{"title":"Hokusai Katsushika","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e(Edo 1760 - \u003cspan\u003eEdo \u003c\/span\u003e1849)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKatsushika Hokusai\u003c\/strong\u003e (a name he adopted after changing it several times) was a Japanese painter and printmaker, known especially for his works in the Ukiyo-e style. The \u003cstrong\u003e“old madman of drawing”\u003c\/strong\u003e, as he called himself, is undoubtedly the most representative artist of his time. Eccentric and meticulous, always in search of perfection and with the will to constantly improve, he owes his fame mainly to his prints, although he was also active in painting and graphic arts. In a career lasting more than sixty years, he explored various art forms, engaging in the production of \u003cstrong\u003ewoodblock prints\u003c\/strong\u003e with theatrical subjects, private circulation auspicious prints, and, in the 1830s, landscape series.\u003cbr\u003eIn the last years of his life, Hokusai produced what are probably his most important works. From this period are the series \u003cem\u003eViews of Famous Bridges\u003c\/em\u003e, \u003cem\u003eFamous Waterfalls in Various Provinces\u003c\/em\u003e, \u003cem\u003eOne Hundred Views of Mount Fuji\u003c\/em\u003e, and especially \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e, of which \u003cem\u003eThe Great Wave off Kanagawa\u003c\/em\u003e is the most important and well-known work.\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.elenasalamon.com\/collections\/cento-vedute-del-monte-fuji\" target=\"_blank\" rel=\"noopener\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/hokusai-cento-vedute-collezione_653ccc01-1f69-4d1d-83f1-5419a78d1362.jpg?v=1777101188\" alt=\"\" width=\"270\" height=\"270\"\u003e\u003c\/a\u003e   \u003ca href=\"https:\/\/www.elenasalamon.com\/collections\/ippitsu-gafu-e-manga\" target=\"_blank\" rel=\"noopener\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/hokusai-ippitsu-gafu-manga-collezione_def_9b927108-0bea-47aa-9163-59b0b8635541.jpg?v=1777378053\" alt=\"\" width=\"270\" height=\"270\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c!-- split --\u003e\n\u003ch2\u003eThe Cultural Revolution of Hokusai \u003c\/h2\u003e\n\u003cp\u003eThe arrival of Hokusai's works in Europe triggered a profound \u003cstrong\u003ecultural revolution\u003c\/strong\u003e: initially arriving fortuitously as packing material for porcelain, they captured the attention of artists such as Monet, Degas, Gauguin, Van Gogh, and Whistler. The great Western masters drew a \u003cstrong\u003ecompositional freedom and a formal synthesis\u003c\/strong\u003e capable of radically transforming the course of modern art history.\u003cbr\u003eHokusai has been, and still is today, a \u003cstrong\u003ebridge between the Eastern and Western worlds\u003c\/strong\u003e: the artist who more than any other has made possible a deep and lasting cultural dialogue between two artistic traditions that continue to influence and enrich each other. Two centuries later, his revolution remains evident and vital: from contemporary manga to design, from fashion to tattooing, to digital graphics.\u003c\/p\u003e\n\u003ch2\u003eThe “Old Madman of Drawing”\u003c\/h2\u003e\n\u003cp class=\"p1\"\u003eThe \u003cstrong\u003etireless search for perfection\u003c\/strong\u003e accompanied the Master until the last moment. At the age of 89, his last words were: “If heaven had granted me another ten years of life, or even five, I could have become a true artist.” In this thought lies the secret of his greatness: an absolute humility that was able to transform every image into a pulsating life.\u003cbr\u003e\u003cbr\u003e“From the age of 6, I felt the desire to paint anything I saw around me; after 50, I had already made a good number of works but was not at all happy with my work. Only now, at the age of 75, have I partially understood the true form and character of birds, fish, and plants. At 80, I will certainly have made further progress: so that, when I am 90, I will be able to penetrate the true essence of things. At 100, I will reach a high level of perfection and, at the age of 110, everything I create, every dot and every line I draw, will be life itself. I invite all those who will know me then to verify the truth of these words. Written at the age of 75 by someone once known as Hokusai and now called the “old madman of painting.”\u003cbr\u003e\u003ci\u003eText taken from Hokusai's spiritual testament, engraved in the colophon of One Hundred Views of Mount Fuji.\u003c\/i\u003e\u003c\/p\u003e","products":[{"product_id":"hokusai-katsushika-illuminazione-1834","title":"HOKUSAI KATSUHIKA, Illumination, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga”\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":48568784716123,"sku":null,"price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/Hokusaimanga18.jpg?v=1719416585"},{"product_id":"hokusai-katsushika-studio-per-rocce-1834","title":"HOKUSAI KATSUHIKA, Study for rocks, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":48568826921307,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/Hokusaimanga22.jpg?v=1719416752"},{"product_id":"hokusai-katsushika-manga-n-75-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759449968987,"sku":null,"price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga75.jpg?v=1749395617"},{"product_id":"hokusai-katsushika-manga-n-72-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759459176795,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga72.jpg?v=1749395793"},{"product_id":"hokusai-katsushika-manga-n-66-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759463338331,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga66.jpg?v=1749395982"},{"product_id":"hokusai-katsushika-manga-n-62-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759468417371,"sku":null,"price":70.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga62.jpg?v=1749396150"},{"product_id":"hokusai-katsushika-manga-n-37-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759506461019,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga37_8b800152-38fb-45f5-9993-b0ecf7362c1c.jpg?v=1749397313"},{"product_id":"hokusai-katsushika-manga-n-23-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca rel=\"noopener\" href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca rel=\"noopener\" href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a meaning very different from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759525695835,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga23_f06b930e-32ad-437f-b635-1cf4d2f81f3c.jpg?v=1749397841"},{"product_id":"hokusai-katsushika-manga-n-22-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in a version dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of art: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga”\u003c\/b\u003e, at the time, referred to “unconstrained images” and referred to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a very different meaning from what we now associate with the word “manga,” which is now synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759526744411,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga22_1d0b5685-06ce-4430-a007-023b110143ed.jpg?v=1749397863"},{"product_id":"hokusai-katsushika-manga-n-21-1834","title":"HOKUSAI KATSUHIKA, Manga n. 83, 1834","description":"\u003cp class=\"p1\"\u003eDelicate proof in an edition dating back to the second half of the 19th century. Printed on Japanese paper. In perfect condition, with a small margin all around.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eM. Forrer, \u003ci\u003eManga,\u003c\/i\u003e Hazan Eds, 2014\u003cbr\u003eJ.A. Michener, \u003ci\u003eHokusai sketch books\u003c\/i\u003e, Rutland and Tokyo, 1958\u003cbr\u003eG.C. Calza, \u003ci\u003eHokusai, the old madman of painting\u003c\/i\u003e, Exhibition Catalog Milan 1999-2000, London, 2003\u003cbr\u003eM. Forrer, \u003ci\u003eHokusai, prints and drawings\u003c\/i\u003e, London, 1991\u003cbr\u003eJ. Hillier,\u003ci\u003e The art of Hokusai in book illustration,\u003c\/i\u003e London, 1980\u003cbr\u003eR. Lane, \u003ci\u003eHokusai, life and works,\u003c\/i\u003e Milan, 1991\u003cbr\u003eT. Clark, \u003ci\u003eHokusai: Beyond the Great Wave\u003c\/i\u003e, British Museum Press, 2017\u003cbr\u003eThe Metropolitan Museum of Art: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/57804%E2%80%A8\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/57804\u003c\/a\u003e\u003cbr\u003eBritish Museum: \u003ca href=\"https:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.britishmuseum.org\/collection\/object\/A_1979-0305-0-428-1\u003c\/a\u003e\u003cbr\u003eNational Museum of Asian Art: \u003ca href=\"https:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/asia.si.edu\/explore-art-culture\/collections\/search\/edanmdm:fsg_FSC-GR-780.233.1-14\u003c\/a\u003e\u003cbr\u003eThe Art Institute of Chicago: \u003ca href=\"https:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/www.artic.edu\/artworks\/231633\/hokusai-manga\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe term \u003cstrong\u003e“\u003c\/strong\u003e\u003cb\u003emanga”\u003c\/b\u003e, at the time, referred to “unconstrained images” and related to educational, playful, and illustrative collections. Hokusai's \u003cem\u003eManga\u003c\/em\u003e, published starting in 1814, are an extraordinary collection of spontaneous sketches and visual notes: human figures, animals, landscapes, scenes of daily life, and decorative motifs follow one another with grace, irony, and precision.\u003cbr\u003eDesigned as tools for teaching and artistic practice, these volumes were used to be copied, studied, and admired. They partly anticipate modern Japanese visual culture, but with a very different meaning from what we now associate with the word “manga,” which has become synonymous with comic.