Katsushika Hokusai Thirty-six Views of Mount Fuji Style Paintings Author: Masato Musashi

Introduction

Mount Fuji... a beauty and grandeur that captivates not only the Japanese people but people all over the world.
Furthermore, it is not just about its appearance; as it is also called a sacred mountain, it has been an object of worship since ancient times, and I believe many people feel a mystical power from Mount Fuji.
In honor of Katsushika Hokusai, one of the most famous painters who depicted Mount Fuji, I would like to paint pictures of Mount Fuji (or mountains resembling it) together with AI, using the compositions of the Thirty-six Views of Mount Fuji as a reference.
Although I may not be able to go in order, I intend to eventually complete the thirty-six views plus ten additional views. Also, please forgive me if the paintings I create deviate from Hokusai's original intentions.
I will be completing them one by one, so please look forward to them.
Regarding the Thirty-six Views of Mount Fuji, I have also posted about them from a slightly different perspective onour website(click)so please take a look atthatas well.

Please also check out my other works.
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1. The Great Wave off Kanagawa Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: The Great Wave off Kanagawa

◆ Composition Description

This work is a composition depictingMount Fuji seen from off the coast of Sagami Bay and fishing boats at the mercy of a great waveand the following elements constitute a clear visual drama.

● Main compositional elements:

• A giant wave covering the entire frameis depicted like a monster with its claws raised (the so-called "Great Wave").
  

• Three long, narrow fishing boats (oshiokuri-bune) are depicted beneath the wave, one of which is tilted as if it is about to be swallowed by the wave.

• Mount Fuji, depicted small in the background of the frame, stands quietly in the center of the wave's "trough".

• The detailed depiction of the sea sprayis extremely precise, dancing like snow and giving the whole piece a sense of speed and realism.

• The sky is quiet and pale blue, creating an impressive contrast with the waves.

This composition is a brilliant fusion of Western painting techniques (perspective) and Japanese decorative style through Hokusai's unique"fusion of perspective and dynamism".

◆ Commentary and Appreciation Points

1. Extreme contrast between "motion" and "stillness"

• The wave is adynamic momentabout to collapse.

• The people beneath it arehelplessly surrendering themselvesto the wave.

• On the other hand, Mount Fuji in the background is a symbol of "stillness" that is completely unmoved and does not stir at all.

This contrast condenses the relationship between humanity and nature into a single image.

② The Symbolism of Mount Fuji

• The Mount Fuji depicted by Hokusai is always an immovable presence as a "symbol of Japan," and

• it contains the message that no matter how intense human activity may be, the foundation of nature remains unshaken.

③ The Sculptural Beauty and Symbolism of the Waves

• The shape of the waves is not merely a depiction of nature, but is drawn as a being with a will like a living creature.

• Some researchers interpret these waves as the "hand of God," viewing them as an expression of the awe and sanctity of nature.

• It is also said that Hokusai engraved the circulation of energy and the providence of nature into this work.

④ Influence of Western Art and Innovation

• This work incorporates Western perspective, shading, and linear perspective, and its boldness, which was not seen in the ukiyo-e of that time, stands out.

• At the same time, he did not let these end as mere imitations, but sublimated them into a uniquely Japanese design aesthetic (wave shape, composition, and color).

2. Fine Wind, Clear Morning (Red Fuji) Wind

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Fine Wind, Clear Morning (Commonly known as: Red Fuji)

◆ Explanation of the Composition

"Fine Wind, Clear Morning" is one of the most famous compositions in the "Thirty-six Views of Mount Fuji" series and is also affectionately known as "Red Fuji."

• The towering Mount Fuji in the center is the main subject. It occupies almost the center of the frame with dignity, and a stable, nearly symmetrical composition is employed.

• The summit is still covered in snow and white, and it gradually takes on a reddish hue toward the bottom. This red represents the scene at the moment the morning sun illuminates the mountain surface.

• Behind Mount Fuji, a cloudless blue sky spreads out, and several streaks of cirrocumulus clouds (streaky clouds) cross diagonally, giving depth and movement to the composition.

• Almost nothing is depicted in the foreground, emphasizing the presence and tranquility of the mountain.

◆ Commentary and Appreciation Points

• 'Gaifu Kaisei' (Fine Wind, Clear Morning) is a Chinese-derived expression meaning 'a summer south wind blows in a clear sky', depicting a refreshing and auspicious morning where the wind brings a red glow to the mountain surface.

• The 'Red Fuji' is considered a symbol of good fortune, and this work is highly popular commercially and holds special significance in the context of Fuji worship.

• In this work, Hokusai expresses the fantastical moment of a 'red-dyed Fuji' created by fleeting weather conditions with astonishing simplicity.

• No people or buildings are depicted nearby, making one feel the beauty and majesty of nature itself.

• The contrast between the vermilion and indigo colors, as well as the woodblock gradation technique (bokashi-zuri), are utilized, making it a crystallization of the advanced skills of the artist and printer.

3. Sanka Hakuu (Rainstorm Beneath the Summit) Wind

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Sanka Hakuu

◆ Composition Description

'Sanka Hakuu' features a composition where the massive Mount Fuji is placed prominently in the left half of the frame, with intense thunderclouds gathering from the middle of its slope to the lower right. While the ridgeline of the foothills and some trees are slightly depicted at the bottom of the frame, the main subject is entirely the contrast between the sky and the mountain.

