Introduction
In the Edo period (1603–1868), Japanese woodblock prints, or ukiyo-e, often highlighted water as a central thematic and visual feature. These prints celebrated the natural beauty and cultural significance of a variety of water sources, illustrating Japan’s geographical ties to water and its role in daily life and spiritual practices. Prominent ukiyo-e artists like Katsushika Hokusai, Utagawa Kuniyoshi, and Utagawa Hiroshige portrayed water not merely as a background element but as a dynamic and versatile focal point in their compositions. In this exploration we observe the relationship between humanity and water.
Overview of Concept
The concept that best represents each print is the idea of coexistence, highlighting the artistic portrayal of balance, harmony, and mutual dependence between humanity and water as a vital element of life. Drawing inspiration from the aesthetic and cultural values of ukiyo-e, this idea envisions water not just as a backdrop but as an essential force shaping human activities, spirituality, and nature’s rhythms. This coexistence comes alive through scenes of rivers, oceans, rain, and waterfalls, where human interaction with water reflects its role in sustaining, inspiring, and connecting both people and the natural world. In the ‘Maiko Beach’ piece, nature and harmony are represented by the tranquil beach, serving as a serene home for small figures and evoking a profound sense of peace. Daily life and livelihoods are central to ‘Autumn Moon on the Tama River’, where figures rely on the river for fishing and other activities that sustain their existence. Spiritual and cultural symbolism is evident in works like ‘The Amida Falls’ and ‘Life of Nichiren’, where Buddhist themes of perseverance and the transformative power of faith are present. Finally, impermanence and resilience are vividly captured in The Great Wave, where the dynamic forces of nature reflect life’s ever-changing essence and the unwavering determination of the figures navigating the powerful waves.
Under the Wave off Kanagawa
Title: Under the Wave off Kanagawa or The Great Wave from the series: Thirty-six Views of Mount Fuji
Artist: Katsushika Hokusai
Culture: Japanese
Location: Japan
Date: ca. 1830–32
Period: Edo period (1615-1868)
Work Type: Woodblock Print
Medium: Ink and color on paper
Dimensions: 10 x 15 in. (25.4 x 38.1 cm)
Repository: The Metropolitan Museum of Art
Collection: Open Artstor
ID Number: 39799
Source: The Metropolitan Museum of Art, https://jstor.org/stable/community.16009372
License: Creative Commons: Free Reuse (CC0)
Credit Line: The Metropolitan Museum of Art, Asian Art, The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 JP2569
The towering wave dominates the base of the image, arching over the small boats carrying fishermen. The distinct size contrast between the wave and the boats highlights the power of nature, with the boats appearing nearly swallowed by the waves. The rhythmic movement of smaller waves adds depth and a sense of flow to the image. The wave, seemingly frozen with hints of white foam at its most dramatic moment, embodies the immense power of water, juxtaposed against the calm presence of the distant mountain. While the wave initially captures attention at first glance, closer observation guides the viewer’s eye toward Mount Fuji. In the background, Mount Fuji and the blue sky stand as a calm focal point. Its triangular shape offers a counterbalance to the swirling chaos of the waves.
Life of Nichiren: Prayer for Rain Answered
Title: Life of Nichiren: Prayer for Rain Answered at Ryōzengasaki in Kamakura
Artist: Utagawa Kuniyoshi
Culture: Japanese
Location: Japan
Date: ca. 1835
Period: Edo period (1615-1868)
Work Type: Woodblock Print
Medium: Ink and color on paper
Dimensions: 8 3/4 x 13 5/8 in. (22.2 x 34.6 cm)
Repository: The Metropolitan Museum of Art
Collection: Open Artstor
ID Number: 45286
Source: The Metropolitan Museum of Art, https://jstor.org/stable/community.18674293
License: Creative Commons: Free Reuse (CC0)
Credit Line: The Metropolitan Museum of Art, Asian Art, Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939 JP2859
The print shows a significant moment in the life of Nichiren, the 13th-century Buddhist monk. The print portrays his urgent prayer for rain, a miraculous event recorded during a time of drought. This emphasizes the dramatic elements of nature, with gray skies, large crashing waves, and the first drops of rain, symbolizing the strengths of faith and Nichiren’s deep spiritual connection to the natural world. The praising kneeling followers, some show emotional distress and relief by the presence of rain. This print underscores Nichiren’s significance in Japanese religious history, focusing on themes of perseverance and the transformative power of prayer.
