Ocean Wave Paintings – The Great Wave off Kanagawa (Japanese: , Hepburn: Kanagawa-oki Nami Ura is lit “Under the Wave of Kanagawa”).
The woodblock print was created by the Japanese ukiyo-e artist Hokusai in late 1831 during the Edo period of Japanese history. The song depicts three ships navigating a rough sea, with a large wave forming a spiral on land and Mount Fuji visible in the background.
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The passage is Hokusai’s best-known work and the first in the Thirty-Six Views of Mount Fuji series, where he used Prussian blue for Japanese compositions. The design of The Great Wave is a combination of Japanese typographic traditions and the use of pictorial perspective developed in Europe, and brought him rapid success in Japan and later in Europe, where Hokusai’s art was inspired by his works. Several museums around the world hold copies of The Great Wave, many of which came from private collections of 19th-century Japanese prints.
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“The Great Wave off Kanagawa” has been described as “perhaps the most expressive picture in the history of art.”
He introduced several famous artists and musicians, including Vincent van Gogh, Claude Debussy, Claude Monet, and Jorishige.
Ukiyo-e is a Japanese printmaking art that flourished in the 17th century. Its craftsmen made wooden blocks and tables, in which there were beautiful women; kabuki actors and sumo wrestlers; themes from history and folklore; you will know the way and the landscape; Japanese flora and fauna; and erotic. The word ukiyo-e (浮世絵) translates as “picture of the floating world”.
Tertainmt the theater of kabuki began to entertain and hold the charm of geishas and prostitutes;
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The word ukiyo (“floating on earth”) came to describe this hedonistic lifestyle. Printed or painted ukiyo-e works were popular with the chonin class, who must have been wealthy enough to decorate their homes with them.
Color compositions were introduced gradually and were used at first only for special commissions. Beginning in the 1740s, artists such as Okumura Masanobu used wood more to print areas of color.
In 1760, the victory of Suzuki Harunobu “traces the brocade” for the production of full color and symbol made, and t or more blocks used to create each figure. Some ukiyo-e artists specialized in drawing, but most works were prints.
Rarely did artists carve their own wood; production between the artist who made the songs; wood carver; a printer who wove and printed wooden paper; and the publisher who sponsored, promoted, and distributed the works. With manual printing, printers can achieve undesirable effects with machines, such as color bleed or grading on the printing blocks.
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He was the son of a shogun’s scout and at the age of 14, he was named Tokitarō.
Hokusai started painting at the age of six and when his father was twelve he started working in a bookstore. Sixth, he became the main student, who remained for three years, when he also began to create his own models. At the age of eighteen, Hokusai was hired as an apprentice by the artist Katsukawa Shunshō, one of the greatest ukiyo-e artists of his time.
When Shunshō died in 1793, Hokusai studied Japanese and Chinese styles, as well as some of his Dutch and French paintings. In 1800, he published A Clearer Vision of the Eastern Palace and Eight Sentences of Eden, and began taking on apprentices.
At this time he began to use the name Hokusai; they would use more than 30 fake names.
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In 1804, Hokusai achieved fame when he established a 240 square meter (2,600 sq ft) temple led by a Buddhist monk named Daruma for a festival in Tokyo.
Due to poor financial conditions, in 1812, he published Living Lessons in Simpler Drawing, and began traveling to Nagoya and Kyoto to recruit more students. In 1814, he published the first 15 manga; A large number of painting subjects, such as humans, animals, and Buddha. He published his famous series of thirty-six Views of Mount Fuji in the late 1820s; later it was popular to add more songs.
From the sixty-sixth year of my age I had lessons in the ways of things, and from those fifty years I published many tracts; At the age of seventy-three I partially understood the parts of animals, birds, insects, and fish, and the life of grass and plants. And so I will continue further to eighty-six; at ninety I will seek more of their mysterious meaning, and perhaps at a hundred I will reach the level of wonder and divinity. If I am and t is a hundred, each line will get its life.[17] Description [edit]
The Great Wave from Kanagawa is an environmental yoko-e print produced in ōban size 25 × 37 cm (9.8 in × 14.6 in).
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The world of the world from three elements: troubled sea, three ships and a mountain. The artist’s signature appears in the upper left corner.
Image description. In the background is Mount Fuji in blue with a snow-capped peak.
Mount Fuji is the main chapter of the Thirty-six Views of Mount Fuji series, which shows the mountain from different angles. In The Great Wave off Kanagawa, Mount Fuji is painted blue with white highlights similar to the wave in front.
The dark color around the mountain seems to indicate that the picture is set early in the morning, when the sun rises through the viewer’s glasses and begins to illuminate the snowy peaks. There are cumulonimbus clouds between the mountains and the seers; Although these clouds usually indicate storms, there is no rain on Fuji or over the ocean.
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Scaevola shows three oshiokuri-bune boats that were transporting live fish from the islands of Izu and Bōsō to markets in Edo Bay.
According to Cartwright and Nakamura’s (2009) analysis, the boats were located in Edo (Tokyo) Bay near Yokohama in present-day Kanagawa Prefecture, with Edo to the north and Mount Fuji to the west. The ships are heading south, probably in Sagami Bay to pick up a cargo of fish to be sold in Edo.
In each ship there are eight oarsmen holding the oars. At the front of each boat are two members of the largest support of sailors; 30 m are represented in the picture, but only 22 exist. The size of the waves can be estimated using them as a reference: oshiokuri-bune were generally between 12 and 15 meters (39 and 49 ft) long. Hokusai reduced the vertical scale by 30%, the wave is between 10 and 12 meters (33 and 39 ft) high.
The sea dominates the composition, which depends on the shape of the wave that spreads and dominates the scene before it falls. Here, the wave completes a graceful cycle and crosses its path through the structure, allowing viewers to see Mount Fuji in the background. The simulacrum is made up of curves, with the surface of the water curving into the waves. Some large foamy waves may carry curved waves, which are divided into many smaller waves, which repeat the image of the big wave.
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[drawing] a map that should have been called Create. It is almost like a painting of the gods, and a religious painter of a terrible sea surrounded by the terror that inhabits the land; the split part drops rain in the form of animal claws.[26]
The wave is usually described as that produced by a tsunami, a terrible wave or rather a treacherous wave, but also as a terrifying or frightening wave, like a scary bone-white fisherman with his foamy claws.
This interpretation of the work recalls Hokusai’s mastery of Japanese fantasy, which is revealed through ghosts in Hokusai Manga. Examining the waves on the left, there are many more “claws” ready to catch the fisherman, behind a belt of white foam. This image recalls many of Hokusai’s earlier works, including the Hyaku Monogatari One Hundred Spirits series, produced from 1831 to 1832, which depict unusual scenes in greater detail.
The Great Wave off Kanagawa has two addresses. The title of the series is written in the upper left corner within the rectangular frames, which reads: “冨嶽三十六景/ 神奈川沖/浪裏” Fugaku Sanjūrokkei / Kanagawa oki / nami ura, that is “the thirty-six sentences of Mount Fuji / In the deep sea at Kanagawa / Beneath the waves. The inscription on the left side of the box bears the artist’s signature: 北斎改爲一筆 Hokusai aratame Iitsu hitsu which reads “(painting) from the brush of Hokusai, who changed his design. name for Iitsu”.
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Due to his humble nature, Hokusai did not have a nickname; The first name Katsushika came from the country. At the end of life
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