• The outline of Mount Fuji is sharp, and its majestic figure is depicted with reddish-brown rock surfaces, suggesting that light is hitting it from the upper left.

• In the lower right, black clouds are dense, and lightning is depicted striking the ground along with thunder.

• The sky has a contrasting light and dark on the left and right, a bold composition that seems to capture the contrast of stillness and motion, light and darkness, in a single frame.

◆ Commentary and Appreciation Points

'Sanka Hakuu' is a masterpiece in which Hokusai simultaneously expresses the 'divinity of Fuji and the threat of nature'.

• "Hakuu" (Rainstorm) refers toa heavy rain that falls for a short time like a sudden shower. Here, it is more of a "black cloud and lightning" scene than a "white rain," and one is overwhelmed by its intensity and power.

• In contrast, Mount Fuji stands firmly and does not move an inch."An existence that remains unshaken even amidst the wonders of nature", strongly evoking the Japanese view of Mount Fuji.

• Dark ink is used for the lightning and clouds, and this is a part wherethe texture of the woodblock is likely to appear rugged during printing. It is said that Hokusai intentionally used this "randomness of printing" to create the irregularity of the lightning.

• The highlight is certainly thisboundary between light and darkness. The structure is such that the gaze circulates from Mount Fuji to the thunderclouds, and then back to Mount Fuji.

4. Under the Mannen Bridge at Fukagawa (Fukagawa Mannenbashi-shita) Style

About Katsushika Hokusai's Under the Mannen Bridge at Fukagawa from Thirty-six Views of Mount Fuji

◆ Composition Description

This work is composed with a bold low angle from under the bridge piers of Mannen Bridge, and it is a piece where Hokusai's innovative perspective shines.

• In the foreground, the large wooden structure of the bridge (bridge girders) is depicted with an overwhelming presence, dividing the viewer's field of vision vertically.

• In the distance, Mount Fuji is depicted small but impressively, creating a composition as if looking from under the bridge.

• The composition that leads from the darkness in the foreground (under the bridge) to the bright sky in the distance skillfully directs the gaze and creates spatial depth.

In this way, the contrast between the massive artificial object (bridge) and nature (Mount Fuji), and the bold trimming are characteristic of a composition with a sense that could even be called modern.

◆ Commentary and Appreciation Points

• Mannen Bridge was a bridge that spanned the Oyoko River in Fukagawa, Edo (present-day Koto Ward, Tokyo), a place rooted in the daily lives of the common people of Edo.

• The perspective of looking up at Fuji from under the bridge is the very viewpoint of the common people, making one feel the "presence of Fuji" in the life of Edo.

• The detailed depiction of the massive bridge girders and the serene presence of Mount Fuji in the far distance create a contrast that brings drama and compositional beauty to the work.

• As can be seen in this single piece, Hokusai's composition goes beyond mere landscape painting, pursuing the 'relationship between humans and landscape' and 'innovation in visual experience.'

5. Bishu Fujimigahara (Fujimigahara in Owari Province) Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Bishu Fujimigahara

◆ Composition Description

In this work, while the setting is a barrel-making workshop, a
very unique and skillful composition of framing Mount Fuji within the circle of a large barrel is employed.

• The composition features a massive barrel hoop in the center of the frame, with a small Mount Fuji visible inside it.
  

• In the foreground, a craftsman is in the middle of making a barrel, and his posture as he bends over to work is carefully depicted.
  

• The sense of daily life permeates the details, such as the barrel materials, tools, and the wrinkles in his zori sandals and clothing.
  

• In the background, the roofs of townhouses, smoke, and clouds floating in the sky can be seen, suggesting the daily life of
  Owari (near present-day Nagoya City) during the Edo period.

The fact that the barrel hoop frames Mount Fuji as if it were a telescope or camera viewfinder is the greatest charm of this work.

◆ Commentary and Appreciation Points

• 'Bishu' refers to Owari Province (present-day western Aichi Prefecture), and 'Fujimigahara' is a place name referring to high ground or plains from which Mount Fuji can be seen.
  

• What is depicted here is a distant view of Mount Fuji from the Nagoya area, but given the actual geographical distance, this is an exaggeration, and Hokusai's creative perspective shines through.
  

  
  

• Within what appears to be a modest, everyday scene, the circle of the barrel allows
  Mount Fuji to appear like a masterpiece painting, where visual trickery and aesthetics coexist.

  
  

• Hokusai's compositional power, which fuses 'labor' and 'art,' and 'the lives of common people' and 'a symbol of Japan (Fuji)' into a single frame, is outstanding.
  

• Even though Mount Fuji is drawn small, it naturally draws the eye, once again impressing upon the viewer its
  strength as a symbol.

6. Koshu Inume Pass Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Koshu Inume Pass

◆ Composition Description

This work depicts Mount Fuji as seen from Inume Pass in Kai Province (modern-day Yamanashi Prefecture). In the foreground of the scene,
a traveler carrying luggage walks along the mountain path, with the person in the foreground and Mount Fuji in the background—a typical perspective composition—yet by drawing Fuji larger than it appears in reality, the artist expresses its grandeur.