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":50759527203163,"sku":null,"price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiManga21_3c5dc6fd-0940-4b25-8061-21db91f24b24.jpg?v=1749397889"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-101-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 101, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe plate offers a particularly evocative and poetic view of Fuji reflected in the waters. The title mentions Jaoinuma, or Hebioinuma, “swamp of snake hunting,” probably a proper name: however, the location has never been identified and seems to generically indicate a marshy environment. \u003cbr\u003eOn the left, a curious open structure appears close to the water, perhaps a platform for performances or for moon observation. The reflection of Fuji appears enlarged and asymmetric, an optical improbability that reveals Hokusai's interest in the imaginative possibilities of mirroring on water. The idea has a clear precedent and a variant in the drawing \u003cem\u003eKōshū Misaka suimen\u003c\/em\u003e from the series \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e, where the mountain is reflected on the surface of Lake Misaka, one of the five lakes around Fuji, as well as in the famous summer view of Lake Kawaguchi, where the irregular silhouette of the mountain transforms in the mirror of water into a snow-covered Fuji in winter.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51976021672283,"sku":null,"price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji101.jpg?v=1767279598"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-100-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 100, 1836-1847","description":"\u003cp\u003eStunning proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe plate presents a striking night view, in which Fuji is framed by a spectacular overhanging rock formation. The location is not indicated, and in the area around Fuji, no natural formation of this type has ever been identified, an element that makes a strictly topographical reading unlikely.\u003cbr\u003eHokusai had already depicted similar landscapes in earlier works, such as in the book \u003cem\u003eHinauta tsuki kuwashi\u003c\/em\u003e from 1803, dedicated to moonlit poems. A more convincing reference is provided by a preparatory drawing reproduced by Narasaki, which shows a very similar rock formation and identifies the location as Mount Nokogiri, in the Chiba Peninsula. This site would offer a view through the water similar to that represented, with the motif of seaweed on the beach in the foreground and a more abstract pattern of the sea surface in the center.\u003cbr\u003eIn any case, even this reference seems only suggested, as in the plate the rock is brought much closer to the coast, enhancing the scenic and symbolic effect of the composition.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979672322395,"sku":null,"price":530.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji100.jpg?v=1767369599"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-99-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 99, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe plate depicts the image of Fuji inverted and projected onto the translucent paper of a \u003cem\u003eshōji\u003c\/em\u003e through a small hole, according to an optical effect comparable to the principle of the stenoscope, similar to that of a camera: a pinhole functions as a lens and returns an inverted image. The hole is probably a knot in the wooden frames still closed, a detail that suggests the early hours of the morning, when the rising sun intensely illuminates the mountain; the image travels through the corridor and impresses itself on the \u003cem\u003eshōji\u003c\/em\u003e.\u003cbr\u003eOn the left, a servant interrupts the cleaning to draw the attention of the guests, who are taken aback and depicted with exaggerated finger gestures in front of this unusual framing of Fuji; a figure below surprisingly recalls a pose already seen in another plate of the series, no. 44.\u003cbr\u003eSimilar phenomena were described in the works of the novelist Takizawa Bakin (1767-1848), who noted the extraordinary realism and even the colors of the observed images, without ever understanding the physical principle; such appearances were considered mysterious and linked to specific places. Since Hokusai illustrated numerous novels by Bakin, he may have known the phenomenon through his texts or observed it directly. However, a detail of the depiction remains enigmatic: the outline of a second Fuji in the image projected onto the \u003cem\u003eshōji\u003c\/em\u003e. Suzuki's interpretation as a distinction between \"real image\" (\u003cem\u003ejitsuzō\u003c\/em\u003e) and \"illusion\" (\u003cem\u003ekyōzō\u003c\/em\u003e) may seem overly philosophical; thus, the ambiguity remains, just as the phenomenon itself must have appeared inexplicable to Hokusai.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979687526747,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji99.jpg?v=1767369820"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-98-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 98, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe title refers to the pond of Senzoku, located in a hilly area about seven miles southeast of Edo. The place was known for a legend also mentioned in the illustrated guide \u003cem\u003eEdo meisho zue\u003c\/em\u003e (1834), according to which the Buddhist monk Nichiren used to hang his robe on an old pine tree that stood by the pond.\u003cbr\u003eHokusai, who seems to have been a follower of Nichiren, may have chosen this site precisely for its religious and symbolic value. However, in the view, neither the famous pine nor other distinctive elements appear: the pond is rendered in a summary manner, barely hinted at in gray tones, while the scene is animated only by a few common travelers moving south, without the image explicitly emphasizing the legendary character of the place.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979688804699,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji98.jpg?v=1767370026"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-96-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 96, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe scene depicts a hidden and privileged place for the contemplation of Fuji and the surrounding nature. An elegant elderly gentleman sits on a platform overlooking a river and a marsh, perhaps a landing or a point to observe the moon, absorbed in the vision of the mountain. \u003cbr\u003eThe title references the \u003cem\u003ekakkō\u003c\/em\u003e, a large rare cuckoo, invoking the Chinese legend of Prince Kakkō, whose spirit transformed into this bird; however, the bird depicted in the sky is most likely the \u003cem\u003ehototogisu\u003c\/em\u003e, a smaller cuckoo more common in iconography, flying in front of the Fuji facade as a signal of an early summer. The long robe and large fan of the nobleman suggest an affected taste for elements of Chinese origin, consistent with a trend that Hokusai often manifests in his art. \u003cbr\u003eThe poetic atmosphere is enhanced by the \u003cem\u003ewaka\u003c\/em\u003e of Fujiwara no Toshinari (1114-1204), which evokes the night song of the cuckoo perceived as surprisingly close, uniting contemplation, seasonality, and the illusory distance between man, nature, and mountain: \u003cem\u003e«Suginoru ka \/ yowa no nezame no \/ hototogisu \/koe wa makura ni \/ aru kokochi shite»\u003c\/em\u003e (Have you perhaps already flown away, O cuckoo who woke me at night? Your voice at my pillow seemed so close to me).\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979748409691,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji96.jpg?v=1767371117"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-95-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 95, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe view presents, at first glance, two seemingly contradictory pictorial solutions: in the foreground, the drawing is accurate and meticulous, both in the two figures (a woodcutter on the left with an axe and a hunter on the right with a rifle), and in the huts behind them; in the background, however, the coniferous hills and Fuji are rendered with few and dense brush strokes. This very contrast reinforces the intimate and reflective character of the scene: the two men, unusually graceful for being mountaineers, converge towards the flame with which they light their pipe, the focal point of the pictorial construction. The gesture of the woodcutter offering the pipe to the hunter creates a shape reminiscent of the inverted Fuji, while the flame can be imagined as the crater of the volcano. Around them, evening descends: the silhouette of Fuji darkens, mountain mist accumulates in the valleys and slowly rises along its face, interrupting its profile as darkness softens the contours and transforms the shapes into looming masses. \u003cbr\u003eThe theme had already been anticipated by Hokusai in \u003cem\u003eHokusai Manga\u003c\/em\u003e vol. XI, \u003cem\u003eSenchu no shigure\u003c\/em\u003e (1833).\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979768463707,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji95.jpg?v=1767371174"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-94-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 94, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eFuji appears unexpectedly beyond an old crumbling brick wall, covered in snow: an image of contrast in which the first flowers emerge from the last snow.