HOKUSAI KATSUSHIKA, THE FUJI BY FERRY ON THE RIVER OR THE NO. 90

HOKUSAI KATSUSHIKA, THE FUJI BY FERRY ON THE RIVER OR THE NO. 90

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Oigawa okegoe no fuji

Series : One Hundred Views of Fuji, Fugaku Hyakkei

Technique: nishikie, woodcuts in two shades of gray and one of pink.

Format: hanshinbon koban (about 183x123 mm)

Signatures : Zen Hokusai Iitsu aratame Gakyorojin Manji

Seal of the artist : Fuji no Yama

Dates : 1834- 1836.

Engravers: Egawa Tomekichi and Tsentaro

Editors: Nishimura Yuzo, Eirakuya Toshiro.

Beautiful test with good contrasts, in a fourth edition published by Tohikedo in 1852 with the characteristic pink tone. Imprinted on Japan paper, in excellent condition, with uncut margins all around beyond the marginal line.

Bibliography:

Stocking GC Hokusai, the old madman for painting , Milan 1999-2000, London, 2003.

Calza GC Hokusai, the hundred views of Fuji , Milan, 1982.

Dickins FV Fugaku hiyaku-kei: one hundred view of Fuji by Hokusai , London, 1880.

Forrer M. Hokusai, prints and drawings , London, 1991.

Hillier J. The art of Hokusai in book illustration , London, 1980.

Lane R. Hokusai, life and works , Milan, 1991.

Salamon Villa T., The hundred views of Fuji, Turin, 1975.

Smith II H. Hokusai: one hundred view of Fuji by Hokusai, London, 1988.

 

A tub ferry on the Oi River is shown.

Practical solution, in use until the late Meiji period (early twentieth century) to cross rivers.

The policy of the Tokugawa shoguns NO CORSIVE limited to the maximum, for military reasons, the construction of bridges to cross rivers or other major works aimed at favoring internal viability. The possible sudden movement of large masses of troops who could converge on Edo and threaten their power was thus hindered.

In Edo " no weapons could enter or women could go out" . Thus, another security measure was popularly summarized, that which obliged the daimyo , feudal lords, to leave their wives and daughters in the city as a hostage when they had to go to their possessions.