• The slope of the pass flows diagonally across the entire scene, and the ridgeline of Mount Fuji is positioned to align with that line.

• Mount Fuji stands quietly in the distance, drawn to appear hazy due to aerial perspective, emphasizing a sense of depth.

◆ Commentary and Appreciation Points

• Perspective from Kai Province
  This work depicts Mount Fuji as seen from Inume Pass in southern Yamanashi Prefecture. It is still known as a scenic spot for viewing Mount Fuji today, and Hokusai captures Fuji from the "perspective of a climber."

• Skillful Composition
  With the mountain ridge flowing behind the figure and Mount Fuji in the distance, the composition is designed so that the viewer's gaze is naturally drawn to Mount Fuji.

• Contrast Between Stillness and Motion
  Mount Fuji Mount Fuji
  stands firmly in the background as a majestic and static presence. On the other hand, the traveler's hunched-over movement expresses the "hardship of crossing the pass" and the "resilience of life," highlighting the contrast between the greatness of nature and human activity.

• Atmospheric Expression
  In the gradation of the sky and the ridgeline of the mountains, one can see the depiction of "atmosphere" unique to Hokusai, which subtly conveys the distance to Mount Fuji.

7. Bushu Senju Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Bushu Senju

◆ Composition Description

This work takes "Senju," one of the four post stations of Edo, as its subject, but it does not depict the post station itself; rather, it shows the scenery near the sluice gates of the upper Sumida River (Arakawa River), which is slightly further away.

In the center of the scene, the pillars of the sluice gate standing straight and vertical are lined up regularly, and through the gaps between the pillars, the peak of Mount Fuji can be seen. This
contrast between the straight lines of the man-made objects and the triangle of the natural Mount Fuji is beautiful and creates a visual sense of tension.

What is also noteworthy is that the shape of the horse's back in the right foreground forms a similar shape to Mount Fuji in the distance. The horse's reins are also tied to the farmer's straw sandals, and the geometric arrangement where those lines seem to form a symmetry with Fuji is magnificent.

In the lower left of the frame, two people casting fishing lines are sitting and spending a peaceful time. Neither of the figures has a face drawn, blending into the scene as anonymous beings.

◆ Commentary and Appreciation Points

• The charm of this work lies in the fact that it is filled with contrast structures such as "artificial" and "natural," "straight line" and "curve," and "motion" and "stillness".

• In particular, the contrast between the regular vertical lines of the sluice gate pillars and the stillness of Mount Fuji in the background stands out, and Hokusai's unique perspective and playfulness of "framing Fuji within the gaps of structures" shines through.

• Also, the curve of the horse's back echoes Mount Fuji, and the composition lines of the reins and straw sandals are drawn to follow it, showing a meticulous visual design.

• Even though Mount Fuji is small, it radiates a strong presence as the focal point of the image, implying the theme that the figure of Fuji was always present even in the labor and daily life of Edo.

• Furthermore, in the early prints (first edition), the brown and blue color tones remain vivid, and the beauty of the coloring is one of the great charms of this work.

　8. Aoyama Enza-matsu (Round Pine) Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Aoyama Enza-matsu

◆ Composition Explanation

In this work, a large circular pine forest (Enza-matsu) spreads across the center of the frame, and Mount Fuji is drawn large and majestically behind it. The Enza-matsu is drawn as if looking up from the foreground, and the repetition of its bushy green mass and the trunks protruding from below creates a rhythmic and unique pattern.

In the lower right foreground, people viewing the Enza-matsu are depicted, and their expressions and gestures are soft, evoking a quiet moment of sightseeing. Furthermore, in the lower left,
the roof of a hermitage peeks out slightly, subtly supplementing the spread of the base of the Enza-matsu.

Mount Fuji is positioned slightly to the left of center, rising quietly with a clean triangular ridgeline that contrasts with the curves of the pine trees. The sky has a pale gradient, suggesting the time is morning or early afternoon.

◆ Commentary and Appreciation Points

● Depiction as a famous site for the Enza-matsu (Circular Pine)

The "Enza-matsu" was a famous site said to have been located in what is now Minami-Aoyama, Minato Ward, Tokyo, and was a scenic spot where pine trees were planted in a circle on a large property.
It was known as a tourist destination during the Edo period, and this painting suggests that many people visited it.

● Guiding the viewer's gaze

The figures in the bottom right are all looking at the Enza-matsu or talking to each other, and the direction of their gaze serves to guide the viewer's gaze toward the pine trees as well.
Hokusai often used the "gaze of figures" in his compositions, and this painting is a prime example.

● Balance between Mount Fuji and the pine trees

In this work, Mount Fuji has a strong presence despite being in the distance, while by depicting the familiar landmark of the Enza-matsu on a large scale, the Edo-period sensibility of "the coexistence of the ordinary and the extraordinary" is skillfully expressed.
The feeling of "visiting a real-life famous site" with Mount Fuji in the background creates a visual effect similar to a modern-day tourist poster.

● Colors and shading

With the deep green, the pale sky gradient, and the brownish shading of Mount Fuji, a sense of calm and perspective is created, and while there is visually peaceful negative space, the center of gravity remains firm.

