iris

Katsushika Hokusai @katsushikahokusai.bsky.social · 4d

Daikagura Performers https://collections.artsmia.org/art/11465/

Daikagura performers organized into traveling troupes at New Year’s in order to distribute amulets from the great Shinto shrine at Ise. They performed the shishimai, the dance of divine lions, and a variety of acrobatic feats. In this print, a group of women and children chance upon a Daikagura troupe. To the delight of one boy, an entertainer is doing a balancing act while simultaneously playing the flute. One of his companions keeps time by beating a drum while another unpacks. Other auspicious motifs in the composition include a view of Mount Fuji in the background and a blossoming plum tree, considered a harbinger of spring. The ideogram for longevity appears on the boy’s kite. This celebratory composition was probably commissioned for a poetry society’s publication of poems in commemoration of the New Year. Unfortunately, the text that would have helped identify the poetry group has been trimmed from the image.

Katsushika Hokusai @katsushikahokusai.bsky.social · 4d

A Picture Book on the Communication of Home Precepts https://www.metmuseum.org/art/collection/search/78800

Purchase, Mary and James G. Wallach Foundation Gift, 2013

Katsushika Hokusai @katsushikahokusai.bsky.social · 4d

Kohtaus romaanista Kana-dekon Chushingura (1798-99), 47 Ronin tarina http://kokoelmat.fng.fi/app?si=A+II+841%3A425

Katsushika Hokusai @katsushikahokusai.bsky.social · 4d

Autumn Moon at Ishiyama (Ishiyama no shugetsu) from the series Eight Views of Omi in Etching Style (Doban Omi hakkei) https://www.artic.edu/artworks/57278/

Gift of Mr. and Mrs. Samuel M. Nickerson

Katsushika Hokusai @katsushikahokusai.bsky.social · 4d

Fishing Boats at Choshi in Shimosa (Soshu Choshi) from the series "One Thousand Pictures of the Ocean (Chie no umi)" https://www.artic.edu/artworks/100627/