The Amida Falls
Title: The Amida Falls in the Far Reaches of the Kisokaidō Road from the series: A Tour of Waterfalls in Various Provinces
Artist: Katsushika Hokusai
Culture: Japanese
Location: Japan
Date: ca. 1832
Period: Edo period (1615-1868)
Work Type: Woodblock Print
Medium: Ink and color on paper
Dimensions: 14 3/4 x 10 1/4 in. (37.5 x 26 cm)
Repository: The Metropolitan Museum of Art
Collection: Open Artstor
ID Number: 56143
Source: The Metropolitan Museum of Art, https://jstor.org/stable/community.18685737
License: Creative Commons: Free Reuse (CC0)
Credit line: The Metropolitan Museum of Art, Asian Art, Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939 JP2928
The Amida Falls, associated with Amitābha, a Buddha of Mahayana Buddhism, envisioned by a priest in the 16th century, acquires a spiritual connection to nature. The sixty-meter waterfall is one of the largest sources of water along the historic Kisokaidō Road. This depiction emphasizes the isolation of the waterfall falls cascading over a steep cliff, surrounded by towering trees and rugged terrain. The circular form at the top of the print highlights the river, resembling a winding road. Three small human figures can be seen near the edge of the cliff gazing at the falls’ awe, dwarfed by the force of the waterfall. The contrast between the figures and the waterfall highlights the water’s dominance within the scene. The visual disparity also emphasizes the evident presence of nature and humanity, underscoring a dynamic relationship.
Autumn Moon on the Tama River
Title: Autumn Moon on the Tama River
Artist: Utagawa Hiroshige
Culture: Japanese
Location: Japan
Date: ca. 1838
Period: Edo period (1615-1868)
Work Type: Woodblock Print
Medium: Ink and color on paper
Dimensions: 8 3/4 x 13 3/4 in. (22.2 x 34.9 cm)
Repository: The Metropolitan Museum of Art
Collection: Open Artstor
ID Number: 56903
Source: The Metropolitan Museum of Art, https://jstor.org/stable/community.18672946
License: Creative Commons: Free Reuse (CC0)
Credit line: The Metropolitan Museum of Art, Asian Art, The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 JP2480
During the Edo period, the landscape of a tranquil autumn night emphasizes a vast, open sky with a full moon casting a soft glow over the calm waters of the 86-mile Tama River. The river in Japan flows through the Kantō region. It plays a significant role in the local ecosystem and is an essential water source in Tokyo. Surrounding the river are human figures fishing. The landscape is painted in delicate shades of blue and gray, reflecting the quiet ambiance of the evening. Along the riverbank, sparse grasses and trees are outlined while mountains fill the background. The peaceful remoteness of an autumn night conveys the beauty and ephemeral nature of Japan’s landscapes.
Maiko Beach
Title: Maiko Beach, Harima Province, from the series Views of Famous Places in the Sixty-Odd Provinces
Artist: Utagawa Hiroshige
Culture: Japanese
Location: Japan
Date: ca. 1853
Period: Edo period (1615-1868)
Work Type: Woodblock Print
Medium: Ink and color on paper
Dimensions: 12 3/8 × 9 in. (31.4 × 22.9 cm)
Repository: The Metropolitan Museum of Art
Collection: Open Artstor
ID Number: 53780
Source: The Metropolitan Museum of Art, https://jstor.org/stable/community.18671904
License: Creative Commons: Free Reuse (CC0)
Credit line: The Metropolitan Museum of Art, Asian Art, The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 JP2509
A peaceful, natural scene along Maiko Beach in Harima Province, Japan. Through a blend of perspective and detailed layering, there are a series of ridged pine trees on the shore, which frame the serene coastline. The vivid blue tide of the ocean and gentle waves brush the sand. Three small human figures look towards the water, accompanied by structural houses. The use of vertical alignment emphasizes height, allowing the viewer to feel the verticality of the pine trees and the open sky. A rich palette of blues and greens covers the beach, contrasting with warm earth tones of the land. The calmness of the landscape evokes peace and nature’s timeless appeal. The trees, beach, and smooth waves all guide the viewer’s gaze in a gentle, flowing motion across the image, symbolizing both the radiance of the beach and the natural rhythms of the sea.
Exhibition Layout
This exhibition is thoughtfully designed to transport viewers into the world of water. The space will be illuminated with blue lighting, creating an immersive, tranquil, and water-like ambiance that complements the artwork. Angled walls will be arranged to produce a layered effect, with blue overhead lights gradually guiding the viewer’s gaze towards the centerpiece, ‘The Great Wave’. Each piece will be illuminated by warm-toned spotlights from above, preserving the true colors of the artwork against the blue background. Mirrors placed beneath each artwork will evoke the reflective quality of water, capturing both the image and the viewer to symbolize the blending presence of humanity and water into one unified space. To enhance the experience, the room will be filled with the soothing sound of distant trickling water, completing the serene environment.
