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Catalog Number 1982.32
Object Name Woodcut
Title Mt. Fugi at Dawn (from the series Fugaku Sanju-Rokkei (36 views of Mt. Fuji))
Date 20th c. restrike?
Description Hokusai, Katsushika. Mt Fugie at Dawn. 20th century restrike or copy? Japanese. 10 7/16" x 15 5/16"
Artist Hokusai, Katsushika
Medium Woodcut
Culture Japanese
Dimensions H-10.438 W-15.188 inches
Notes Originally Dated early 1830s, this is possibly a 20th century restrike or copy.

Imaeg is catlogued in Richard Lane, IMAGES FROM THE FLOATING WORLD. NY: Dorset Press, 1982, cat. no. 166, p. 164. Oban size, early 1830s (Tempo Period). Signature: Hokusai aratame [changed to] litsu hitsu. Subtitle: Gaifu Kaisei [Fine WInd, Clear Morning]. This ijmage is from the series FUGAKU SANJU - ROKKEI (Thirty-Six Views of Mt. Fuji); Hokusai's most famous series, 46 prints in oban (15" x 10") size, ca. 1829-33, (censor's seal: kiwame), published by Eijudo. [F-107]. IN addition to the original 36, tere are ten supplimentary prints to so-called ura-Fuji [Fuji from the Other Side]. These are only known with clak key-clock impressions, whereas early impressions of the first 36 designs feature outlining in dark blue. This seies is neither numbered nor dated. Lane (p. 164) - "Many aritist had depicted Mt. Fuji before, but it was Hokusai who made the sacred dormant volcano into a worldwide symbol of ukiyo-e and of Japan. This splendid view of Fuji at dawn was produced with a minimum number of woodblocks: the shading effects ar ethe result of wiping off of a part of the color by hand before printing; the patters on the mountain mirror the natural grain of cherry wood itself. (Several alternative color schemes exist for this famous print. In many the colors are lighter, and there is even a state with the mountain in white and blue, rather than brown; there, only the upper strata of cirroccimulus clouds visible, and a part of th sky is printed in brown.) Although he did not make use of the full resources of the complex, brocade-print technique, the artist has succeeded in producing a masterwork by reducing his design to its essentials, concentratin, so to speak, his whole art on this one print. We have accused Hokusai often of lacking discrimation ; we see the fullextent of the tragedy when faced witht he perfectin he achieved when he really tried." See also LANE, p. 260

PastPerfect Conversion May 2014
Credit line Augustana College Art Collection