Hokusai | The Roben Waterfall at Mount Oyama in Soshu Province, A Tour of Japanese Waterfalls
葛飾北齋 Katsushika Hokusai（1760-1849）
诸国瀑布巡礼 相州大山良辨瀑布
The Roben Waterfall at Mount Oyama in Soshu Province, from the series of A Tour of Japanese Waterfalls
1833
木版画 | 纵绘大判 | 38cm x 25.7cm
Woodblock-print | Oban tate -e | 38cm x 25.7cm
早期的版次；颜色保存完好；整体品相完好；非常轻微的中间折痕；下方有非常轻微的摩擦
Early impression; fine color; slight centerfold; minor rubbing
PRICE ON REQUEST
水的形态，如此熟悉却又难以描摹。
《诸国泷巡礼》是北斋晚年创作的最经典风景绘系列之一，全套共计8幅，堪称瀑布题材浮世绘的里程碑式作品。这个系列的8张作品中随处可见北斋天马行空的想象力，大量不自然也不写实的直线、三角、圆形等等几何构图充斥画面，却奇妙地把北斋对瀑布形态的理解与坚定的万物有灵信仰，，给人一种超现实感的享受。
本作虽算不得本系列最知名的一幅，但却是最富有人情味的一作。随着如幕布的云气散开，一道如日本刀般锋利的瀑布从山崖间泻流而下，在水池中飞溅起无数白色的水花。池水内里有七八个参拜者正在脱衣沐浴，赤条条的形态各异：有的两手握拳冻得直抖愣，有的倒是还挺适应，怀抱白木做的大太刀虔诚地闭眼微笑。人物们的开脸和形体，都活像是从北斋漫画里跑来串场的老演员，俏皮中又掺杂些假正经，着实让观者忍俊不禁。
其实这张画描绘的是位于今天神奈川县一座“灵山”脚下的景象。山上建有一座供奉不动明王的寺庙，在祈雨、丰收、防火这些事上非常灵验，被誉为“关东三大不动”之一，鼎盛时期每年都能吸引到20万人前来参拜，其中绝大多数都是渔夫、农民或是江户城中的消防员。参拜者要像画中描绘的一样，先在山脚下的瀑布中洗掉一身污垢，然后才能沿着山路前往山顶的寺庙参拜祝祷。这种独特的清洁仪式常常被选为浮世绘的题材，歌川国芳、国贞都用画笔记录过这一景象。恢弘有力的瀑布加上当众沐浴的男性参拜者们，捕捉并传达出了此地信仰塑造的阳性力量和豪放不羁的感觉。
After his legendary series “36 Views of Mount Fuji,” Katsushika Hokusai’s most famous set may well be “A Tour of the Waterfalls in the Various Provinces,” published at roughly the same time. The inherent verticality of waterfalls prompted Hokusai to turn his traditionally horizontal landscape designs vertical – oban yoko-e to tate-e – which infused them with roiling modern energy and power, just like the falls themselves.
Each of the eight designs in this series is wonderfully and creatively drawn and printed, with the artist and the publisher’s team of block cutters and printers experimenting with new ways of showing water cascading down mountains – whether it be in powerful single streams or countless tributaries, always with awed sightseers on hand to take it all in, and to help us, the viewers, appreciate the scale of the thunderous falls.
But the falls are just the starting points for the stories Hokusai wants to tell. There is a powerful spiritual element in many of these designs. And none more so than in this example, “Roben Waterfall at Oyama in Sagami Province.” Here a group of pilgrims frolic and meditate and undergo “waterfall training” as the icy mountain torrent crashes down all around them.
They are engaged in Shūgendō, a mixed- Buddhist and Shinto religion in which practitioners conduct training while travelling deep into mountain passes, scaling mountains themselves or, in this case, bathing themselves and mediating in waterfalls. (I’m simplifying a bit – there’s much more to Shūgendō.).
They are clearly having a wonderful time, cleansing themselves, chatting amongst themselves or with the proprietor of a rest stop, their heads covered in tenugui or not at all. The spray of the water is reflected in countless tiny white dots, the rippled surface of the water is drawn as only Hokusai can, and the falls come from so high up that they appear to emerge from the clouds themselves.
There’s only one thing you won’t see here – women.
Shūgendō was chiefly a male practice. It was banned during the Meiji restoration and then legalized after World War II. Similar waterfall training is still practiced today – in fact, here’s a video. And yes, women are joining in increasing ranks. It’s about time.