\u003cbr\u003eThe scene recalls the \u003cem\u003ewaka\u003c\/em\u003e by Kiyohara no Fukayabu, which expresses seasonal ambiguity: \u003cem\u003e“Fuyu zagara \/ sora yori hana no \/ chirikuro wa \/ kumo no anata wa \/ haru ni ya aruramu”\u003c\/em\u003e (“It is still winter, but from the sky flower petals seem to fall, and beyond the clouds perhaps it is already spring”).\u003cbr\u003eThe view of Fuji through the wall does not seem to impress the depicted man; the sense of the view rather lies in the juxtaposition between the snow-covered ruins and the fresh flowers sprouting beyond: the sacred mountain, rising from the ruins of the past, is a symbol of rebirth, of new life.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979804475739,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji94.jpg?v=1767371395"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-93-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 93, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe panel represents a summer scene, a period considered particularly insidious due to diseases and heat, and therefore rich in rituals aimed at driving away evil spirits. At the center of the composition, the elegant slopes of Mount Fuji are inscribed in a sort of garland, evoking a sense of harmony between nature and ritual. The garland is made of \u003cem\u003echigaya\u003c\/em\u003e, a medicinal grass from the rice family, rolled into a circle and hung on a \u003cem\u003etorii\u003c\/em\u003e, the shrine's gate, as protection against summer miasmas. The evening before the first day of the sixth month, a purification ceremony was held, during which the faithful passed through the circle to rid themselves of the malevolent effects of summer. In the scene, a Shinto priest blesses the \u003cem\u003echinowa\u003c\/em\u003e with a \u003cem\u003egohei\u003c\/em\u003e, a paper wand, emphasizing the sacred nature of the rite.\u003cbr\u003eTo the left of the composition, there is a spring gushing from a tree, known as \u003cem\u003esuisei-ki\u003c\/em\u003e, sacred water considered miraculous, especially for eye diseases. According to the \u003cem\u003eEdo meisho zue\u003c\/em\u003e (1834), in the fourth month of Genroku 15 (1702), a divine sign produced a sacred spring from the enoki tree (Chinese hackberry) in the enclosure of the Takada Inari shrine in Edo; the visually impaired could wash with this water and obtain healing. In the panel, the man on the left seems to be applying the water to his eyes, recalling this tradition.\u003cbr\u003eHokusai revisits the same theme in \u003cem\u003eHokusai Manga\u003c\/em\u003e vol. XIV. The original tree of Takada Inari survived until World War II, then was destroyed during the bombings, while the shrine was relocated near Waseda University.\u003cbr\u003eOverall, the panel blends the landscape observation of Fuji with religious and ritual practices, combining nature, poetry, and devotion into a single, refined symbolic picture.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979812208987,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji93_d3f02d06-365b-46b3-9c1a-5ebeb6a7643e.jpg?v=1767371738"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-91-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 91, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe print shows a scene of daily life along the Sumida River in Edo, with Mount Fuji visible through the grid of a \u003cem\u003eshoji\u003c\/em\u003e, the classic Japanese sliding wall, here leaning against a post as a temporary divider. \u003cbr\u003eIn the foreground, a painter is making the final touches to a lantern-sign of a boat rental shop, tasked with advertising the newly opened business. On the lantern, written in Hokusai's distinctive hand, appears the name of the shop, \u003cem\u003e“Fuji-ya”\u003c\/em\u003e, accompanied by the slogan \u003cem\u003e“senkyaku banrai”\u003c\/em\u003e (“a thousand customers, ten thousand visits”), an expression of hope for a continuous flow of patrons. The sign also lists the variety of boats available: covered pleasure boats (\u003cem\u003e“yanebune”\u003c\/em\u003e), small cargo ships (\u003cem\u003e“nirari”\u003c\/em\u003e), fast-taxi boats for two or three passengers (\u003cem\u003e“chokibune”\u003c\/em\u003e), and fishing boats (\u003cem\u003e“tsuribune”\u003c\/em\u003e).\u003cbr\u003eThe title of the print, \u003cem\u003eMi kiri\u003c\/em\u003e, has raised some perplexity: although the term commonly means “to sell cheaply,” a more literal meaning, “cut vision,” is also documented, referring to a partition or screen, as here. Hokusai thus plays with the structure of the \u003cem\u003eshoji\u003c\/em\u003e, transforming it into a filter through which Fuji appears in the distance, combining urban life, commercial activity, and contemplation of the landscape into a single harmonious composition.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979861197147,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji91.jpg?v=1767372113"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-90-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 90, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe plate depicts a \u003cem\u003etarai-bune\u003c\/em\u003e, a tub ferry, on the Ōi River, a practical solution widely used until the early 20th century, during the late Meiji period, to allow river crossings. These ferries were necessary especially due to the policy of the Tokugawa shōgun, which severely limited the construction of bridges and other infrastructure to facilitate internal traffic. The purpose was clearly military: to hinder the rapid movement of large masses of troops that could converge on Edo and threaten the power of the bakufu, the military government.\u003cbr\u003eOn the boat, the two sailors move in time with the shape of Fuji, each holding a long pole and balancing on a side plank. In the tub, four or more passengers are crammed together, having to endure a crossing that is anything but comfortable.\u003cbr\u003eAccording to Suzuki, the use of such ferries on the Ōi River survived until the late Meiji period, making Hokusai's representation both documentary and poetic.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51979999019355,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji90.jpg?v=1767372300"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-89-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 89, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn this view of strong symbolic value, Hokusai's obsession with longevity and the desire for an exceptionally long life dedicated entirely to drawing emerges clearly. The image is conceived as a refined visual rebus alluding to Fukurokuju, the god of immortality and one of the Shichi Fukujin, the Seven Gods of Happiness. The very name of the deity is broken down and translated into images: \u003cem\u003efuku\u003c\/em\u003e and \u003cem\u003eroku\u003c\/em\u003e, both bearers of meanings related to good fortune, are represented through homonymous animals in Sino-Japanese reading, the bat and the deer, while \u003cem\u003eju\u003c\/em\u003e, longevity, is embodied by Mount Fuji. The theme of longevity is further reinforced by the figure of Fukurokuju himself and his traditional companion, the deer, which in Chinese legend is described as an exceptionally long-lived creature, capable of changing color over the millennia. \u003cbr\u003eThe entire composition thus takes on a strongly auspicious character, intertwining mythology, symbolism, and wordplay. In this way, Hokusai transforms the view into a personal meditation on time, immortality, and the desire to continue creating, projecting into the figure of Fukurokuju his own aspiration for an ever longer and more fruitful artistic life.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989292941659,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji89.jpg?v=1767523471"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-88-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 88, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eA signaling rocket cuts through the sky above Mount Fuji, isolated and slender, resembling a serpent-like creature or a dragon of smoke rising only to retreat back into the mountain's crevices. This is not a firework intended for display, like those that animated summer evenings on the Sumida, but a military signaling rocket. Rockets of this type were regularly used during military maneuvers that took place every year at the end of summer at the mouth of the Sumida River, under the auspices of the shōgunate, and it is precisely this context that the scene seems to evoke.\u003cbr\u003eIn the foreground, along the shore, some fishermen are busy burning the bottom of their boat with pine torches, a traditional practice aimed at preserving the wood from moisture and marine rot. Around them, nets appear to be drying, their dark profiles taking the shape of small triangular peaks, allusively recalling the silhouette of Fuji itself and creating a subtle interplay of formal references within the composition.\u003cbr\u003eAccording to the interpretation proposed by Suzuki, the setting could be identified with Tsukudajima, the small fishing island located at the mouth of the Sumida: the houses visible on the left and below would support this reading. However, if it truly is Tsukudajima, Hokusai grants himself considerable poetic license, transforming the low marine embankments into steep and dramatic cliffs, to the point that the real place would be hardly recognizable. Once again, topographical precision gives way to a symbolic vision, in which daily activities, military allusions, and transformations of the landscape work together to construct a dense and evocative image of Fuji and the world surrounding it.