Analysis Of The Great Wave Off Kanagawa

Utagawa Kuniyoshi’s Tatsu Tora (woodblock, 37 x 25 cm., c. 1835) is a stunning portrayal of a tiger staring intently into the eyes of a dragon next to a rushing waterfall. Derived from the Edo Period in nineteenth century Japan, this elaborate print symbolizes in and yo; the balance of energies in the Universe. Through Kuniyoshi’s utilization of space, a color palette that consists of both muted and saturated colors, and his creation of implied texture by etching a wide variety of lines, an undeniable sense of balance is established throughout the work of art.

The painting, “Black Ships & Samurai,” depicts these black ships arriving in Japan and reveals the perspective and sentiment that the Japanese held on the ships. Perry’s arrival in Japan was a momentous event in Japanese

“The Great Wave: Hokusai” by Donald Finkel is a poem written about “The Great Wave Off Kanagawa”, an artwork produced from 1831 to 1833 by Katsushika Hokusai during the Edo period. The “The Great Wave Off Kanagawa” is just one of "The Thirty-six Views of Mt. Fuji". This woodblock print portrays a tremendous tsunami overpowering small man-powered boats, along with Mount Fuji in the background. The compelling contrast between the turbulent waves and light colored sky draws the viewer’s eyes to the central figure of Mount Fuji, which was considered a sacred symbol of beauty and immortality. In order for Finkel to develop a connection with Hokusai’s work of art, he finds common ground between the world of the artist and the observer. Donald Finkel’s

Around the age of six years old, Hokusai began painting and even spent time as an apprentice wood-carver in his youth. He began the art of print making when he was eighteen. His most famous painting, The Great Wave, can be seen in museums all over the world even though Japan delayed it from catching on worldwide. Many believe that it was painted in the early 1800s, but Japan was not interacting culturally with other countries apart from trade with China and Korea. It wasn’t until 1859 when the Japanese were forced to open their ports that prints of The Wave spread across Europe. Originally, this piece wasn’t viewed as real art by Japanese politicians and art historians. Wood-block printing was used for commercial use and as a popular form of expression. The Japanese government wasn’t too thrilled “that such a seemingly lowbrow art form had come to define them” (15 Things). About five thousand to eight thousand prints were made but it is speculated that only a few hundreds of The Great Wave remain. The painting actually inspired music like Debussy’s La Mer.

Upon walking in, the first piece seen is a new work created by Murakami called, “Transcendent Attacking a Whirlwind” this 59 foot long work is vibrant, richly colored work with dragons, human figures and swirling winds is inspired by a seven paneled painted screen by the same name by Soga Shohaku. These to prints are facing each other on parallel walls, both depicting a similar narrative of a Asian warrior striking at a beast, the strike is so strong it creates and air current that creates giant waves. Murakami expands the narrative adding two new figures a god like figure and a Japanese death demon or Shinigami. This adds more to the overall narrative showing the two new figures creating and destroying the seascape. Overall both

Japan is been always known for their unique artstyle, but none is more influential on both Japanese and western cultural than Katsushika Hokusai. Many consider his paintings the pinnacle of art in the Edo period. The old man of many names is a true part of both japanese and art culture.

Under the Wave off Kanagawa is part of a series of prints titled Thirty-six views of Mount Fuji, which Hokusai made between 1830 and 1833. It is a polychrome (multi-colored) woodblock print, made of ink and color on paper that is approximately 10 x 14 inches. All of the images in the series feature a glimpse of the mountain, but as you can see from this example, Mount Fuji does not always dominate the frame. Instead, here, the foreground is filled with a massive cresting wave. The threatening wave is pictured just moments before crashing down on to three fishing boats below. Under the Wave off Kanagawa is full of visual play. The mountain, made tiny by the use of perspective, appears as if it too will be swallowed up by the wave. Hokusai’s

It is hard to imagine that the eruption of distant Mount Tambora inspired and influenced the work of many artists and yet is was clearly evident in art and literature across the

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

‘I think this is his best work,’ a man says to his companion, ‘more nuanced than the seascapes.’ His voice releases me, and I move on to the next painting. A naked girl, seen from above, lies on her back in a boat. Her hair coils like copper wire around her head and her hands are full of stones. She’s held within the curved sides of the boat, but the boat balances perilously upon the crest of a giant wave. The girl is sleeping, unaware of the danger she is

Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact on the twenty first century.

Hokusai shows a threatening wave shadowing over vulnerable fishermen in his artwork Under the Wave off Kanagawa. By using shapes that correspond to those of fingers, the wave gives off shivers of fear, as if it is devouring the men in the boat. The desperate men, backs leaning all the way forward, use all their power to escape the mouth of the wave. Hokusai uses tiny white circles that look like snow. The circles show a resemblance of snow falling onto a mountain to the wave slamming into the boat. These shapes contribute to the overall message of the artwork to symbolize the power of the sea. The size ratio of the wave to the humans depicted in the picture represent the power of the sea compared to the power of a human. In conclusion, the

Katsushika Hokusai’s Under the Wave off Kanagawa is arguably the most popular Japanese piece of art. The artwork can be seen around the world from art museums to dorm rooms. His use of Prussian blue and indigo come from European artwork he saw through the Dutch trade. In Under the Wave off Kanagawa, the stark contrast can be seen between the massive wave that takes up most of the paper and the small Mount Fuji is in the background. The wave’s size and strength is emphasized as it engulfs the boats below it. Even though Under the Wave off Kanagawa was painted more than 180 years ago, it is still an iconic piece that many admire

From cruising around the Caribbean with my family, to carelessly playing in the waves and enjoying serene naps on the beach, the ocean holds some of my fondest memories. As a result, I immediately felt a peaceful wave wash over me when I saw ‘Seascape’ by William de Leftwich Dodge. I felt as if I was looking through a window and could step right through the frame onto a sandy beach or a boat deck. The genre is landscape as the artist shows a natural scene, free of humans or man-made objects. By capturing the movement and color of the ocean’s waves with formal elements like medium, technique, and perspective, Dodge is able to show the mysterious nature of the ocean and express his feelings toward nature and the area in which he lives.

The Great Wave off Kanagawa by Hokusai is a famous woodcut print that is commonly referred to as The Great Wave. Hokusai Katsushika was one of the greatest Japanese printmakers of the 19th century. The print, The Great Wave, is a part of a 36-piece series of the views of Japan’s most famous mountain; Mount Fuji. Hokusai’s series was very popular and sold rather quickly. Due to its popularity, Hokusai decided to extend the series to 46 pieces. The original piece was created around 1830 and was published in 1832 by Nishimuraya Yohachi. Within this paper, I will be discussing the analysis of this print while connecting my findings to the elements and principles of design.