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How Do Katsushika Hokusai's Landscape Prints Combine Local and Transcultural Elements?

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How Do Katsushika Hokusai's Landscape Prints Combine Local and Transcultural Elements? Cintia Kiss 1921312 [email protected] IMAGINING PLACE: HOW DO KATSUSHIKA HOKUSAI’S LANDSCAPE PRINTS COMBINE LOCAL AND TRANSCULTURAL ELEMENTS? A CONSIDERATION OF CULTURAL APPROPRIATION Master Thesis Asian Studies 60EC Academic year 2017-2018 Supervisor: Dr. Doreen Müller Leiden University Humanities Faculty, MA Asian Studies Track of History, Arts and Culture of Asia Specialization of Critical Heritage Studies of Asia and Europe ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my thesis supervisor, Dr. Doreen Müller, whose help and insights have supported me throughout the phases of researching and writing this dissertation. Her encouraging remarks and contagious enthusiasm provided valuable assistance. Furthermore, I am grateful for the opportunity to be able to conduct my studies at Leiden University, where I could gain valuable knowledge in an international-oriented atmosphere. The variety of courses, workshops and extracurricular opportunities provided a platform to expand my vision and think critically. Lastly, I must say my thanks to my family. Their continuous encouragement, patient listening, unconditional support and love always give me courage to continue moving forward. 1 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................................. 1 TABLE OF CONTENTS ...................................................................................................... 2 LIST OF FIGURES ............................................................................................................... 3 ABSTRACT .......................................................................................................................... 5 INTRODUCTION ................................................................................................................. 6 Methodology ...................................................................................................................... 7 Thesis Structure ................................................................................................................. 8 CHAPTER I. Hokusai’s Landscape Art Before 1830: How Hokusai’s Early Experimentations Blend Traces of Multiple Origins? ......................................................... 10 Part 1. The Base for Hokusai’s Artistic Identity: Influences within Japan ................... 10 Part 2. The Base for Hokusai’s Artistic Identity: Influences from outside Japan ........ 14 Part 3. The Analysis of Selected Prints from Hokusai’s Early Career .......................... 17 Part 4. Summary of Chapter I ........................................................................................ 22 CHAPTER II. Landscape as a Cultural Construct: Hokusai’s Vision of Place examined through the Thirty-Six Views of Mt Fuji series .................................................................... 24 Part 1. Edo-Period Travel Culture and the Evolution of Japanese Landscape Art ....... 25 Part 2. Appropriated Western Techniques in Japanese Landscape Prints .................... 29 Part 3. The Analysis of Selected Prints from the Thirty-Six Views of Mount Fuji ....... 32 Part 4. Summary of Chapter II ....................................................................................... 39 CHAPTER III. Iconicity of Place: Legacies of Hokusai’s Vision of Landscape ............. 41 Part 1. The Great Wave in Nineteenth Century Japanese Re-Imagination ................... 42 Part 2. The Wave Abroad: Cultural Appropriation in the Context of Japonisme ......... 46 Part 3. Modern and Contemporary Re-Appropriations of Hokusai’s Great Wave ....... 50 Part 4. Summary of Chapter III...................................................................................... 55 CONCLUSION ................................................................................................................... 57 FIGURES ............................................................................................................................ 59 BIBLIOGRAPHY ............................................................................................................... 75 APPENDIX I. ...................................................................................................................... 78 2 LIST OF FIGURES Figure 1. Shiba Kōkan. The Seven League Beach at Shichirihagama, 1796. Two-panel folding screen; oil on paper. 95.7 x 178.4 cm. Kobe City Museum. Figure 2. Katsushika Hokusai. Spring at Enoshima, 1797. Woodblock print; ink and colour on paper. 24.9 x 38 cm. British Museum, London. Figure 3. Katsushika Hokusai. Express Delivery Boats Rowing through Waves, 1800- 1805. Woodblock print; ink and colour on paper. 