This print is in wonderful condition, with a very – very! – slight horizontal centerfold and some rubbing to the surface on the lower left corner area. The lines are sharp and the colors bright, with the warm earthy oranges contrasting wonderfully with the cool blue of the falls.
Interested in purchasing?
Please contact us.
葛飾北齋 Katsushika Hokusai（1760-1849）
诸国瀑布巡礼 相州大山良辨瀑布
The Roben Waterfall at Mount Oyama in Soshu Province, from the series of A Tour of Japanese Waterfalls
1833
木版画 | 纵绘大判 | 38cm x 25.7cm
Woodblock-print | Oban tate -e | 38cm x 25.7cm
早期的版次；颜色保存完好；整体品相完好；非常轻微的中间折痕；下方有非常轻微的摩擦
Early impression; fine color; slight centerfold; minor rubbing
PRICE ON REQUEST
水的形态，如此熟悉却又难以描摹。
《诸国泷巡礼》是北斋晚年创作的最经典风景绘系列之一，全套共计8幅，堪称瀑布题材浮世绘的里程碑式作品。这个系列的8张作品中随处可见北斋天马行空的想象力，大量不自然也不写实的直线、三角、圆形等等几何构图充斥画面，却奇妙地把北斋对瀑布形态的理解与坚定的万物有灵信仰，，给人一种超现实感的享受。
本作虽算不得本系列最知名的一幅，但却是最富有人情味的一作。随着如幕布的云气散开，一道如日本刀般锋利的瀑布从山崖间泻流而下，在水池中飞溅起无数白色的水花。池水内里有七八个参拜者正在脱衣沐浴，赤条条的形态各异：有的两手握拳冻得直抖愣，有的倒是还挺适应，怀抱白木做的大太刀虔诚地闭眼微笑。人物们的开脸和形体，都活像是从北斋漫画里跑来串场的老演员，俏皮中又掺杂些假正经，着实让观者忍俊不禁。
其实这张画描绘的是位于今天神奈川县一座“灵山”脚下的景象。山上建有一座供奉不动明王的寺庙，在祈雨、丰收、防火这些事上非常灵验，被誉为“关东三大不动”之一，鼎盛时期每年都能吸引到20万人前来参拜，其中绝大多数都是渔夫、农民或是江户城中的消防员。参拜者要像画中描绘的一样，先在山脚下的瀑布中洗掉一身污垢，然后才能沿着山路前往山顶的寺庙参拜祝祷。这种独特的清洁仪式常常被选为浮世绘的题材，歌川国芳、国贞都用画笔记录过这一景象。恢弘有力的瀑布加上当众沐浴的男性参拜者们，捕捉并传达出了此地信仰塑造的阳性力量和豪放不羁的感觉。
After his legendary series “36 Views of Mount Fuji,” Katsushika Hokusai’s most famous set may well be “A Tour of the Waterfalls in the Various Provinces,” published at roughly the same time. The inherent verticality of waterfalls prompted Hokusai to turn his traditionally horizontal landscape designs vertical – oban yoko-e to tate-e – which infused them with roiling modern energy and power, just like the falls themselves.
Each of the eight designs in this series is wonderfully and creatively drawn and printed, with the artist and the publisher’s team of block cutters and printers experimenting with new ways of showing water cascading down mountains – whether it be in powerful single streams or countless tributaries, always with awed sightseers on hand to take it all in, and to help us, the viewers, appreciate the scale of the thunderous falls.
But the falls are just the starting points for the stories Hokusai wants to tell. There is a powerful spiritual element in many of these designs. And none more so than in this example, “Roben Waterfall at Oyama in Sagami Province.” Here a group of pilgrims frolic and meditate and undergo “waterfall training” as the icy mountain torrent crashes down all around them.
They are engaged in Shūgendō, a mixed- Buddhist and Shinto religion in which practitioners conduct training while travelling deep into mountain passes, scaling mountains themselves or, in this case, bathing themselves and mediating in waterfalls. (I’m simplifying a bit – there’s much more to Shūgendō.).
They are clearly having a wonderful time, cleansing themselves, chatting amongst themselves or with the proprietor of a rest stop, their heads covered in tenugui or not at all. The spray of the water is reflected in countless tiny white dots, the rippled surface of the water is drawn as only Hokusai can, and the falls come from so high up that they appear to emerge from the clouds themselves.
