Katsushika Hokusai

Yuki no ashita no Fuji 'Fugaku hyakkei' (Fuji the Day after Snow 'One Hundred Views of Mount Fuji')

Katsushika Hokusai's original Japanese woodcut Diptych, Yuki no ashita no Fuji (Fuji the Day after Snow) hails from arguably his greatest set of woodcuts entitled, Fugaku hyakkei (One Hundred Views of Mt. Fuji). Here the woodcuts are unified by the presence of Mt. Fuji, either in detail, in the background or in a reflected surface. The 'Mountain' in Yuki no ashita no Fuji, however, is purely a manmade construction. After a heavy snowstorm it has inadvertently taken its shape as a shoveller piles up the snow. Two dogs are playing on the 'mountain' and to the right two figures seem to be in conversation. An errand boy, wearing an enormous hat, is carrying a bucket and some bottles of sake.

Yuki no ashita no Fuji (Fuji the Day after Snow) is printed upon two sheets of nineteenth century Japanese mulberry paper and with full margins as published in the Fugaku hyakkei (One Hundred Views of Mt. Fuji), Tohekido edition, 1852, Catalogue #56. It is a striking, original example of the famous landscape art created by the Japanese artist, Katsushika Hokusai.

Yuki no ashita no Fuji 'Fugaku hyakkei' (Fuji the Day after Snow 'One Hundred Views of Mount Fuji')

View other original Japanese woodcuts by Hokusai.

Katsushika Hokusai (Tokyo (Edo), Japan, 1760 - 1849)
#	Image	Title & Artist	Medium	Date	Publisher	Source	-
01.-		A Hero with a Prisoner (Portraits of Suikoden Heroes) by Katsushika Hokusai	Original Japanese Woodcut	1829	Hanabusaya Heikichi	Chugi Suikoden Ehon (Portraits of Suikoden Heroes)
02.-		Gekka no Fuji (Fuji under the Moon) by Katsushika Hokusai	Original Japanese Woodcut (Diptych)	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)
03.-		Haichu No Fuji (Fuji in a Wine Cup) by Katsushika Hokusai	Original Japanese Woodcut	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)
04.-		Konya'cho no Fuji (Fuji of the Dyers' Quarter) by Katsushika Hokusai	Original Japanese Woodcut	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)
05.-		Shashin no Fuji (Drawing Fuji from Life) by Katsushika Hokusai	Original Japanese Woodcut	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)	Sold
06.-		Sochu No Fuji (Fuji in a Window) by Katsushika Hokusai	Original Japanese Woodcut	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)
07.-		Suberi (Sliding Down) by Katsushika Hokusai	Original Japanese Woodcut	1834 & 1835 (Tohekido Edition, c. 1847)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)	Sold
08.-		Surprise Attack (Portraits of Suikoden Heroes) by Katsushika Hokusai	Original Japanese Woodcut (Diptych)	1829	Hanabusaya Heikichi	Fugaku hyakkei (One Hundred Views of Mount Fuji)
09.-		Two Heroes (Portraits of Suikoden Heroes) by Katsushika Hokusai	Original Japanese Woodcut	1829	Hanabusaya Heikichi	Chugi Suikoden Ehon (Portraits of Suikoden Heroes)	Sold
10.-		Uneri Fuji (Fuji on the Swell) by Katsushika Hokusai	Original Japanese Woodcut (Diptych)	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)
11.-		Yuki no ashita no Fuji (Fuji the Day after Snow) by Katsushika Hokusai	Original Japanese Woodcut (Diptych)	1834 & 1835 (Tohekido Edition: 1852)	Tohekido	Fugaku hyakkei (One Hundred Views of Mount Fuji)