9. Toto Sundai (Edo Sundai) Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Toto Sundai

◆ Composition Description

"Toto Sundai" is a work depicting a view from Surugadai in Edo. The composition features the wall of a samurai residence extending prominently in the foreground, along with figures standing there. In the middle ground, the townscape of Edo spreads out over the roofs, and in the background, far away, Mount Fuji covered in snow is depicted small and clearly against the clear sky.

What is characteristic is the diagonal composition that flows from the left to the right of the screen. The road and roofs are arranged diagonally, a configuration that naturally leads the eye to Mount Fuji in the back. Also, the movement and gaze of the figures in the foreground can be read as an intention to guide the viewer's eyes toward Mount Fuji.

◆ Commentary and Appreciation Points

Surugadai was lined with many samurai residences during the Edo period. Hokusai chose this view of Fuji and, by intentionally depicting it small and far away, creates a contrast between the expanse of Edo and the presence of Fuji as a sacred mountain.

What is noteworthy are the figures depicted in the foreground. None of their faces are drawn in detail; they are composed strictly as "entities that blend into the landscape". This serves to highlight the sanctity and stillness of Fuji.

Furthermore, the Edo landscape, depicted in detail down to the roofs and walls of townhouses and the branches and leaves of trees, can be called a valuable resource that conveys a cross-section of urban life at the time. It is a piece where Hokusai's compositional skill shines, emphasizing the presence of Mount Fuji by intentionally placing it small yet clearly in the distance.

10. Bushu Tamagawa Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Bushu Tamagawa

◆ Description of the Composition

This work is a quiet and magnificent composition that features the flow of the Tama River and the landscape of its banks prominently.

• In the foreground are a person leading a horse loaded with cargo and an attendant. Movement can be felt in the horse's gait and the person's posture.

• On the river surface from the center to the right is a boat floating with two people on board. The tilt of the boat and the use of color in the waves create the expanse and movement of the water surface.

• In the center background stands the majestic Mount Fuji, positioned slightly to the right, providing a solid sense of stability in contrast to the river in the foreground.

• The overall color scheme is structured with brightness increasing in a gradient from the dark brown and green in the foreground to the blue of the river, the pale blue of the sky, and the white of Fuji, emphasizing depth and breadth.

◆ Commentary and Appreciation Points

This work is characterized by Hokusai's unique depiction of scenery, which quietly evokes a sense of holiness and the power of nature within everyday life.

• Relationship between Mount Fuji and the river
  Mount Fuji is placed as a central presence even though it is small, and the contrast with the lively scene of daily life in the foreground stands out.

• Balance of the placement of people, horses, and boats
  By having the people on land and the boat on the river form a diagonal, a quiet tension is created in the frame, and the gaze flows naturally.

• Depiction of water and the beauty of color
  The gradation of blue and white in the waves is beautiful, making one feel the transparency and flow of the water. The buoyancy of the boat is also wonderfully expressed.

• Coexistence of stillness and movement
  The quiet flow of the river, the horse's walk, and the progress of the boat provide a pleasant rhythm to the viewer.

Thus, "Bushu Tamagawa" is a very poetic piece that depicts the quiet resonance between the lives of common people and the great outdoors. Hokusai's skillful composition and color expression shine through.

11. Soshu Shichirigahama Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Soshu Shichirigahama

◆ Composition Description

This print depicts the scenery looking toward Mount Fuji from Shichirigahama along Sagami Bay. The composition is skillfully divided into the background, middle ground, and foreground.

• Background: Mount Fuji, capped with white snow, towers large against the backdrop of a sunset sky. The sky in the upper right transitions from pale orange to indigo, creating an evening atmosphere. The early edition was printed in a single shade of indigo, giving it a charm reminiscent of ink wash painting.

• Middle ground: There is a hill protruding like a small cape, covered in dense trees. Beyond that, a single horizon line separating the water surface from the sky crosses the image.

• Foreground: The shoreline and tidal flats spread out, with several rocks and seaweed floating in the calm sea, and sand patterns resembling furrows visible in the lower left.

This composition emphasizes the depth of nature by placing Mount Fuji high and incorporating the patterns of the quiet beach in the foreground to accentuate the sense of perspective.

◆ Commentary and Appreciation Points

• What is Shichirigahama?: Shichirigahama is a beach with a long shoreline extending from Inamuragasaki, located at the entrance to the city of Kamakura in present-day Kanagawa Prefecture, to the Koyurugi Cape in the west (on the Enoshima side). There is a theory that its name originates from the fact that it was approximately 7 ri (about 4.2 km) long in the Kamakura period (though it is actually about 3 km).

• Contrast between Mount Fuji and the beach: The contrast between the quiet shoreline in the foreground and the majestic Mount Fuji in the distance creates a beautiful composition. In particular, the patterns of the sand on the beach evoke a sense of rhythm, visualizing the cadence of nature.

• Expression of the sunset: The gradation of the sky from orange to ultramarine spreading across the background is very impressive. It shows how Hokusai skillfully expressed the flow of air and time through color. The early edition was printed in a single shade of indigo, giving it a charm reminiscent of ink wash painting.

• The beauty of color usage: One of the charms of this print is the contrast between indigo and orange, which are complementary colors. It creates a visual tension within the tranquility.