There’s only one thing you won’t see here – women.
Shūgendō was chiefly a male practice. It was banned during the Meiji restoration and then legalized after World War II. Similar waterfall training is still practiced today – in fact, here’s a video. And yes, women are joining in increasing ranks. It’s about time.
This print is in wonderful condition, with a very – very! – slight horizontal centerfold and some rubbing to the surface on the lower left corner area. The lines are sharp and the colors bright, with the warm earthy oranges contrasting wonderfully with the cool blue of the falls.
Interested in purchasing?
Please contact us.
葛飾北齋 Katsushika Hokusai（1760-1849）
诸国瀑布巡礼 相州大山良辨瀑布
The Roben Waterfall at Mount Oyama in Soshu Province, from the series of A Tour of Japanese Waterfalls
1833
木版画 | 纵绘大判 | 38cm x 25.7cm
Woodblock-print | Oban tate -e | 38cm x 25.7cm
早期的版次；颜色保存完好；整体品相完好；非常轻微的中间折痕；下方有非常轻微的摩擦
Early impression; fine color; slight centerfold; minor rubbing
PRICE ON REQUEST
水的形态，如此熟悉却又难以描摹。
《诸国泷巡礼》是北斋晚年创作的最经典风景绘系列之一，全套共计8幅，堪称瀑布题材浮世绘的里程碑式作品。这个系列的8张作品中随处可见北斋天马行空的想象力，大量不自然也不写实的直线、三角、圆形等等几何构图充斥画面，却奇妙地把北斋对瀑布形态的理解与坚定的万物有灵信仰，，给人一种超现实感的享受。
本作虽算不得本系列最知名的一幅，但却是最富有人情味的一作。随着如幕布的云气散开，一道如日本刀般锋利的瀑布从山崖间泻流而下，在水池中飞溅起无数白色的水花。池水内里有七八个参拜者正在脱衣沐浴，赤条条的形态各异：有的两手握拳冻得直抖愣，有的倒是还挺适应，怀抱白木做的大太刀虔诚地闭眼微笑。人物们的开脸和形体，都活像是从北斋漫画里跑来串场的老演员，俏皮中又掺杂些假正经，着实让观者忍俊不禁。
其实这张画描绘的是位于今天神奈川县一座“灵山”脚下的景象。山上建有一座供奉不动明王的寺庙，在祈雨、丰收、防火这些事上非常灵验，被誉为“关东三大不动”之一，鼎盛时期每年都能吸引到20万人前来参拜，其中绝大多数都是渔夫、农民或是江户城中的消防员。参拜者要像画中描绘的一样，先在山脚下的瀑布中洗掉一身污垢，然后才能沿着山路前往山顶的寺庙参拜祝祷。这种独特的清洁仪式常常被选为浮世绘的题材，歌川国芳、国贞都用画笔记录过这一景象。恢弘有力的瀑布加上当众沐浴的男性参拜者们，捕捉并传达出了此地信仰塑造的阳性力量和豪放不羁的感觉。
After his legendary series “36 Views of Mount Fuji,” Katsushika Hokusai’s most famous set may well be “A Tour of the Waterfalls in the Various Provinces,” published at roughly the same time. The inherent verticality of waterfalls prompted Hokusai to turn his traditionally horizontal landscape designs vertical – oban yoko-e to tate-e – which infused them with roiling modern energy and power, just like the falls themselves.
Each of the eight designs in this series is wonderfully and creatively drawn and printed, with the artist and the publisher’s team of block cutters and printers experimenting with new ways of showing water cascading down mountains – whether it be in powerful single streams or countless tributaries, always with awed sightseers on hand to take it all in, and to help us, the viewers, appreciate the scale of the thunderous falls.
But the falls are just the starting points for the stories Hokusai wants to tell. There is a powerful spiritual element in many of these designs. And none more so than in this example, “Roben Waterfall at Oyama in Sagami Province.” Here a group of pilgrims frolic and meditate and undergo “waterfall training” as the icy mountain torrent crashes down all around them.
They are engaged in Shūgendō, a mixed- Buddhist and Shinto religion in which practitioners conduct training while travelling deep into mountain passes, scaling mountains themselves or, in this case, bathing themselves and mediating in waterfalls. (I’m simplifying a bit – there’s much more to Shūgendō.).