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989293334875,"sku":null,"price":470.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji88.jpg?v=1767523547"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-87-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 87, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe thin vertical lines of the rain, the round hats of the travelers, and the presence of Mount Fuji, made visible only through the interruptions of those same lines, transform this plate into a small masterpiece of abstraction and visual refinement. \u003cem\u003eMurasame\u003c\/em\u003e, which literally means “rain in clusters,” in the title alludes to a sudden and violent downpour, typical of summer storms, which Hokusai represents effectively through a dense weave of lines.\u003cbr\u003eThe silhouette of Fuji is not defined by a sharp outline, but emerges through optical illusion: the mountain appears because the rain “interrupts” along its profile, outlined solely by the use of the gray block. This device accentuates the abstract character of the composition and creates a deliberately implausible effect, which nevertheless makes the mountain perceivable through the veil of water. The travelers, reduced to essential forms, advance bent under the intensity of the storm, their circular hats and curved postures contributing to the visual rhythm of the scene.\u003cbr\u003eOn the umbrella to the right appears the inscription \u003cem\u003e“san ben”\u003c\/em\u003e, “third volume,” a detail that recalls other similar indications present in other plates of the series. This element can be read as an ironic allusion (perhaps one of the previously manufactured umbrellas is being tested here under real rain), but more likely constitutes a clue related to the circumstances, still partly enigmatic, of the publication of the third volume. In any case, Hokusai once again integrates editorial information and poetic invention within an image of extraordinary formal synthesis.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989294055771,"sku":null,"price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji87.jpg?v=1767523701"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-86-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 86, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe scene depicts two bricklayers at work on a construction site along the banks of the Sumida River, probably in Edo, engaged in plastering a building used as a warehouse. The compositional layout is dominated by the complex geometry of the scaffolding, built on a strict cadence of straight lines that gives the image a tight and almost musical rhythm. In contrast to this structural order are the curved and dynamic forms of the workers' bodies, captured at the moment of maximum physical tension: one, below, shoveling the freshly mixed mortar; the other, above, spreading it with a trowel on the wall, leaving visible patches of still damp gray plaster.\u003cbr\u003eThe contrast between the rigidity of the wooden architecture and the concentrated energy of the human gestures enhances the perception of shared effort and the coordination necessary for the work, a theme particularly dear to Hokusai. The representation of the rhythms of collective labor indeed finds significant precedents in other works of his, such as the plate \u003cem\u003eHonjo Tatekawa\u003c\/em\u003e from the series \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e, set in a lumber depot in Edo, or the scenes of workers engaged in throwing and arranging groups of tiles in \u003cem\u003eSurugachō\u003c\/em\u003e. In all these images, Hokusai transforms manual labor into a visual construction of great expressive strength, where the human gesture becomes a structural element of the landscape.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989295038811,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji86.jpg?v=1767524028"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-84-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 84, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eMount Fuji is ingeniously represented through the structure of a \u003cem\u003eyotsudeami\u003c\/em\u003e, the traditional four-armed river fishing net. A fisherman, with one foot braced against the bulwark for leverage, leans back as he lifts the net from the water; the dynamic gesture makes the physical effort and balance of the action evident. Among the taut meshes of the net, beyond the jagged line of the wooded coast, the silhouette of Fuji emerges, as if the mountain were captured or impressed in the very fabric. \u003cbr\u003eThe compositional idea is particularly clever: the net becomes both a working tool and a visual device that frames the landscape, transforming an everyday fishing scene into a refined and finely crafted formal allusion to the iconic presence of the mountain.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989299593563,"sku":null,"price":450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji84.jpg?v=1767524430"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-83-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 83, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe scene depicts an umbrella maker applying waterproofing oil to an umbrella, traditionally made of paper. The craftsman is captured as he pauses in his work, with an oil-soaked rag in hand and the umbrella open before him, to carefully observe Mount Fuji, creating a suggestive link between daily activity and contemplation of the landscape.\u003cbr\u003eThe image is constructed as a refined formal play: the closed and folded umbrellas are arranged in sequence like a chain of small mountain peaks at the foot of Fuji, while the open ones, suspended higher up, evoke the passage of clouds in the sky.\u003cbr\u003eTwo umbrellas placed at the edges of the composition serve both a decorative and informative function, bearing clearly visible inscriptions: \u003cem\u003e“Fugaku Hyakkei”\u003c\/em\u003e (\u003cem\u003e“One Hundred Views of Mount Fuji”\u003c\/em\u003e), the title of the series, and \u003cem\u003e“shoshi”\u003c\/em\u003e or \u003cem\u003e“soshi”\u003c\/em\u003e, a term indicating a bookstore or book warehouse. Such marks refer to a not uncommon practice in prints of the time, where elements of self-promotion were integrated into the image itself, although the information about the publisher here appears deliberately generic.\u003cbr\u003eThe reference to Aoyama in the title is generally interpreted as an allusion to the homonymous district of Edo, although its specific connection to umbrella production is unclear. Overall, the print combines observation of artisan life, compositional invention, and editorial allusion, transforming a simple work gesture into a sophisticated visual meditation on Fuji and the forms that evoke it.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989300642139,"sku":null,"price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji83.jpg?v=1767524543"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-82-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 82, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn traditional Japanese villages, territorial boundaries were often marked by Shinto temples or simple ritual markers, serving to protect and propitiate the local Kami deities. Such signs represented both a delimitation and defined a symbolic and protected space. In Shintoism, there are no idols or anthropomorphic images of the deities: the Kami are evoked through \u003cem\u003egoshintai\u003c\/em\u003e or \u003cem\u003emitamashiro\u003c\/em\u003e, natural objects or artifacts, such as mirrors, stones, and swords, or through ritual elements like the one represented, the \u003cem\u003egohei\u003c\/em\u003e (folded paper strips with the value of a votive offering, fixed to a cord stretched between two branches or poles), bells, and floral arrangements, which serve as a medium between the human and divine worlds.\u003cbr\u003eIt is possible that Hokusai observed this kind of element during his travels across Japan, but it cannot be ruled out that he creatively reworked its form, perhaps to achieve an evocative silhouette or a visual reference to the profile of Mount Fuji, suggested by the tension of the cord. Below these sacred signs moves a varied and everyday humanity, the kind that naturally encountered along the roads and in the passages between one village and another, seamlessly integrated into the ritual and natural landscape.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989303558491,"sku":null,"price":530.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji82.jpg?v=1767525202"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-81-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 81, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eA scene of everyday life with an intimate and familiar tone: a woodcutter advances carrying with him the twigs destined for the fire and the newborn, while his wife accompanies him carrying the axe and a basket of leaves. The simplicity of the gesture and the sharing of tasks reflect a life marked by work and a direct relationship with nature, within a space implicitly protected also by the sacred signs of the landscape. \u003cbr\u003eIn the background, to the right, a waterfall appears rendered with strongly abstract and decorative forms, recalling the formal solutions experimented by Hokusai in the series \u003cem\u003eShokoku taki meguri\u003c\/em\u003e (\u003cem\u003eJourney to the Waterfalls in Various Provinces\u003c\/em\u003e, circa 1833), created shortly before.