Today, with the advancement of digital art and the development of artificial intelligence, we have seen great developments in the field of drawing. We can cite artificial intelligence, which produces works of art on its own, as an example. However, with the many artists and works that this development has brought us, it is striking that the new generation mixes the old with the new.
In this context, works that are known as legends in the field of art are passed unnoticed. Although we will refer to an example from the field of drawing, we will not be able to pass without giving an example of the fact that Beethoven’s Für Elise piece is the doorbell in many houses. Our main topic is the Great Wave, which everyone has seen at least once, but has not mastered the details.
What is this Kanagawa’s Great Wave?
Originally named Kanagawa Oki Nami Ura, this work by Katsushika Hokusai is actually part of the Thirty-Six Mount Fuji Scenes (Fugaku Sanjurokkei) series. In addition to this, contrary to popular belief, the work was not drawn on paper, but was produced by a woodcut method called ukiyo-e, which we can easily say is quite difficult.
The indigo and Prussian blue you can see on the waves were quite new at that time and were imported from abroad. This was one of the distinguishing features of the work in the beginning. However, we can say that he did not hold much in his own time. The reason is that, just like today, things containing eroticism and nudity are more in demand.
Here you can see the stages of ukiyo-e art:
We see that the work is quite plain in terms of the objects it contains:
The ships we see in the work, which contains 3 items: tall ships, big waves and Mount Fuji in the back, were used for fishing. It is clearly seen that the waves also cause these ships to have a difficult time. Behind the waves, the calm and snow-capped Mount Fuji stands out.
Let’s look at some details:
We can say that the tops of the waves resemble claws. In addition, when we look under these claw-like figures, an image appears as if it is snowing towards Mount Fuji. In the work that appeared in 1831, this appearance of the waves may indicate that they were actually threatening Japan, which they were supposed to protect against foreign invasion.
Or, taking a more general point of view, we can say that this wave, which is about to fall on the ships, symbolizes the eternal superiority of nature over man. After all, it’s not hard to see how human inventions are struggling in nature (in water). The remoteness of the mountain also shows that we should not be too hopeful about whether they will survive.
Let’s take a look at Mount Fuji:
Although the weather looks stormy, it is bright and a shadow appears behind the mountain. This means that the light hits the backs of those who look at the drawing, that is, us. Let’s also say that Mount Fuji represents faith and devotion in Japanese culture in general.
Finally, in the upper left is Hokusai’s double signature:
The one in the box shows the name of the work and which series it is from (Thirty-Six Mount Fuji Landscapes), while Hokusai’s signature is on the side showing his own name. Here he also states that he changed his name to Litsu.
Let’s talk a little bit about the threat of waves to Japan:
- A theater stage in the Edo period
Japan entered the Edo (now Tokyo) era in the early 17th century and isolated itself from other countries. In addition, he strictly prohibited entry and exit from the country. Meanwhile, the challenging sea around it also contributed to its protection against invasions. The waves in the work may be making references to how consistent it is to trust nature in this regard. After all, huge waves could also bring the end of the country.
By 1853, Japan’s isolation began to crumble. On this date, American ships approached the port of Tokyo and demanded to reestablish trade that had been put aside for nearly 200 years. After some events and negotiations, the art that Japan has kept to itself for 200 years is now open to the world.
By 1860, pressures began to appear in Europe, and so the Kanagawa Wave was able to make its appearance, albeit late:
- An 1853 print showing the arrival of the Americans in Japan
Although the Europeans who saw this edition described the work as a purely Japanese work, it actually contains elements from the West. In this context, the Netherlands is one of the leading western countries inspired. The fact that it had no intention of proselytizing made the Netherlands somewhat credible in the eyes of Japan. In this context, 1-2 merchant ships were allowed to come to the port per year.
Hokusai’s works, which seem to have benefited greatly from the exchanges here, were also seen in elements that overlapped with the Dutch understanding. The vanishing point placed on the lower levels is one of them. You can see a similar example below.
So where can we see this work?
It would be wrong to say that “the original is here”, since it has been reprinted in large numbers. However, copies of the work in its original dimensions are exhibited in different major museums around the world. The Metropolitan Museum of Art in New York is one such example.
Kanagawa’s Great Wave is one of Japan’s best-known works. Let’s take a look at a few of the other members of the series it’s in:
Under the Mannen Bridge at Fukagawa
Fujimigahara in Owari Province
Sekiya Village on the Sumida River
Tago Bay near Ejiri on the Tōkaidō
The work we know as the Great Wave is said to have inspired Van Gogh’s painting Starry Night:
It is known that Van Gogh loved Japanese art and Hokusai’s works. He is even seen praising the Great Wave in a letter he wrote to his brother Theo. In this context, it is claimed that he was inspired by the Great Wave in his work The Starry Night. Considering that the artist was very interested in Hokusai, this is quite possible.
You can share your thoughts about the work in the comment section.
Sources: 1, 2, 3, 4, 5, 6, 7
1823