They are clearly having a wonderful time, cleansing themselves, chatting amongst themselves or with the proprietor of a rest stop, their heads covered in tenugui or not at all. The spray of the water is reflected in countless tiny white dots, the rippled surface of the water is drawn as only Hokusai can, and the falls come from so high up that they appear to emerge from the clouds themselves.
There’s only one thing you won’t see here – women.
Shūgendō was chiefly a male practice. It was banned during the Meiji restoration and then legalized after World War II. Similar waterfall training is still practiced today – in fact, here’s a video. And yes, women are joining in increasing ranks. It’s about time.
This print is in wonderful condition, with a very – very! – slight horizontal centerfold and some rubbing to the surface on the lower left corner area. The lines are sharp and the colors bright, with the warm earthy oranges contrasting wonderfully with the cool blue of the falls.
Interested in purchasing?
Please contact us.
Katsushika Hokusai (1760-1849)
In the annals of Ukiyo-e, no design is more iconic than “The Great Wave Off Kanagawa.”
This bold image of a gigantic, froth-tentacled wave enveloping both Mt. Fuji and crescent-shaped boats of huddled fishermen has burst out of the world of Japanese woodblock prints and into the mainstream of global culture. It appears on Swatch watches, in political ads, on record albums and yes, even on sexual devices. There are believed to be about 200 originals of them left on the planet. In March 2023, one sold in auction for $2.76 million, a record for Ukiyo-e. Meiji-era reprints can, absurdly, sell for as much as $5,000.
The fame of this undisputed masterpiece is a mixed blessing for lovers and collectors of Japanese woodblock prints. On the one hand, its notoriety brings attention to the form. But on the other it can take up all the oxygen in the room. New collectors chase it. But it can overshadow all the other arguably comparable masterworks by its creator – such as “Red Fuji” or “Rainstorm Beneath the Summit.”
And it can also overshadow its creator himself. And that would be a shame, for there are few characters more legendary, more prolific, more influential and more just all around interesting in the Ukiyo-e universe than Katsushika Hokusai.
Born in 1760 and living until 1849 – a long life in Edo times – he produced untold thousands of works, from intricate color prints to luxurious paintings to books upon books of drawings and sketches. His designs were boldly modern and instantly recognizable, in several cases deeply influencing Western art.
His voluminous sketchbooks are the clear forerunners of today’s manga comic books and Japanese animated movies. His lines were clever and precise. He was the subject of a major 2020 movie in Japan.
Alas, his personal life was a bit of a mess. Despite his fame, he often lived in squalor. Later in life, he referred to himself as “Old Man Mad About Drawing.”
Muneshige Narazaki, a scholar of Ukiyo-e, wrote:
Hokusai’s life spanned almost the whole of that golden age. His art progressed in gradual stages from the imitation of others to mature independence and the development of new forms, then went on to new heights while the form itself was lapsing into decadence, and finally survived to see itself become old-fashioned in its turn, and to be superseded.
He was born in Edo as Tokitaro Kawamura and was adopted by a mirror maker. Showing early promise, he studied with several Ukiyo-e greats, with varying levels of success. He’d changed his name repeatedly throughout his life. He began by doing designs for illustrated books.
His greatest series is undoubtably “36 Views of Mt. Fuji,” which was published by Yohachi from 1823 to 1832 and which includes “The Great Wave Off Kanazawa” as its centerpiece.
Many of the designs in this landmark series, which helped introduce the landscape genre to the thriving print marketplace, are exquisitely simple. It featured considerable use of Prussian Blue, just then introduced to Japan; the key blocks of the first 36 are in this pigment. I say “the first” because the series was so successful that 10 more were produced, and you can tell those designs because those key blocks are in black. So really, 46 Views of Mt. Fuji.
He followed up with three books of black-and-white only prints called “100 Views of Mount Fuji.” They are wonderful. Hokusai just couldn’t stop.
Until he did. Hokusai wanted to live to 100 years old but didn’t make it.
He had a daughter, Katsushika Oi, who worked as his assistant and turned out to be a talent in her own right. Some scholars have even attributed some of his works to her. And she had something in common with her more famous father: she was also the focus of a recent blockbuster movie in Japan.
Partial citation: Narazaki, Muneshige, Hokusai: Masterworks of Ukiyo-e (Kodansha; 1968); Marks, Andreas, Japanese Woodblock Prints, Artists, Publishers and Masterworks: 1680-1900 (Tuttle; 2010); Forrer, Matthi, Hokusai (Prestel; 2015)