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989314142555,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji81.jpg?v=1767525503"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-80-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 80, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn Torigoe, an area of Edo located north of the Asakusa gate, was the Office of the Calendar of the shōgunate, the official center for the study of astronomy in the late Tokugawa period. Here, a modern astronomical observatory was built, inspired by Western models, in a context of increasing influence from European scientific knowledge. The shōgun's astronomers were responsible for the annual definition of the traditional Japanese calendar, based on lunar cycles: it included long and short months and the insertion of an intercalary month to compensate for the discrepancy between the 28-day lunar cycle and the progression of the seasons.\u003cbr\u003eThe large spherical apparatus depicted by Hokusai in this context is not designed for direct astronomical observation, but should be interpreted as a tool for zodiacal study or as an illustrative device. It is likely that Hokusai was inspired by an illustration from the \u003cem\u003eTenkyū zenzu\u003c\/em\u003e (\u003cem\u003eComplete Illustrations of the Sky\u003c\/em\u003e, 1796) by Shiba Kōkan, where an elaborate spherical model related to the representation of the sky and zodiac signs appears. However, the device depicted by Hokusai does not present the fundamental elements of a true mechanical planetarium, such as the sun and planets with their rotational and revolutionary motions, nor the typical tabletop structure of these instruments. Unlike Kōkan's model, which emphasizes the heliocentric system as a scientific demonstration, Hokusai's apparatus thus appears more as an emblem: a visual synthesis of his interest in Western science and his attraction to order, regularity, and the geometry of forms.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989315879259,"sku":null,"price":420.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji80.jpg?v=1767525681"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-79-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 79, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe print depicts Fuji in late summer, when all the snow has melted and the dark rocks of the mountain emerge completely. At the top, Fuji appears in uniform black, flanked by white clouds; unlike other prints in the series where black indicates night, here it seems to emphasize the summer sun burning on the mountain. It is the only title in the series that explicitly mentions the season and specifies a precise location: Inage-ryō, located south of the Tama River, in the area that today corresponds to Kanagawa Prefecture, opposite the current Futako-Tamagawa. The river depicted is likely the Tama, known for fabric washing and strengthening activities, although the area was not particularly famous, suggesting a personal interest of Hokusai.\u003cbr\u003eThe scene on the riverbank is animated by several people engaged in daily activities related to fabric preparation: some emerge from the water carrying pieces of cloth, others hang the rinsed fabrics in long strips over poles raised on their shoulders, while on the upper bank, in the foreground to the right, three men and three women take a break for a meal, eating and warming tea over a fire. The composition thus captures a moment of work and rest along the river, with the powerful presence of Fuji dominating the background, integrating landscape, human activity, and seasonal details into a single harmonious vision.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989317255515,"sku":null,"price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji79.jpg?v=1767525747"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-78-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 78, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe table represents a scene inspired by the peasant folklore of the Taga no Ura area, south of Fuji, in Sagami province. According to tradition, when the melting snow on the slopes of the mountain formed the figure of a \u003cem\u003enō-otoko\u003c\/em\u003e, a farm worker, this was considered a sign of good fortune for an abundant harvest.\u003cbr\u003eIn Hokusai's composition, this figure appears on the face of Fuji in black, and some interpreters suggest it may be a pair of workers (a man with a hoe on the left and a woman on the right), echoing the shape of the mountain itself.\u003cbr\u003eThe scene below reinforces the symbolism of the promise of prosperity: two farmers, the arm and back of the one on the right arched to recall the silhouette of the towering Fuji, carry bags of rice seeds towards a pond for soaking. The seeds will then be planted in the beds later, covered by nets to protect against hungry birds, and finally transplanted into the rice paddies. The nets, arranged to mimic the mountain, emphasize the connection between the landscape, agricultural culture, and the myth of the farm worker of Fuji.\u003cbr\u003eThrough this composition, Hokusai unites the landscape, peasant tradition, and the symbolic element of the \u003cem\u003enō-otoko\u003c\/em\u003e, transforming the snow of Fuji into a visual message of abundance and prosperity, reflected in the daily activities of the farmers at the foot of the mountain.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989322596699,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji78.jpg?v=1767525944"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-77-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 77, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe table represents a complex and imaginative exercise in visual imagination inspired by \u003cem\u003erenga\u003c\/em\u003e, the Japanese chain poems: each poet composes a verse linking it to the final part of the previous one, without knowing its beginning, creating a continuous sequence of images and meanings. Hokusai transforms this literary principle into a pictorial sequence articulated in multiple visual \"verses\".\u003cbr\u003eIn the first verse, in the foreground, we see three men (an elderly man, an adult, and a young man) on the base of what could be the entrance to a temple. Their shaved heads and clothing suggest they are traveling \u003cem\u003erenga\u003c\/em\u003e poets, likely participants in a poetic gathering. The young man has fallen with his legs in the air, while the two older men laugh at his fall. From the earth emerging between the stones of the wall, the comic action connects to the second verse: one of the legs of the character on the ground seems to kick upwards a \u003cem\u003ekemari\u003c\/em\u003e ball, the aristocratic game of keeping the ball in the air, introduced in the Heian court and popular during the Edo period. In the third verse, the kicked ball appears atop Fuji, following the slope of the mountain; the ambiguous movement (does it rise or fall?) creates a poetic tension that links the comic element to the sacred setting. Finally, in the fourth verse, the ball transforms into a full moon rising from the sacred mountain, closing the chain with a poetic and elegant image. The initial comic element thus transforms into a refined symbol, in what Hokusai defined as an \"elegant delight,\" merging humor, play, and poetry into a single visual spectacle.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989328036187,"sku":null,"price":420.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji77.jpg?v=1767526214"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-76-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 76, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe table represents the religious practice known as \u003cem\u003eOhachimawari\u003c\/em\u003e, “to circle around the sacred basin,” part of the devotions of the Fujikō cult directed towards Mount Fuji, which requires pilgrims to make a circuit around the crater after reaching the summit.\u003cbr\u003eThe crater itself, known in religious texts as \u003cem\u003eNaiin\u003c\/em\u003e or \u003cem\u003eYūgū\u003c\/em\u003e (“inner temple” or “sanctuary of mystery”), is accessible via four main routes: from Murayama to the south, from Suyama to the southeast, from Subashiri to the east, and from Yoshida to the north. Along the perimeter are various small temples, steles, and pinnacles. Hokusai illustrates the pilgrims as they move along the edge of the crater, facing slopes so steep that they must temporarily leave their headgear and staffs held below by other climbers, before retrieving them along the way.\u003cbr\u003eWhile being a highly imaginative vision, the rendering suggests the grandeur and danger, accentuating the sacredness and spectacularity of the mountain. The combination of symbolic, architectural, and natural elements makes this table an example of Hokusai's ability to merge myth, religion, and landscape into a powerful and theatrical representation of devotion to Fuji.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989329117531,"sku":null,"price":380.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji76.jpg?v=1767526343"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-75-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 75, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe table represents a view of Mukōjima, a location situated in the eastern area of Edo along the banks of the Sumida River, famous for the spectacular blooming of its cherry trees, the \u003cem\u003ehanasakura\u003c\/em\u003e. The cherry blossoms dominate the scene: the citizens of Edo stroll among the trees and the stalls where tea is served, creating a spring atmosphere of leisure and sociality.