• Absence of people: By not depicting people or animals, the composition directs the viewer's attention to the form of nature itself. The viewer is encouraged to imagine feeling the wind and the sound of the tide.

• The beauty of color usage: One of the charms of this print is the contrast between indigo and orange, which are complementary colors. It creates a visual tension within the tranquility.

• Absence of people: By not depicting people or animals, the composition directs the viewer's attention to the form of nature itself. The viewer is encouraged to imagine feeling the wind and the sound of the tide.

12. Buyo Tsukudajima Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Tsukuda Island in Musashi Province

◆ Composition Description

• In the foreground, the surface of Edo Bay and numerous boats are depicted, with people loading cargo and rowing, working vividly within the boats. In the middle ground, the townscape with dense roofs and trees of Tsukuda Island spreads out, and behind it, masts stand like a forest. Further back, the majestic Mount Fuji towers slightly to the right, completing the depth of the composition. The water surface features a gradient from deep indigo to white, creating a "quietness of space" that connects the boats to Mount Fuji.

◆ Commentary and Appreciation Points

• The scene around Tsukuda Island at the mouth of the Nihonbashi River in Edo.
  As this area flourished as a hub for fishing and distribution, river boats, cargo, and sailing ships passed through daily. By placing the quiet Mount Fuji within this bustle and orderly chaos, Hokusai depicts a contrast between the timeline and spirituality. Tsukuda Island is the place where fishermen from Tsukuda Village in Settsu Province (present-day Tsukuda, Nishiyodogawa-ku, Osaka) moved to Edo and reclaimed the tidal flats at the mouth of the Sumida River to settle. After the fishermen from Tsukuda Village in Settsu Province migrated, they presented seafood to the Tokugawa family. It was known as a fishing village with a unique culture even within Edo. For the citizens of Edo at the time, the boats and fishermen of Tsukuda Island were a very familiar sight, and it is interpreted that by depicting this common scene alongside Mount Fuji, the symbol of faith, Hokusai expressed the "unity of faith and daily life".

13. Ushibori in Hitachi Province Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Ushibori in Hitachi Province

◆ Composition Description

• A houseboat is placed so that it cuts diagonally across the frame, creating a sense of depth and movement. The gaze is guided from the stern to the bow, and the line of sight is led directly to Mount Fuji. Detailed depictions (people, roofs, cargo) are concentrated in the foreground, while Mount Fuji in the background is drawn in a linear and static manner. This contrast emphasizes the sense of perspective and realism.

◆ Commentary and Appreciation Points

• Present-day Itako City area (Tone River basin) in Ibaraki Prefecture
  . In the late Edo period, this region flourished as a key point for logistics, and Hokusai quietly blends the universal symbol of Mount Fuji into that everyday landscape.

14. Kajikazawa in Kai Province Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Kajikazawa in Kai Province

◆ Composition Description

• From the bottom left of the frame, a sharply protruding rocky area is composed as if to invite the viewer, and at its tip, a fisherman handling a net is depicted. In the middle ground, the expansive water surface of the Fuji River is drawn quietly, and in the background, the beautiful, almost symmetrical triangle of Mount Fuji towers. The gradation of the sky and water, as well as the curves of the thin net, express an exquisite balance of stillness and motion.

◆ Commentary and Appreciation Points

• Kai Province, present-day Yamanashi Prefecture. "Kajikazawa" is in the area of present-day Fujikawa Town, also known for the rapid currents of the Fuji River, and was a famous spot for fishing for sweetfish and sculpin. Hokusai depicts the contrast between the "power of water and human life" here. There is a theory that the reading of "Kajikazawa" might be a mistake between Kajika (sculpin) and Ugui (dace).

15. Lake Suwa in Shinano Province Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Lake Suwa in Shinano Province

◆ Composition Description

• Mount Fuji stands quietly in the distance, indicating the "depth" of the composition, with the lake and the lives of the people placed at the center. With a perspective like a traveler's viewpoint (looking down at the lake from a slope), the viewer gets the feeling of looking at this lakeside scenery themselves.

• From the bottom right of the painting to the center of the frame, a slope and a thatched hut are depicted, and the two pine trees growing there frame the space. The pine trees symbolize "longevity" and "watching over," the hut symbolizes "human life," and the boat symbolizes "traffic" and the "flow of goods," making the harmony between nature and life the theme.

◆ Commentary and Appreciation Points

• Lake Suwa is a lake located at an altitude of approximately 759m in the southern part of Nagano Prefecture, and it was a key location for logistics and transportation during the Edo period.

• What can be seen on the opposite shore is thought to be the castle town of the Takashima Domain's Suwa clan (Takashima Castle).

• It is believed that Hokusai visited this region to sketch the actual scenery, and the work is characterized by a slightly bird's-eye perspective.

16. Mountainous Area of Totomi Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Mountainous Area of Totomi

◆ Composition Description

• This depicts a lumbering process called "Ogabiki (large saw sawing)", where craftsmen above and below pull a saw up and down to cut the timber. Mount Fuji stands in the background to the left, and the white of the timber harmonizes with the white of Fuji. The person above is standing on the square timber, conveying that this was a job involving significant height and danger.