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Title:	Yuki no ashita no Fuji 'Fugaku hyakkei' (Fuji the Day after Snow 'One Hundred Views of Mount Fuji')
Artist:	Hokusai, Katsushika (Tokyo (Edo), Japan, 1760 - 1849)
Date:	1834 & 1835 (Tohekido Edition: 1852)
Medium:	Original Japanese Woodcut (Diptych)
Publisher:	Tohekido
Note:	Katsushika Hokusai: The most influential Japanese master of landscapes and figure studies, Katsushika Hokusai created many masterpieces throughout his long and productive life. Studying under Shunsho, Hokusai’s earliest art was devoted to competent actor prints and figure studies in the style of his master. Then, in the first decade of the 19th century, Hokusai’s tireless studies led him to examine both Western art and Chinese paintings and prints. He thus broke from the standard ‘Ukiyo-e’ style to forge a path for his own unique genius. This would lead him to some of the greatest artistic examinations of the relationship between man and nature in the history of art, such as, Thirty-Six Views of Mt. Fuji (1831) and Fugaku hyakkei (One Hundred Views of Mount Fuji) (1834-1835).
	In many ways, Hokusai’s two series of Fuji woodcuts stand as the culmination of both his life and art. After all, such recognizable masterpieces as “The Great Wave” originates from these sets. Mount Fuji, however, represented much more to both the Japanese people and to Katsushika Hokusai. It stood as a primary symbol in all Japanese religions and came to signify for Hokusai the complex workings of immortality. In this vein the artist did not embark upon his greatest woodcuts until after age seventy and was firmly convinced that even finer art would be crafted by him at the ripe age of one hundred. Thus Hokusai did not sign the woodcuts from the Fugaku hyakkei (One Hundred Views of Mt. Fuji) with his name, but with the appellation, ‘Old Man Mad About Drawing’.
	Katsushika Hokusai was firmly convinced that Fugaku hyakkei (One Hundred Views of Mt. Fuji) constituted his best collection of artwork. Most scholars today agree. Each of the one hundred woodcuts (either single panels or diptychs) is unified by the presence of Mt. Fuji, either in detail, in the background or in a reflected surface, such as water, mirrors and even within the shiny surface of a teacup. Each is further united in its most penetrating examination of life and nature. In Yuki no ashita no Fuji, Mt. Fuji is purely a manmade construction. After a heavy snowstorm it has inadvertently taken its shape as a shoveller piles up the snow.
	The publishing history of the Fugaku hyakkei (One Hundred Views of Mount Fuji) is well documented. The entire set consists of three volumes. Volumes 1 and 2 were first published in Edo in 1834-35. Known as the ‘falcon tail’ edition the blocks were again reprinted in a second edition before the famine of 1837. Both volumes were then re-issued by Tohekido in Nagoya at the time of the first publication of Volume 3 in the late 1840’s. Then, around 1852, a more complex edition was introduced by Tohekido in which completely new color blocks were designed and cut to be printed with Hokusai’s original key blocks; one in grey and one in salmon pink. This original woodcut entitled, Yuki no ashita no Fuji hails from this edition, the only edition, in fact, that contains the extra color printing. All woodcuts from editions of the One Hundred Views are very scarce and in great demand.
	In Yuki no ashita no Fuji, the left panel depicts Two dogs playing on the 'mountain' that the shoveller has created. This snow pile has inadvertently taken the shape of Mt. Fuji. The right panel depicts two figures who seem to be in conversation as a boy walks by carrying a bucket and some bottles of sake. This snowy landscape scene is a striking, original example of the art created for the One Hundred Views by the Japanese artist, Katsushika Hokusai.
Raisonne:	Henry Smith, Hokusai: One Hundred Views of Mt. Fuji,Braziller, New York, 1988. Catalogue #56. Fourth Edition as Issued by Tohikedo in 1852.
Source:	Fugaku hyakkei (One Hundred Views of Mount Fuji)
Size:	7 1/4 X 5 (X 2 'Two Panels' Diptych) Small Chuban (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Matted with 100% Archival Materials
Buy Now	Price: $950.00 US
Condition:	Printed on two sheets of nineteenth century Japanese mulberry (rice) paper and with full margins as published by Tohekido in 1852. A superb, richly printed impression and in excellent condition throughout. Yuki no ashita no Fuji (Fuji the Day after Snow) represents a brilliant, original example of the famous landscape art of Katsushika Hokusai.
Subject:	Hokusai, original woodcut diptych, Yuki no ashita no Fuji (Fuji the Day after Snow) Fugaku hyakkei (One Hundred Views of Mt. Fuji), snowstorm, snow scene, Japanese master of landscapes.
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