18.5 x 24.5 cm. Museum of Fine Arts, Boston. Figure 4. Katsushika Hokusai. Ushigafuchi at Kudan, 1800-1805. Woodblock print; ink and colour on paper. 18.3 x 24.4 cm. Museum of Fine Arts, Boston. Figure 5. Katsushika Hokusai. Shinobazu, 1802. Woodblock print; ink and colour on paper. 8.6 x 11.4 cm. Museum of Fine Arts, Boston. Figure 6. Katsushika Hokusai. Suruga-chō, 1802. Woodblock print; ink and colour on paper. 8.6 x 11.4 cm. Museum of Fine Arts, Boston. Figure 7. Katsushika Hokusai. Act I: Tsurugaoka, 1801-1804. Woodblock print; ink and colour on paper. 23.5 x 35.1 cm. British Museum, London. Figure 8. Katsushika Hokusai. Act XI, 1801-1804. Woodblock print; ink and colour on paper. 23.5 x 35.1 cm. British Museum, London. Figure 9. Katsushika Hokusai. Kiting on New Year's Day, 1824-1826. Sumi ink and pigments on Dutch paper. 39.8 x 28.4 cm. National Museum of Ethnology, Leiden. Figure 10. Katsushika Hokusai. Sudden Rain in the Countryside, 1824-1826. Sumi ink and pigments on Dutch paper. 27.2 x 39.8 cm. National Museum of Ethnology, Leiden. Figure 11. Katsushika Hokusai. Red Fuji, 1830-1831. Woodblock print; ink and colour on paper. 26.2 x 38.2 cm. British Museum, London. Figure 12. Katsushika Hokusai. Rainstorm beneath the Summit, 1830-1831. Woodblock print; ink and colour on paper. 26.2 x 38.2 cm. Museum of Fine Arts, Boston. Figure 13. Katsushika Hokusai. In the Mountains of Tōtōmi Province, 1830-1831. Woodblock print; ink and colour on paper. 25.7 x 38.5 cm. Museum of Fine Arts, Boston. Figure 14. Katsushika Hokusai. Fuji View Plain in Owari Province, 1830-1831. Woodblock print; ink and colour on paper. 25.5 x 38.5 cm. Museum of Fine Arts, Boston. Figure 15. Katsushika Hokusai. Viewing Sunset over Ryōgoku Bridge from the Onmaya Embankment, 1830-1831. Woodblock print; ink and colour on paper. 24.5 x 36 cm. Museum of Fine Arts, Boston. 3 Figure 16. Katsushika Hokusai. Nihonbashi Bridge in Edo, 1830-1831. Woodblock print; ink and colour on paper. 25.9 x 38.3 cm. Museum of Fine Arts, Boston. Figure 17. Katsushika Hokusai. Yoshida on the Tōkaidō, 1830-1831. Woodblock print; ink and colour on paper. 25.8 x 38.4 cm. Museum of Fine Arts, Boston. Figure 18. Katsushika Hokusai. Under the Wave off Kanagawa, 1830–1832. Woodblock print; ink and colour on paper. 25.7 x 37.9 cm. Metropolitan Museum of Art, New York. Figure 19. Katsushika Hokusai. Mount Fuji Viewed from the Sea, 1834-1835. Woodblock printed book; ink on paper. 22.7 x 15.8 cm. Museum of Fine Arts, Boston. Figure 20. Utagawa Hiroshige. The Sea at Satta in Suruga Province, 1858. Woodblock print; ink and colour on paper. 35.4 x 24.3 cm. British Museum, London. Figure 21. Kitagawa Toyohide. Kataoka Gadō II as Chishima Kanja Yoshihiro in the play Keisei Satsumagushi, 1841. Woodblock print; ink and colour on paper. 38 x 26 cm. Mike Lyon Collection, Kansas. Figure 22. Utagawa Kuniyoshi. On the Waves at Kakuda on the way to Sado Island, 1835.Woodblock print; ink and colour on paper. 25.4 x 37.8 cm. British Museum, London. Figure 23. A. Durand & Fils. Cover design of the first edition of Claude Debussy's The Sea, 1905. Sibley Music Library, Eastman School of Music, New York. Figure 24. Georges Lacombe. Blue seascape, Wave Effect, 1893. Oil on canvas. 65 x 43 cm. Musée des Beaux-Arts, Rennes. Figure 25. Henri Gustave Jossot. The Wave, 1894. Lithograph printed in olive green on laid paper. Sheet: 61 x 42.9 cm. Image: 52.5 x 35.1 cm. Minneapolis Institute of Art. Figure 26. Vincent van Gogh. Portrait of Père Tanguy, 1887. Oil on canvas. 92 x 75 cm. Musée Rodin, Paris. Figure 27. Anatol Kovarsky. We’re in Japanese Waters, that’s for sure. Ink on paper. New Yorker, September 26, 1959. Figure 28. Tom Herzberg. Christmas card with Hokusai parody, 2000. Digital print. Image courtesy Tom Herzberg. Figure 29. Kozyndan. Uprisings, 2007. Digital print. 57 x 42.5 cm. Image courtesy Kozyndan. Figure 30. Mohamed Kanoo. Great Wave of Dubai, 2012. Digital print. 130 x 80 cm. Meem Gallery, Dubai. Figure 31. Takashi Murakami. Manji Fuji, 2001. Colour laser print. 22.4 x 29.8 cm. Takashi Murakami/Kaikai Kiki Co., Ltd., New York. Figure 32. Yoshitomo Nara. Slash with a Knife, 1999. Colour Xerox print. 42 x 29.8 cm. Tomio Koyama Gallery, Tokyo. 4 ABSTRACT Katsushika Hokusai, one of the most influential reformers of Japanese popular art, contributed towards the formation of landscape genre within the ukiyo-e aesthetic. Hokusai’s vision of space reflects his Edokko understanding of place, which he filled with cultural references towards his contemporary identity and Japanese belonging. Furthermore, his genius lies in his enthusiastic, restless spirit that paved his life-long learning and experimentations in multiple stylistic traditions. Influences of Western style and technique can be discovered throughout his
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