• In the center, multiple people engaged in mountain work are depicted, including a person holding an axe, someone tending a fire, and a woman carrying firewood. In the lower left, a man facing his tools and a woman with a child on her back can also be seen, offering a glimpse into the mountain life where labor and daily living coexist.

• The ridgeline of Mount Fuji, the angle of the timber, and the angle of the trailing smoke are exquisitely arranged within the composition.

◆ Commentary and Appreciation Points

• "Totomi" is the current western part of Shizuoka Prefecture (around Hamamatsu City to Kakegawa). This region was rich in forest resources, and during the Edo period, it produced construction materials and charcoal.

• Although Mount Fuji is depicted in the distance, the charm of this work lies in the fact that the "working people" in the scene are the main subjects.

• The massive square timber and the flow of smoke tighten the composition diagonally, creating a structure that naturally draws the eye toward Mount Fuji. In contrast, the figures show the realism of a life with feet firmly on the ground, creating an exquisite contrast between stillness and motion, and distance and proximity in the scene.

17. Mishima Pass in Koshu Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Mishima Pass in Koshu

◆ Composition Description

• The large tree in the centerdivides the screen vertically, creating an impressive vertical composition.

• Mount Fujiis in the background to the right, quietly exuding presence while surrounded by mountain ranges and clouds.

• Travelersare depicted passing by the roots of the large tree, each with different movements and directions, creating a quiet yet lively scene of daily life. The tree branchesat the top also serve as an element that gives depth to the screen.

◆ Commentary and Appreciation Points

• It is believed to depict Mount Fuji as seen from a mountain path near Kagosaka Pass, a difficult section on the road from Fujiyoshida City, Yamanashi Prefecture, to Mishima City.

• By contrasting the tall giant tree in the center of the screen with the distant Mount Fuji, it expresses an intense sense of perspective.

18. Ejiri in Suruga Province Wind

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Ejiri in Suruga Province

◆ Composition Description

This work depicts Mount Fuji as viewed from Suruga Province (near present-day Ejiri, Shimizu Ward, Shizuoka Prefecture) and a scene on a road where a fierce wind is blowing. The characteristics of the composition are as follows:

• Mount Fuji is placed in the center background of the screen, forming a stable axis of symmetry.

• The S-shaped road extending from the foreground to the backgroundgives rhythm and depth to the screen.

• The two trees on the left side of the screenbend significantly, symbolizing the strength of the wind.

• The figures are depicted leaning their bodies and holding onto their travel attire to resist the wind. Luggage, hats, and papers are being blown away, visually expressing the force of the wind.

• Paper and hats dancing in the sky visualize the 'invisible presence' of the wind.

• Mount Fuji in the distance remains unmoved by the wind, creating a contrast between stillness and motion. It creates a contrast between stillness and motion.

◆ Commentary and Appreciation Points

The appeal of this work lies in the theme of 'the power of nature and human activity.'

• The challenge of depicting 'wind.' The formless natural phenomenon of wind is skillfully expressed through the tilting of trees, the fluttering of clothes, and flying paper and umbrellas, making this a piece where Hokusai's
  
  skill in depicting dynamic movement shines.

• Travelers' expressions and actions. All the travelers are reacting to the wind in some way, which can be seen as implicitly depicting
  
  'shared hardship.' Some are about to fall, others are desperately holding onto their hats, making for a dramatic composition.

  
  
  

• The 'immobility' of Fuji. In contrast to the people being blown about and in chaos,
  Mount Fuji sits majestically in the center, completely unmoved.
  This is truly a 'symbol of immobility,' depicting the absolute presence of the landscape and nature.

  
  

19. Hongan-ji Temple at Asakusa in the Eastern Capital - Wind

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Hongan-ji Temple at Asakusa in the Eastern Capital

◆ Explanation of the Composition

• On the left side of the frame, a large temple complex, believed to be the Hongan-ji Temple of the Edo period, is depicted majestically. Beyond its roof, the distant peak of Mount Fuji peeks out, a composition where the enormity of the architecture and the grandeur of nature compete.

• The center to the right depicts the expanse of the sky and the rows of houses in the town, with the figures of people gathered in the temple grounds also placed in small scale. The sky is a bright, clear gradient, enhancing the presence of Mount Fuji floating in the distance.

• The roof of the main hall has an impressive diagonal line, creating a sense of depth and perspective, while the placement of Mount Fuji beyond it skillfully guides the viewer's gaze.

◆ Commentary and Appreciation Points

• Historical Background:
  Asakusa Hongan-ji was a Jodo Shinshu temple and a very important religious center in Edo. After the Great Fire of Meireki in 1657, it moved to Asakusa and was called Asakusa Gobo.

• Compositional Ingenuity:
  Although Mount Fuji is depicted small in the background, it is contrasted with the majestic temple architecture, giving the impression that Fuji is close to the 'faith' and 'daily life' of the Eastern Capital, Edo. It is a perspective typical of Hokusai, where human activity, faith, and nature harmonize.

• Appreciation Points:
  - The presence of the building on the left and the lines of the roof are particularly eye-catching. - The sense of rhythm between the building's roof and the ridgeline of Mount Fuji is also an interesting point if observed closely. - If you follow the figures of the people on the right side of the frame, you can get a glimpse of the religious landscape and daily life of the time.
  