Annotated Bibliography
“Hokusai’s Landscapes: The Complete Series,” by Sarah Thompson:
Offers a thorough examination of Katsushika Hokusai’s renowned landscape prints. This book provides some background information on Hokusai as an artist, book illustrator, and designer of her time. Describing Hokusai’s influence in Japanese art during the Edo period, this book primarily focuses on Hokusai’s series, such as the Thirty-Six Views of Mount Fuji, detailing each image with context, commentary, and historical analysis. It showcases Hokusai’s revolutionary approach to depicting nature, emphasizing dynamic compositions and innovative perspectives that influenced both Japanese art and Western impressionism. Hokusai’s art incorporates multiple elements of water with intricate and bold colors as well as different water forms, including waterfalls, oceans, and streams. Thompson provides an insightful analysis on each print, describing the print’s cultural significance, the techniques, and the unique vision that was emphasized throughout Hokusai’s art. Readers are able to gain a deeper understanding of artistic evolution and impacts on ukiyo-e and landscape art. This book is a good source because it provides context into both ‘The Great Wave’ and ‘The Amida Falls in the Far Reaches of the Kisokaidō Road’. The description of ‘The Great Wave’ print is a good decipher of what’s happening in the image and the storyline surrounding the express fishing boats that supplied the city of Edo. As for ‘The Amida Falls’ print, Thompson provides a comprehensive outlook of the Amida Buddha and his significance. There is also a section in the book that remarks on Hokusai’s understanding of the basic rules of Western-style perspective and introduces intentional distortion to create a more visually appealing design to his art. Overall, this is a well-written book that helps me understand the intentions of the art and how it was meant to be viewed based on the narratives accompanying the prints and by the viewers of my exhibition.
“Visions of People: The Influences of Japanese Prints—Ukiyo-e upon Late Nineteenth and Early Twentieth Century French Art” by Patricia Flynn:
Examines how ukiyo-e, a genre of art depicting scenes of the floating world, profoundly influenced French art in the late 19th and early 20th century. She explores how European artists were captivated by the distinct aesthetics of Ukiyo-e, including flat areas of color, unique compositions, and the emphasis on everyday life. Flynn describes the stylistic elements of Japanese art, how artists integrated them into their work, and created a new fusion of Eastern and Western art forms. Flynn focused on the influences that contributed to the development of impressionism and post-impressionism. She reflects on this cross-cultural trade and the role of Japanese art in shaping modern European visual culture. Furthermore, we get some background into Utagawa Kuniyoshi as an artist, including how he learned art through his father and how Kuniyoshi was a large part of this influence. Flynn provides some information on the history of how Kuniyoshi worked during the period of the Tokugawa Shōgunate falling and how the influence of Western art devices appears in his series of ten prints named Famous Views of the Eastern Capital. In particular, this article is relevant for my exhibition because it explains how Kuniyoshi portrayed one of my exhibition prints, The Life of Nichiren, into his series of ten prints in honor of the priest, Nichiren. This is a well-written article about the influence of Japanese prints and artists like Utagawa Kuniyoshi that provides some context into ‘The Life of Nichiren: Prayer for Rain. Answered at Ryōzengasaki in Kamakura’ woodblock print. In conclusion, this article was a good source in helping me understand Kuniyoshi as an artist and the importance of Nichiren in his prints.
References
Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo)). Under the Wave off Kanagawa (Kanagawa Oki Nami Ura), or The Great Wave, from the Series Thirty-Six Views of Mount Fuji (Fugaku Sanjūrokkei). ca. 1830–32. Woodblock print; ink and color on paper, 10 x 15 in. (25.4 x 38.1 cm). The Metropolitan Museum of Art. https://jstor.org/stable/community.16009372.
Artist: Utagawa Kuniyoshi (Japanese, 1797–1861). Life of Nichiren: Prayer for Rain Answered. ca. 1835. Woodblock print; ink and color on paper, 8 3/4 x 13 5/8 in. (22.2 x 34.6 cm). The Metropolitan Museum of Art. https://jstor.org/stable/community.18674293
Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo)). The Amida Falls in the Far Reaches of the Kisokaidō Road (Kisoji No Oku Amida-Ga-Taki), from the Series A Tour of Waterfalls in Various Provinces (Shokoku Taki Meguri). ca. 1832. Woodblock print; ink and color on paper, Image: 14 3/4 x 10 1/4 in. (37.5 x 26 cm). The Metropolitan Museum of Art. https://jstor.org/stable/community.18685737.
Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797–1858 Tokyo (Edo)). Autumn Moon on the Tama River. ca. 1838. Woodblock print; ink and color on paper, 8 3/4 x 13 3/4 in. (22.2 x 34.9 cm). The Metropolitan Museum of Art. https://jstor.org/stable/community.18672946.
Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797–1858 Tokyo (Edo)). Maiko Beach, Harima Province, from the Series Views of Famous Places in the Sixty-Odd Provinces. ca. 1853. Woodblock print; ink and color on paper, Vertical ōban; Image: 12 3/8 × 9 in. (31.4 × 22.9 cm). The Metropolitan Museum of Art. https://jstor.org/stable/community.18671904.
Thompson, Sarah E. (Sarah Elizabeth), Hokusai Katsushika, Boston Museum of Fine Arts, and Boston Museum of Fine Arts. Hokusai’s Landscapes : The Complete Series. First edition. Boston, Massachusetts: MFA Publications / Museum of Fine Arts, Boston, 2019.
Flynn, Patricia. Visions of People: The Influences of Japanese Prints–Ukiyoe upon Late Nineteenth and Early Twentieth Century French Art. 2019. https://teachersinstitute.yale.edu/curriculum/units/files/82.04.03.pdf
