This important new study on the great ukiyo-e artist Katsushika Hokusai is an in-depth appreciation, involving close examination of some forty-four Hokusai prints, of why his works appear in the way they do and how he evolved his own unique artistic style. In addition to a select bibliography, the book is supported by a valuable glossary of artistic terms.
Preface
vii
Prologue: Hokusai's Project
1
(20)
Introduction
1
(2)
Breaking away from Ukiyo-e
3
(18)
How Hokusai Learned His Trade
21
(49)
Hokusai as a Student
21
(3)
Hokusai's Early Career
24
(17)
Kano, Tosa Schools and Western Art
41
(29)
Hokusai, Fuji and the Articulation of Pictorial Space
70
(75)
Hokusai and Fuji
70
(6)
Thirty-six Views of Mount Fuji
76
(37)
Coherence in Diversity
113
(32)
Hokusai: Flowers, the Poets and Aesthetic Detachment
145
(34)
Artistic Detachment
145
(2)
Caught in Time
147
(12)
Projects Related to Poetry
159
(20)
Glossary
179
(4)
Bibliography
183
(4)
Index to Hokusai's Works
187
(2)
General Index
189
David Bell is director of Postgraduate Studies at the University of Otagos Department of Education, New Zealand. He gained his PhD from the University of Otago for his research into ukiyo-e, which was subsequently published as Ukiyo-e Explained by Global Oriental (2004). His previous publications have focused on the history and theory of print-making, and include Alexander Hare McLintock: Printmaker (1994) and Chushingura and the Floating World (2001). He is currently engaged in research relating to aspects of sensibility in the Edo period.
