HOKUSAI KATSUSHIKA, Fuji under clear clouds , Kaisei no Fuji , n.4

HOKUSAI KATSUSHIKA, Fuji under clear clouds , Kaisei no Fuji , n.4

Regular price
Sale price
Regular price
Sold out
Unit price
Tax included. Shipping calculated at checkout.

Series : One Hundred Views of Fuji, Fugaku Hyakkei 

Technique: nishikie, woodcuts in two shades of gray.

Format: hanshinbon koban diptych (about 183x253 mm)

Signatures : Zen Hokusai Iitsu aratame Gakyorojin Manji

Artist's seal : Fuji no Yama

Dates : engraved between 1834 – 1836, impressed between 1850 and 1870

Engravers: Egawa Tomekichi and Tsentaro

Publisher: Katano Toshiro.

Splendid proof with good contrasts, in the third edition from the original woodcuts. Printed on Japan paper, in excellent condition, with clean edges all around beyond the marginal line.


Calza GC Hokusai, the old fool 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.

An explosion of energy and beauty of nature which is counterpointed by the small high-flying birds and the fragile boats sailing on the river, the only human presence, dominated by the majesty of the snow-capped mountain.

Representation of Fuji from the south, from Sagami bay, which takes up in a winter version and in a monochrome key the engraving from the series of Thirty-six views of Fuji entitled Gaifu kaisei , fresh wind on a clear morning, better known as red Fuji.

Although occupying a double table, by virtue of the precise Far Eastern aesthetic canons that reject symmetry, Fuji, the focal center of the table, is totally decentralized.

A similar representation of the sacred mountain is in Mangwa V (1816), untitled.