  
  

20. Soshu Umezawa-za (Left of Umezawa, Soshu) Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Soshu Umezawa-za

◆ Composition Description

Mount Fuji towers from the center to the upper right of the frame, with a series of hills stretching out in the foreground. These mountains and hills are arranged in a rhythmic, wave-like pattern, giving the composition a sense of gentle movement.

A marsh-like waterfront spreads across the left side, where six cranes are positioned. With two in flight and four resting or foraging at the water's edge, the composition depicts a space where natural tranquility and the breath of life coexist. The combination of Fuji and the cranes seems to be a nod to good fortune.

Even more striking are the shapes of the clouds distributed throughout the scene. Composed of curved forms, they add layers to the space, lending a sense of buoyancy and depth to the composition.

◆ Commentary and Appreciation Points

• Regarding the place name "Umezawa-za":
  "Umezawa" is identified as being near the present-day Oiso-machi in Naka-gun, Kanagawa Prefecture, along the old Tokaido road at Oiso-juku (Note: While it was previously recorded as being around Hiratsuka City, Oiso-machi is now considered the more likely location). Furthermore, since the word "za" (left) is unnatural as a place name,
  
  some researchers have pointed out the possibility that it is a misspelling of "Umezawa-zai" or "Umezawa-no-sho".

• Compositional Features and Eye Guidance:
  The design is intended to lead the eye naturally from the waterfront in the lower left of the frame to Mount Fuji in the upper right. The undulations of the hills, the shapes of the clouds, and the flight paths of the cranes skillfully guide the viewer's gaze.
  

• Symbolism and Variations of the Cranes:
  In Japan, cranes are symbols of good fortune, longevity, and purity, and their combination with Mount Fuji is considered particularly auspicious. Various poses are depicted, such as standing, flying, and pecking for food, which enhances the balance between motion and stillness.

• Appreciation Points:
  ・The differences in the cranes' poses and their positional relationships
  ・The beauty of the curved lines and layered structure of the clouds
  ・The contrast between the mountain ridges and the deep black of Mount Fuji
  ・The calm color palette created by the contrast between the blue of the water surface and the green of the hills

This work fuses the majesty of the landscape with the light-hearted vitality of the cranes, expressing a world that feels serene and blessed. The uncertainty regarding the place name can also be seen as an example of how Hokusai prioritized
compositional beauty and symbolism over literal reality.

21. Shimo-Meguro (Lower Meguro) Style

About Katsushika Hokusai's Thirty-six Views of Mount Fuji: Shimo-Meguro

◆ Composition Description

This work, "Shimo-Meguro," depicts the rural landscape of the Meguro district, southwest of Edo. The features of the composition are as follows:

• Mount Fuji in the center background: Drawn small and sharp, it guides the viewer's gaze toward the center of the frame.

• Rural landscape in the foreground: You can see rice threshing work, the figures of farmers, and the straw roofs of farmhouses. The thatched roof in the lower left and the rice bundles stacked in the center are particularly impressive.

• Hills on the left and right: Gentle ocher-colored hills spread out as if surrounding the screen, emphasizing a sense of perspective.

• Expressions and movements of the people: The daily lives of people are vividly depicted, such as a farmer handling rice in the center left and people walking along the road.

• Sense of space: A bold composition with almost the entire upper half as sky, expressing tranquility and brightness.

◆ Commentary and Appreciation Points

• Meguro as a rural landscape
  : At the time, Shimo-Meguro was a rural village on the outskirts of Edo, known for its fields, springs, and as a leisure destination (such as Meguro Fudo). Hokusai carefully captures this serene landscape along with the atmosphere of the harvest season.

• Size of Fuji and perspective
  : A characteristic feature is that Mount Fuji is drawn very small. This is thought to be a technique Hokusai used intentionally to "highlight the life in the foreground by placing Fuji in the distance." Compared to other works, the size of Fuji is quite modest, and the contrast of "life with Fuji as borrowed scenery" is vivid.
  

• Contrast of color and composition
  : The contrast between the yellow hills and the deep green fields, the sky with its rich gradation in the upper part, and the white of Fuji in the center are visually harmonious. The use of yellow is particularly distinctive, leaving an impression of the richness of the harvest and the atmosphere of autumn.

• Fusion of the ordinary and the extraordinary
  : The "ordinary" life of the farmers coexists with the "symbolic existence" of Mount Fuji seen in the distance. The balance of this composition speaks to the depth of Hokusai's perspective.

22. Kazusa Sea Route Style

Katsushika Hokusai's Thirty-six Views of Mount Fuji About the Kazusa Sea Route

◆ Explanation of the composition

This image is a seascape depicting a bezaisen (merchant ship) sailing off the coast of Kisarazu, Chiba Prefecture. The screen is largely occupied by two sailing bezaisen ships. The ship in the foreground is placed slightly diagonally from the lower left to the upper right of the composition, and the sense of perspective is skillfully expressed along with the ship in the background.

• The hull is painted in a large vermilion color, and a row of cargo, thought to be rice bales, is lined up on the deck.

• The sails are puffed out by the wind, suggesting that the ship is underway.

