THE GREAT WAVE OFF KANAGAWA
STRUCTRURAL FRAME:
The Great Wave off Kanagawa was created by Katsushika Hokusai; it is a polychrome woodblock print using ink and colours on paper. It is part of a series titled ‘Thirty-six views of Mount Fuji’ which were made between 1829-1832. Hokusai was born in 1760 in Edo, Japan and died on the 10th May, 1849 in Edo, Japan. He lived during the ukiyo-e period. The Great Wave off Kanagawa is 25.4x35.5 centimetres (10x14 inches). Hokusai has exaggerated the size of the wave to make it look intimidating, raging and menacing to those in the boats below. Although there is so much anger and tension in the front of the print, Mount Fuji is in the background to bring contrast to the print. Mount Fuji is very serene and brings peace
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The ukiyo-e period was when a type of Japanese art was created which represented pictures of the flowing world. It was originally a Buddhist concept that meant the sadness of life. This print was influenced by the Dutch as Hokusai became interested with linear perspective when Western prints came by through Dutch trade. The artwork depicts a large wave which takes up about half of the print and then people in boats underneath the wave. The waves could be a metaphor for the government at the time as it ruled with an iron fist restricting any abroad travel as well as any visitors from other countries. The government was very controlling and limited any communication with the outside world during Hokusai’s time. The boats represent the civilians trying to explore the rest of the world but being stopped by the wave ‘government’ which is trying to get them to stay within the country or within ‘safety’. The boats have no control in the water and are practically helpless which represents the citizens if they were able to travel abroad as they would be defenceless and feeble because they wouldn’t have a proper understanding of the world and its
...clouds above refer to traditional Japanese screen paintings and provide a softening side to the water. They create a balance symbolising hope and good luck. Four wind symbols are used as a devise to balance the composition – all are blowing air gently into the picture. The cartoon like face with its puffed out, red cheeks expelling air. All suggest a positive, natural energy.
Much of what is considered modern Japan has been fundamentally shaped by its involvement in various wars throughout history. In particular, the events of World War II led to radical changes in Japanese society, both politically and socially. While much focus has been placed on the broad, overarching impacts of war on Japan, it is through careful inspection of literature and art that we can understand war’s impact on the lives of everyday people. The Go Masters, the first collaborative film between China and Japan post-WWII, and “Turtleback Tombs,” a short story by Okinawan author Oshiro Tatsuhiro, both give insight to how war can fundamentally change how a place is perceived, on both an abstract and concrete level.
Liu encountered these families during her four years in the countryside. The painting depicts two men, perhaps a father and son, working together to pull a boat upstream. Although the boat is not in the picture, one can sense the weight from the postures, effort and strength of the men. Two men are contrasted by small images of the fragile, precious snuff bottles and the delicate dragonfly in the corner, both traditional Chinese symbols. The painting shows the 2 men in perfect rhythm with the appearance of sweat falling from their efforts. The positive focus is the 2 men in the picture with many negative white and dark colors. I believe the artist wanted you to feel the darkness and the sadness of the men as they did what that had to do to survive. You can almost feel the pain as they stress their bodies to the limits. I was truly intrigued by this piece of work, and would love to learn more about the artist’s
In 1857 Ando Hiroshige created a woodblock print titled Riverside Bamboo Market, Kyobashi representing a scene in Japan. The print is of a blue river, a bridge, and what looks like a mountain of bamboo. People are shown walking on the bridge as if they are entering the bamboo market. The colors in the artwork give off a calm feeling and the lines draw you into the details of the work. Calling the print Riverside Bamboo Market, Kyobashi, Ando Hiroshige presents the river as a market where people come to gain items to sustain focusing on the abundance of bamboo.