\u003cbr\u003eHowever, compared to other representations of Mukōjima, this scene presents some peculiarities: the cherry trees are rendered in rather skeletal and colorless forms, the ground appears more rugged and hilly compared to the actual plain of Mukōjima, and the human figures, although placed in scattered groups among the trees, do not show facial features, reducing the immediacy of the observer with city life. Nevertheless, the composition remains an example of Hokusai's interest in the combination of natural and urban elements and his ability to insert Fuji on the horizon as a visual and symbolic reference point, even if here, compared to other more successful tables, the rendering is more discreet and almost experimental.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989332263259,"sku":null,"price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji75.jpg?v=1767526617"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-74-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 74, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eFuji is so hidden that it requires a careful look: a small white peak, barely emerging between the rooftops, is the only hint of its presence. The elevated position from which the mountain is glimpsed suggests a village situated at a height (Suzuki notes that the only possible real reference is an Asumi in Yamanashi Prefecture, but its proximity to Yoshida, right at the foot of Fuji, makes such a view impossible). It is therefore likely that the indication of Asumi does not refer to a specific place, but rather a generic and unidentified location, serving instead as a poetic title for a rural scene.\u003cbr\u003eWhatever its location, the peak of Fuji peeking between the rooftops makes the view sharp and intimately touching: a mountain reduced to a minimal detail, yet capable of giving identity and depth to the entire landscape.\u003cbr\u003eThe layout of the village also recalls that present in the plate \u003cem\u003eKōshū no Akatsuki\u003c\/em\u003e, in the series \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989332885851,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji74.jpg?v=1767526719"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-73-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 73, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReasoned Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eComment\u003c\/strong\u003e\u003cbr\u003eAccording to the encyclopedia \u003cem\u003eWakan sansai zue\u003c\/em\u003e, Orankai would have been the furthest point reached in Korean territory by General Katō Kiyomasa during the first expedition ordered by Hideyoshi against Korea in 1592. A Japanese prisoner from Matsumae, captured right at Orankai, reportedly said that from there, on clear days, it was still possible to glimpse Mount Fuji.\u003cbr\u003eHokusai draws inspiration from this source to create a highly imaginative image, in which the Japanese mountain appears from an extreme distance: it is indeed the farthest view in the entire series, made even more remote by the way the artist reduces the Fuji crater to a pointed peak. Despite the reference to Korea, the clothing of the figure in the foreground does not correspond to Korean costumes (like those represented in plate no. 68), but rather resembles Chinese-style garments, as does the strange stone next to which the character stands. This confirms that Hokusai here also does not intend to represent a precise geographical context, but rather to evoke an exotic and distant place, almost an extreme edge of the continent, from which, however, the sacred mountain continues to symbolically dominate the horizon.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989337407835,"sku":null,"price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji73.jpg?v=1767526879"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-72-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 72, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThis table is a true \u003cem\u003ehaiku\u003c\/em\u003e painted, inspired by a famous verse by Bashō (1644-1694):\u003cem\u003e \"Kumo nani to \/ ne o nan to naku \/ aki no kaze\"\u003c\/em\u003e (\"Hey, spider! how do you sing, in what tone? Autumn wind\").\u003cbr\u003eThe entire composition is structured as a poetic visualization of the text: a very thin, almost imperceptible spider web extends across the image; a maple leaf, already decomposing, gets caught in it, while in a corner a small spider reaches out to sense the vibrations running along the taut threads. In the background, Fuji looms, reduced to a gray and transparent silhouette, a light and meditative presence rather than a realistic landscape element.\u003cbr\u003eHere, the fragility of autumn, the almost musical vibration of the spider web evoked by Bashō's verses, and the quiet majesty of Fuji merge into a single image, suspended between visual minimalism and poetic depth.\u003cbr\u003eAs Calza writes in his curation of 1982, the table is \"A masterpiece of essentiality. Fuji is nothing but a lighter shadow, standing out in transparency, as if it were a great sage observing with a slight smile, from the height of its boundless wisdom, the illusions of the beings of this world.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989341765979,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji72.jpg?v=1767527044"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-71-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 71, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe \u003cem\u003eSuidōbashi\u003c\/em\u003e, the “aqueduct bridge,” crosses the Kanda River in Edo just west of the wooden aqueduct that channels drinking water from the Kandagawa canal to the city center. In the view, however, the aqueduct is not visible: only the small bridge for pedestrian traffic appears, outlined in the distance and partially hidden at the foot of Fuji. This framing corresponds to the perspective offered by the Ochanomizu district, famous in \u003cem\u003eukiyo-e\u003c\/em\u003e for its views of Mount Fuji framed by the river's course. The stretch of the artificial Kanda canal, at this deep and scenic point, was indeed one of the most frequented subjects by landscape painters. Hokusai, however, as often happens, does not pursue strict topographical fidelity: in his interpretation, the normally calm river becomes a swift current and even flows in the opposite direction to reality. The result is a scene where geographical verisimilitude gives way to compositional strength, with Fuji dominating the horizon while the bridge fits in as a discreet human mark in the river landscape.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989342749019,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji71.jpg?v=1767527163"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-70-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 70, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn this scene, a cooper is hammering the last stave of a large tub, with his legs spread in a solid pose that perfectly frames the profile of Mount Fuji, visible between his legs. The composition directly recalls the famous plate from the \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e, \u003cem\u003eFujimigahara\u003c\/em\u003e, where the mountain is seen through an overturned tub: here, instead, it is the body of the craftsman that serves as a frame, creating an unexpected juxtaposition typical of Hokusai's visual inventions.\u003cbr\u003eOn this plate, a poem by the same artist has been preserved, a \u003cem\u003esenryū\u003c\/em\u003e almost perfectly adhering to the image: \u003cem\u003e“Hachi no ji no \/ funbari tsuyoshi \/ natsu no Fuji”\u003c\/em\u003e (“Strong and clear pose in the shape of eight: Fuji in summer”).\u003cbr\u003eThe Japanese character for the number 8 (\u003cem\u003ehachi\u003c\/em\u003e) indeed recalls both the open-legged position of the cooper and the slopes of Fuji, which in summer appears clear, devoid of snow and winter clouds. Composed around 1831, this verse may have directly inspired the view, confirming the dialogue between poetry and image that characterizes Hokusai's work.\u003cbr\u003eBeyond the wit of the juxtaposition, the plate embodies one of the recurring themes of the artist: the formal resonance between the human body and the silhouette of Fuji, as if the man himself could, for a moment, incorporate the mountain or become a natural extension of it.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989343437147,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji70.jpg?v=1767527282"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-69-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 69, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eAt dawn, in the still thick twilight and with the mist lying low over the fields, Fuji appears as a dark and imposing mass, the largest and clearest of the entire series, silhouetted against the lightening sky. At its feet advance two couriers proceeding in single file, as is customary: one carries the mail, the other clears the way. They are the \u003cem\u003ehikyaku\u003c\/em\u003e (“flying legs”), the swift couriers of the shōgun's service, tasked with transporting official documents along the Tōkaidō road between Edo and Kyoto, the emperor's seat. Thanks to the relay system, day and night, they covered the approximately 514 kilometers between the two cities in just three days and ten hours.\u003cbr\u003eNext to the two messengers stands a \u003cem\u003ekosatsu\u003c\/em\u003e, the official board for posting public notices, of the type placed at regular intervals along the Tōkaidō. Its presence confirms the official nature of the couriers' mission, while the majestic silhouette of Fuji watches immobile over the scene, amplifying the tension and solemnity of their journey in the early light of day.