The exhibition takes a close look at Hokusai’s post 1820 works, though this in itself detracts from his earlier extremely popular multiple volume manga series, no less the work of a genius.Īt the age of sixty-one, in 1820, a point in life which in Japan marks the beginning of a second cycle of a renewed life, he took the name of Iitsu (One Again).
#TSUNAMI HOKUSAI GOLDENRATIO SERIES#
The series which would eventually extend to fifteen volumes, the last three being published posthumously, showing many different types of pictures in many different styles and were so well thought of that in the first volume’s preface they were referred to as ‘the things of Heaven and of Buddha’ and were used as drawing manuals. Minamoto no Tametomo challenging the wild inhabitants of Onigashima island to test their strength against himĪt the age of fifty in 1810 he was struck by lightning and survived and then in 1814 the first of the Manga series, which he had begun under the roof of Boksen in Nagoya, was published. The relationship ended in a violent quarrel. In 1805 at the age of forty-five he began a tempestuous relationship with the novelist Kyokutei Bakin, illustrating amongst others Bakin’s translation of the Chinese classic ‘Illustrated New Edition of the Suikoden’ (The Water Margin) and ‘Strange Tales of the Crescent Moon’.
He would also, at the opposite end of the scale, create minute drawings on grains of rice.
Commanded to produce a picture for the Shōgun he created a sensation by immersing the feet of a cockerel in red paint and allowing the bird to walk all over a sheet of paper on which he had painted a large swathe of blue creating a river covered with the scattered leaves of the red maple. From then on he scraped a living as a street hawker until 1804 when he gained attention of the Shōgun’s Court as he entertained a crowd by painting an immense image of the monk Daruma in the courtyard of a temple in Edo. He spent four years working as an engraver’s apprentice from the age of fourteen and at the age of eighteen was apprenticed to the painter and printmaker Katsukawa Shunshō who specialised in ‘yakusha-e’ (actor prints) and ‘bijin ga’ (beautiful women prints) until, at the age of twenty-six, he left after a row with Shunkō, the senior apprentice, over a shop sign. Hokusai married twice, both wives pre-deceasing him, and had two sons and three daughters, one of whom, Ōi, became an artist in her own right. He was adopted by Ise Nakajima, an artisan, who made and supplied metal mirrors to the Shōgun’s court and, according to “Katsushika Hokusai Den” (Biography of Katsushika Hokusai) by Kyoshin Iijima, a mother who was granddaughter to Kobayashi Heihachirō, an expert swordsman and high ranking retainer of Kira Yoshinaka, who was killed during the attack on Kira’s mansion by the Forty-Seven Rōnin, something which Hokusai apparently used to talk about. Katsushika Hokusai was born Tokitarō in 1760 in Honjo Warigesui, the present-day Kamezawa area of Sumida City. It does not store any personal data.Exhibition dates: 25 th May – 13 th August 2017 The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is used to store the user consent for the cookies in the category "Other.
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