One way that the author develops the theme is with the use of similes. Murakami writes: “A wave like a huge snake…”(362). This quote is describing the huge wave that is about to strike the beach. The purpose of this simile is to make the wave seem alive
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
Four warships of America’s East Asia Squadron anchored at Uraga, in the predawn hours of July 14, 1853. This is twenty-seven miles south of Japanese capital, also known as Edo (renamed Tokyo in 1868). A prominent scholar had recently warned of people who came from the earth’s “hindmost regions” were “incapable of doing good things,” to Japan. The recent Mexican Spanish-American War, Americans has sharpened his desire for taking advantage of his wealth and power for political and commercial benefit. For al...
The 2004 Indian Ocean earthquake and tsunami took place on December 26th, 2004 and had a magnitude of 9.15. The cause of the Sumatra Tsunami was due to the sliding of two tectonic plates. Sumatra, an island in Indonesia, is situated on the boundary of the two plates; part of Sumatra is situated on the India/Australian plate and the other part is on the Eurasian plate. The Indian/Australian plate and Eurasian plate connect on the ocean floor at the boundary, a little over 100 miles off the short of Sumatra. Sumatra was one among the many countries that was impacted by these natural disasters. To fully understand the Sumatra Tsunami one must examine the events that led up to it, what a tsunami is, and the damage caused.
Over the course of Japanese history, arguably, no artist is more famous for their works than Katsushika Hokusai. During his 88 years of life, he produced over 30,000 pieces of artwork, and heavily influenced Western styles of art. His most famous piece was created around 1831, a Japanese styled piece titled, The Great Wave off Kanagawa. This piece has stood as a defining piece of artwork in the Japanese culture for over 180 years, analyzed by students and authors for the interpretations filling the paper. The relationship between Hokusai’s painting has directly affected the Western point of view of Japanese style. The English author, Herbert Read’s novel interprets the painting distinctly differently from a Japanese point, American poet,
In every direction the sea rages and growls, tumbling its inhabitants in an ever-lasting rumble. Glory, honor, and duty are washed upon the glimmering golden shores of the Japanese empire. The sturdy land-bearers clasp hands with those thrown into the savage arms of the ocean. This junction of disparate milieus forms the basis of an interlocking relationship that ties conflicting elements and motifs to paint a coherent, lucid final picture. In The Sailor Who Fell From Grace with the Sea, Mishima incorporates the impact of contradictory settings of land and sea, combative ideologies of the Western and Eastern hemispheres, and inherent dissimilarities amongst the characters’ lifestyles in order to reinforce the discrepancy between his ideal Japan and the country he observed.
From the beginning, the four characters in the aftermath of a shipwreck do not know "the colour of the sky" but all of them know "the colours of the sea." This opening strongly suggests the symbolic situations in which human beings are located in the universe. The sky personifies the mysterious, inconceivable cause of reality , which humans cannot understand, and the sea symbolizes the earthy, mundane phenomenon, which humans are supposed to perceive. The symbolic picture generated by the above conflict implies the overall relationship between the individual and nature. In fact, the daily life of human beings is at the mercy of the uncontrollable waves of the sea; while, at the same time, the essential part of reality remains unknown to feeble, helpless humans.
from the famous "The Great Wave off of Kanagawa" picture, all the to manga and anime,
the waves draw back, and fling,” is an example of images that appeal to the
The death toll climbs to over 10,000 and is still rising (Branigan 2). The disaster in Japan began without warning on Friday March 11, 2011 at 2:46pm with a 9.0 magnitude earthquake, the strongest ever recorded in the country (Fackler 3). A massive thirty-three foot high tsunami, generated by the earthquake, swept over lands in northern Japan, taking objects and debris with it. To make matters worse, the tsunami caused the cooling systems at several nuclear power plants to fail. The disaster in Japan was a tragic event, and it had a plethora of causes and effects.
...better defined image. The linear clarity is made more visibly off-set by the warmth of color that radiates off the mountain top. The woman in prayer, although neatly defined with shadow, has an unclear expression that is reminiscent of the ukiyo-e style. What also reminds this writer of ukiyo-e, is the attention to impermanence in the position of the setting sun.