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989345894747,"sku":null,"price":450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji69.jpg?v=1767527458"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-68-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 68, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eA solemn Korean embassy, accompanied by a band of musicians, advances at the foot of Mount Fuji, towards which the eyes of the foreigners seem to turn in admiration. The procession also includes two young knights (\u003cem\u003ekodō\u003c\/em\u003e; in Korean \u003cem\u003esodong\u003c\/em\u003e), figures traditionally present in diplomatic missions. The marching band plays horns, drums, a gong, and a string instrument, creating a rich and lively parade. On the banners flies the inscription \u003cem\u003e“Raichō”\u003c\/em\u003e, “going to court,” an expression that reflects the Japanese view that Korean embassies came to pay homage to the Tokugawa court.\u003cbr\u003eHowever, the scene is the product of Hokusai's imagination: the last true Korean embassy actually arrived in Japan in 1764, when the artist was still a child and therefore had no real opportunity to observe one. His knowledge of the theme comes from the imitations that the inhabitants of Edo staged during the San’nō festival, where every two years a “Korean procession” in costume evoked those authentic ones. These parades, carefully modeled on the embassies that arrived in Edo between 1624 and 1764, differed in numerous details and constituted a sort of “carnival of foreigners,” a symbolic way to represent the other in Japanese culture.\u003cbr\u003eHokusai makes an additional imaginative shift by placing this procession right at the foot of Fuji, transforming the festive evocation into an idealized diplomatic scene and placing the Koreans in a position of respect consistent with the Japanese view of the time.\u003cbr\u003eIn the lower right corner appears an enigmatic detail: three Japanese observe the parade sitting next to a display case and two curious little mounds of sand shaped like small replicas of Fuji. Their meaning is unclear, but it may suggest an unidentified ritual today, contributing to the documentary and fanciful character of the composition.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989346779483,"sku":null,"price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji68.jpg?v=1767527551"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-67-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 67, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Mad about Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eFuji appears entirely obscured by a large cloud heavy with rain, whose dark mass recalls and mirrors the very shape of the mountain. In the foreground, two travelers stop to prepare for the imminent downpour: one has already put on the rain cloak, while the other rummages in a wicker basket in search of shelter.\u003cbr\u003eNext to them, among the boulders, stands a stele dedicated to the god Dōsojin, the protective deity of travelers, comparable to the Kōshin shrine present in another print of the series.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989347434843,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji67.jpg?v=1767527712"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-65-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 65, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe scene depicts a group of fishermen at work, engaged in an activity that seems more recreational than laborious, while they are sheltered by a small shrine located on the shore, whose shape resembles the bow of a boat. This curious little temple is dedicated to Fudō Myōō, in the particular manifestation indicated by the inscription at the top of the structure: \u003cem\u003e“Suichū shutsugen Fudō Myōō”\u003c\/em\u003e, “Fudō appeared from the water.” The place represented has never been identified with full certainty. One hypothesis places it at Sunamura, east of Fukagawa, in the Edo area, on reclaimed land along the bay: however, the Sunamura then known had a Hachiman temple, not a “noble villa,” and there is no documented trace of a specific cult of Fudō in that location.\u003cbr\u003eThe shrine depicted may derive from a finding considered miraculous: according to one interpretation, a fisherman would have recovered from the sea a piece of rock or wood with a singular shape, with protrusions resembling flames that traditionally envelop the figure of Fudō. The object would then have been venerated and preserved in the bow of an old fishing boat, giving rise to the structure visible in the image.\u003cbr\u003eThe exact location remains unresolved, as does the reference to the alleged “noble villa.” However, the meaning of the scene remains clear: men fishing under the protection of a deity flowed from the waters, in an atmosphere that blends popular devotion, local legends, and daily life along the Edo bay.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989350744411,"sku":null,"price":580.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji65.jpg?v=1767527983"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-64-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 64, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe scene shows Mount Fuji through a heavy snowfall with large flakes, the so-called botan\u003cem\u003e yuki\u003c\/em\u003e, “peony snow,” while a group of travelers struggles forward in the foreground, almost entirely enveloped by the storm, revealing only small glimpses of their eyes. \u003cbr\u003eThe visual effect of the print is based on the skillful use of different shades of gray, from which depend both the rendering of the snowflakes and the sky and the shadow that envelops the mountain, evoking the muffled light of the completely snow-covered landscape.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989351792987,"sku":null,"price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji64.jpg?v=1767528204"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-63-1836-1847","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 63, 1836-1847","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThe plate depicts an extraordinary view of a suspended bridge above the clouds, inspired by a legendary episode related to the sacred area of Nikkō, north of Edo, in the ancient province of Shimotsuke, famous for its Buddhist and Shinto temples and for the mausoleums of the early Tokugawa shōgun. The \u003cem\u003eNikkōsan-shi\u003c\/em\u003e (\u003cem\u003eChronicles of Nikkō\u003c\/em\u003e, 1825) indeed describe a prodigious “spreading pine” on Mount Nyohō (another name for Mount Nantai) whose exceptional size allowed it to extend for over half a mile, crossing entire valleys. According to tradition, this immense tree served as a natural bridge between two sides of the mountain: the ascetic priests who practiced on Nantai traversed it as a religious exercise, and pilgrims heading to the Tōshōgu shrine also used it as a shortcut.\u003cbr\u003eHokusai was certainly familiar with the \u003cem\u003eChronicles of Nikkō\u003c\/em\u003e, having created two illustrations for the printed edition of 1837; it is plausible that, based on this material, he reinterpreted the tree in the grandly arched form that appears in the print, placing a small shrine at the summit. Along the snow-covered trunk, various ascetics move, one of whom plays the conch shell horn typical of yamabushi monks, while below the natural arch, the view opens up to Mount Fuji, placed unusually low in the composition, giving a sense of majesty to the landscape. Mount Nantai, about one hundred miles from Fuji, constitutes one of the farthest observation points represented in the \u003cem\u003eOne Hundred Views of Mount Fuji\u003c\/em\u003e.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989358084443,"sku":null,"price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji63.jpg?v=1767528395"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-60-1835","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 60, 1835","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print by Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eMount Fuji, inscribed in a perfect circle visible through a window, dominates the scene as a visual and symbolic focal point. In the foreground, an old poet is seated at his desk: he has just paused his work and, setting aside his pipe, raises his arms in a gesture that combines tension and relaxation, allowing his gaze to wander towards the sacred mountain. His body forms an arc that echoes the silhouette of Fuji, while outside, in the sky, a flock of birds flies, probably returning geese, a traditional sign of the end of the day.\u003cbr\u003eThe poet's gesture has been interpreted in various ways: Western observers, starting with Dickins, have read it as an expression of ecstasy and wonder in front of the mountain, while the Japanese tradition rather recognizes it as a yawn, a simple daily act that reflects the difference in cultural codes of body language. By rotating the scene, in fact, the man's attitude clearly appears to be that of someone stretching after the concentration of work.\u003cbr\u003eAll Japanese commentators have emphasized Hokusai's probable inspiration from a homonymous view by Kawamura Minsetsu, although the approach is entirely different. Minsetsu's image is indeed purely architectural, devoid of human figures and with a small window that barely reveals the distant and static Fuji. Hokusai, on the other hand, transforms the scene into a moment of life, a suspended instant in which the artist invites the viewer to construct their own narrative.