• In the distance, the horizon and Mount Fuji are depicted small, and hills spread quietly in the background.

• The sea is expressed with a gradient that is dark blue and choppy in the foreground, becoming brighter and calmer toward the back.

◆ Commentary and Appreciation Points

• Benzaisen (coastal trading ships) were large wooden sailing ships widely used for maritime transport in Japan from the Azuchi-Momoyama period through the Edo and Meiji periods.

• "Kazusa no Kaiji" (Sea Route in Kazusa) depicts the sea route from the Boso Peninsula (Kazusa) in present-day Chiba Prefecture to Edo.

• During the Edo period, shipping routes were developed to transport tax rice and goods from various regions to Edo, and this Benzaisen is a symbolic presence of that.

• The position of Mount Fuji is in the center background. Its small figure seen across the vast ocean emphasizes the expansive space and the sentiment of travel.

• The structure and decorations of the ship's hull are drawn in detail, highlighting Hokusai's powers of observation and skill as an artist.

• The roundness of the sails and the flow of the wind visualize the presence of invisible wind.

• A piece packed with the dynamism of logistics and the feel of daily life of that time.

23. Noboto-ura, Wind

Katsushika Hokusai's Thirty-six Views of Mount Fuji About Noboto-ura

◆ Explanation of the Composition

This print is a work depicting Noboto-ura in Shimosa Province (near the present-day Chuo Ward of Chiba City, Chiba Prefecture), focusing on the shallow sea and the activities of the people.

• On the left side of the screen, two torii gates stand in the sea, guiding the viewer's gaze from the center of the painting toward the left.

• Passing under the torii gates, figures of families enjoying shellfish gathering or people working in the fishing industry are depicted.

• On the right side, hills and a village dyed in yellowish-green, and in the background, a small Mount Fuji is depicted as if floating.

• The composition is exquisitely balanced, with the height difference between the distant and near views, and the balance between people and nature, as well as artificial objects and nature.

◆ Commentary and Appreciation Points

Nobuto-ura was a region where the harvesting of seaweed and shellfish was thriving during the Edo period, and this painting is thought to depict that daily scene.

• The sight of torii gates lined up in the sea is rare, serving as a symbol of a sacred place where the sea and faith intersect.

• Many of the figures are entering the sea with baskets on their heads, and can be interpreted as people engaged in fishing or shellfish gathering.

• Mount Fuji is visible as a small peak in the back center of the screen, quietly exuding its presence as a sacred mountain within a daily scene.

• The colors are a gentle palette based on yellow, blue, and green, evoking a sense of harmony between nature and daily life.

• The thatched roofs and village houses on the right convey the atmosphere of a peaceful rural and fishing village.

24. Tokaido Yoshida Style

Katsushika Hokusai's Thirty-six Views of Mount Fuji About Tokaido Yoshida

◆ Explanation of Composition

This work depicts a scene at a teahouse in Yoshida-juku on the Tokaido (present-day Toyohashi City, Aichi Prefecture).

• In the foreground of the sceneis the structure of a teahouse with pillars and eaves, inside whichtravelers can be seen restingand relaxing.

• In the background, through the openveranda, Mount Fujican be seen small, creating a composition as if peering at a painting through a window.

• The two people sitting in the center are inrelaxed postures. Everyday gestures such as eating dumplings and drinking tea can be observed.

• The elderly man on the right seems to be rubbing his feet while taking off his straw sandals, perhaps expressing the fatigue of his journey.

• On the left, a man with a basket appears to be repairing or perhaps making new straw sandals.

• At the storefront, there are signs reading "Ochazuke" and "Nemoto Yoshida Hokuchi," indicatinglocal specialties of Yoshidaat the time.

◆ Commentary and Appreciation Points

Yoshida-juku was one of the post stations on the Tokaido road, and theYoshida Bridge over the Toyokawa River was a famous landmark. Although the bridge is not depicted in this painting, it expresses the bustle of the post station as aresting place (teahouse) during the journey.

• Within the quiet indoor scene, the detailed expressions and movements of each person are vividly depicted, bringing to life therealistic travel style of commoners in the Edo period.

• The depiction of Mount Fuji being extremely smallis intentional, serving as a symbolic treatment of "Fuji that is always visible even from far away."

• The frame composed of pillars and eaves is likea single folding screen painting or stage set, highlighting Hokusai's spatial composition skills.

• The sign lettering, travel gear, and clothing also faithfully representthe lifestyle culture and travel styles of that time.

Author: Masato Musashi - Profile

Artist and Visual Reproduction Creator. I depict gentle moments where human life and natural scenery harmonize. While utilizing AI technology, my goal is to depict landscapes that are somewhat nostalgic and remain in the heart.

In this reproduction project based on "Thirty-six Views of Mount Fuji," I carefully capture the thoughts embedded in the composition and color usage, working to revive them from a modern perspective while feeling the charm of the era.

In the series "Everyday Scenery and Travel Scenes," I intend to weave together these moments by expressing "fleeting moments that are often overlooked" somewhere between photography and painting, with the hope that things previously unseen will become visible, and that seeing them will deepen one's emotions.

Valuing the air, light, and silence that gently flow within the paintings, I hope to continue depicting landscapes that reach someone's heart, transcending time and technology.