\u003cbr\u003eOne might imagine that the poet, after finishing a difficult part of composition, allows himself a break: he stretches contentedly, ready to resume his pipe, when beyond the window he sees the geese crossing the sky in front of Fuji. The entire image thus becomes similar to a visual \u003cem\u003ehaiku\u003c\/em\u003e, where the simplicity of the human gesture and the grandeur of nature merge in a perfect balance of time, light, and contemplation.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989403271515,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiOneHundredViewsofMountFuji60.jpg?v=1767529124"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-59-1835","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 59, 1835","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn this lively scene, Mount Fuji appears in the background, “carved” by the geometric pattern of the bamboo fence that occupies the central part of the composition. In the foreground, Hokusai depicts with great realism and attention to detail the feverish activity of a group of soldiers engaged in preparing a meal in a camp.\u003cbr\u003eAn enormous cauldron of water is placed among stones and heated by a fire whose stylized flames create an effect of movement and warmth. Two men are straining to lift a large basket from the pot, while a third, positioned in the center of the scene, holds a bamboo grate on which the cooked rice is being drained. Below, another soldier bends over a low tub, perhaps to mix or transfer the freshly prepared rice, while a fifth figure, more distant and still, visually balances the composition, like Fuji dominating the space above and bringing calm to the frenzy of human labor.\u003cbr\u003eThrough the contrast between the dynamism of the figures in the foreground and the majestic stillness of Fuji in the background, Hokusai unites the energy of the everyday with the solemnity of the landscape, transforming a simple scene of military life into a refined meditation on the harmony between man and nature.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989404483931,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiKatsushikaOneHundredViewsofMountFuji59.jpg?v=1767529247"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-58-1835","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 58, 1835","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eBuhen\u003c\/em\u003e, literally \"battle at the foot of Fuji,\" depicts a scene of violent action set at the foot of the sacred mountain. Hokusai illustrates the legendary killing of a gigantic boar by the valiant Nitta no Shirō Tadatsune (13th century), an episode drawn from the \u003cem\u003eSoga monogatari\u003c\/em\u003e (\u003cem\u003eTales of the Soga Brothers\u003c\/em\u003e), a story frequently revisited in literature, theater, and the arts of the Tokugawa period. The event takes place during a hunting expedition organized by the shōgun Minamoto Yoritomo, during which the animal, gone mad, had already injured several men before being confronted and brought down by the warrior, armed only with the short sword \u003cem\u003ewakizashi\u003c\/em\u003e.\u003cbr\u003eIn this dramatic composition, Hokusai emphasizes the tension and confusion of the fight to the death through a complex visual structure, in which the human figures and the animal merge into a single dynamic mass. Tadatsune, according to some versions of the legend, would have leaped onto the back of the boar to strike it from above, a gesture that the artist represents with energy and movement. The fur pants (\u003cem\u003emukabaki\u003c\/em\u003e) of the warrior, similar to the beast's pelt, make it difficult to distinguish the man from the animal, symbolically merging human courage with the fury of nature.\u003cbr\u003eTo the right of the scene, a tangle of bodies can be seen (four wounded or fallen men, recognizable by the number of spears) that heightens the sense of chaos and tragedy. The title of the print, created as a counterpoint to the previous \u003cem\u003eBunhen\u003c\/em\u003e (dedicated to poetic activity), underscores the intentional contrast between the harmony of contemplation and the brutality of struggle, presenting Mount Fuji as the eternal backdrop for both the exploits of the spirit and those of arms.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989404778843,"sku":null,"price":450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiKatsushikaOneHundredViewsofMountFuji58.jpg?v=1767529406"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-57-1835","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 57, 1835","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid-19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eLike in a dream, on a cloud decorated with geometric patterns, a poet contemplates Mount Fuji from the beach of Tago. The figure, suspended in an atmosphere of contemplation and detachment, represents the poet Yamabe no Akahito (active between 724 and 737), author of famous verses dedicated to Fuji: \u003cem\u003e«Tago no ura ni \/ uchidete mireba \/ mashiro no zu \/ Fuji no takane ni \/ yuki wa furitsutsu» \u003c\/em\u003e(«Passing on the beach of Tago, I saw the snow fall white, up there on the peak of Fuji»).\u003cbr\u003eIn the print, the poet sits thoughtfully on the shore, isolated from the surrounding space by an ornamental motif that evokes a cloud, a device that emphasizes his temporal distance and dreamlike dimension. The landscape he observes is the same depicted in the plate \u003cem\u003eTōkaidō Eijiri Tago no ura ryakuzu \u003c\/em\u003e(\u003cem\u003eSketch of the Tago Coast near Eijiri on the Tōkaidō\u003c\/em\u003e), belonging to the series \u003cem\u003eThirty-Six Views of Mount Fuji\u003c\/em\u003e, of which a preparatory drawing is also known.\u003cbr\u003eOn the beach below, daily activities related to salt production can be glimpsed, for which Tagonoura was also known in classical poetry. The large furnace basins that appear there recall motifs already present in other views of the series, thus blending the real landscape, the poetic myth, and the cultural memory of the sacred mountain.\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989411070299,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiKatsushikaOneHundredViewsofMountFuji57.jpg?v=1767529585"},{"product_id":"hokusai-katsushika-cento-vedute-del-monte-fuji-n-56-1835","title":"HOKUSAI KATSUHIKA, One Hundred Views of Mount Fuji n. 56, 1835","description":"\u003cp\u003eSplendid proof with good contrasts, attributable to the print run of Eirakuya Tōshirō (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnnotated Bibliography\u003c\/strong\u003e\u003cbr\u003eH.D. Smith II, \u003cem\u003eHokusai: One Hundred Views of Mt. Fuji\u003c\/em\u003e, New York: George Braziller, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, London: Royal Academy of Arts, 1991\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai\u003c\/em\u003e, New York: Rizzoli, 1988\u003cbr\u003eM. Forrer, \u003cem\u003eHokusai: Prints and Drawings\u003c\/em\u003e, Munich: Prestel, 1991\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The Old Madman of Painting\u003c\/em\u003e, Milan 1999-2000, London 2003\u003cbr\u003eG.C. Calza, \u003cem\u003eHokusai: The One Hundred Views of Fuji\u003c\/em\u003e, Milan: Editoriale Nuova, 1982\u003cbr\u003eJ. Hillier, \u003cem\u003eThe Art of Hokusai in Book Illustration\u003c\/em\u003e, London: Sotheby Parke Bernet, 1980\u003cbr\u003eJ. Hillier, L. Smith, \u003cem\u003eJapanese Prints: 300 Years of Albums and Books\u003c\/em\u003e, London: British Museum Publications, 1980\u003cbr\u003eR.S. Keyes, \u003cem\u003eEhon: The Artist and the Book in Japan\u003c\/em\u003e, New York: George Braziller, 2006\u003cbr\u003eT. Clark (ed.), \u003cem\u003eHokusai: Beyond the Great Wave\u003c\/em\u003e, London: British Museum Press, 2017\u003cbr\u003eM. Forrer, W.R. van Gulik, \u003cem\u003eHokusai and His School: Paintings, Drawings and Illustrated Books\u003c\/em\u003e, Leiden: Society for Japanese Arts and Crafts, 1991\u003cbr\u003eThe Metropolitan Museum of Art, New York: \u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/78803\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/78803\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eIn this witty and poetic composition, Hokusai represents the sacred mountain not in its real form, but through an ingenious visual play: Mount Fuji manifests itself in the pile of snow heaped by a snow shoveler after a storm. The triangular shape of the pile recalls that of the volcano, while the snow shovel, with its rectangular outline, echoes both the trampled contour of the pseudo-Fuji and the grayish pattern traced on the ground below.\u003cbr\u003eSurrounding it dominates the white of the snow, in which vibrant details of daily life stand out: some dogs play on the snow mound, while two figures, with their faces hidden, seem to converse at the side of the scene. A child or porter, almost entirely concealed by a large straw hat disproportionate to his figure, advances carrying bottles of \u003cem\u003esake\u003c\/em\u003e, a symbol of warmth and conviviality on a cold winter day.\u003cbr\u003eThrough this refined visual device, Hokusai transforms a simple domestic landscape into a subtle allusion to Fuji, blending irony, observation of daily life, and reverence for the sacred mountain.\u003cbr\u003e\u003c\/p\u003e","brand":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","offers":[{"title":"Default Title","offer_id":51989417165147,"sku":null,"price":450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/HokusaiKatsushikaOneHundredViewsofMountFuji56.jpg?v=1767529764"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/collections\/hokusai_katsushika_elenasalamon.jpg?v=1737539779","url":"https:\/\/www.elenasalamon.com\/en\/collections\/hokusai-katsushika.oembed?page=5","provider":"Galleria Elena Salamon - Arte Moderna e Contemporanea, Stampe Giapponesi","version":"1.0","type":"link"}