LaAsia Harper

Ukiyo-e, also known as ‘pictures of the floating world’, is a Japanese genre of painting that was popular in Japan, and subsequently in Europe, in the 17th-19th centuries. Known for his ukiyo-e prints produced during the Edo period, Katsushika Hokusai created prints such as “Under the Great Wave of Kanagawa.” His woodblock prints would be influential in the development of manga.

Katsushika Hokusai, Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, woodblock print, c. 1830-32.

Manga are Japanese graphic comics or novels. In Japanese, the word can be broken down by two characters: “Man” meaning whimsical, and “Ga” meaning picture. Manga literally translates to whimsical pictures, cartoons, or comic books in Japanese. In English, the term manga is understood to imply Japanese Comics. Early examples of manga, where words accompany images, feature writing in a right-to-left scrolling style, similar to the manga of today's generation. There are other early examples of image drawings known as Toba Ehon that date from the Edo Period (1603-1867). These are also the forerunners of the manga concept and image. Manga later became a big feature of the global publishing sector in the 1950s, and it grew into a worldwide phenomenon over time.

The Great Wave of Kanagawa
by Katsushika Hokusai (1960-1849)

The Great Wave of Kanagawa was printed by Katsushika Hokusai, a Japanese ukiyo-e artist, in 1831. The artwork by the famous artist measures around 25.7 cm by 37.8 cm and is one of Japan's largest Edo woodblock prints. It is one of the most famous works in the world, gracefully portraying the power of an ocean wave. The Great Wave print is part of a collection of prints by Hokusai known as “36 views of Mount Fuji.”  Hokusai used unusual techniques within the work—he placed the horizon line very low in his drawings to evoke a greater sense of space, and he used Prussian blue for the characteristic color of the wave, which had been invented in the West and was imported into Japan.

The Great Wave has attracted many tourists from all around the world over the years. The artwork represents a crashing wave threatening three boats on the coast of Sagami Bay. The woodblock print, with its uniquely defined curled waves, is considered the greatest and most well-known piece of tsunami documentation.[1] The image is described as having three major elements: a sea gathered into a massive wave by the storm, a mountain representing Mount Fuji in the background, and three boats. In the background, Mount Fuji is framed by the wild waters off Kanagawa, which roll and foam against the gray sky. The darker shades used in the sky of the work sets the mood immediately, indicating that the wave is about to engulf three nervous fishermen in boats.

The major design principles that Hokusai relies upon to tell this story include balance, contrast, rhythm, pattern, and movement. Contrasting scale is used to make the wave clearly overpower the men in boats. The work also carries several symbols, each depicting several meanings, such as the three boats carrying the sailors. The boat closest to the viewer references the vessels which would transport live fish from Izu and Buso to markets in Edo Bay. This symbolizes that if the boat capsizes under the influence of the wave, there will be no fish for the people of Buso. The other two types of boats carried people who had come from other regions to carry out different economic activities. This symbolizes that the calm nature of the sea is very important for the success of the economic activities between regions in Japan. Thus, the sea could be said to dominate the art piece because it is what makes up the looming shape of the wave, and it is both the source of livelihood and an element of danger for the people that it transports.

Water was a major means of transportation for people in various regions of Japan during this time. The people of that era considered water transportation to be one of the fastest and easiest means of transportation, despite the dangers associated with it. Therefore, it can be said that this piece of art by Katsushika Hokusai also portrays a message of resilience among the people, and the collaboration between different regions who worked hand in hand in ensuring that all had access to transportation and food. Capturing so much information in one picture is one of the characteristics of Hokusai’s prints.

In addition to using images to convey so much narrative information in individual prints, Hokusai also combined texts and images in his book Manga. The Hokusai Manga is a collection of Hokusai’s illustrations of an assortment of subjects. The representations cover a wide scope of subjects, including nature, natural life, daily existence, and the heavenly. It is thought that the outlines for the essential book were made when Hokusai traveled to visit his student Gekktei Bokusen in the Western Provinces and decided to capture 300 drawings of his everyday life.[2] Almost certainly, Bokusen was involved in having the portrayals placed into a book to be published by Eirakuya Toshiro.

Pairing texts and images in this way would set the stage for modern manga. Japan’s opening of its borders, as well as its involvement in World War II and defeat by the U. S., was a turning point in the historical backdrop of manga. Following this time, Japanese craftsmen fostered their own style, which advanced into extraordinary week by week and month to month comic distributions. Machiko Hasegawa, along with his Sazae-san, and Osamu Tezuka, the maker of the famous Astro Kid, were some of the most popular modern manga specialists, who also ventured subsequently into anime. It was also during this time that manga and anime became more widely disseminated across the globe.

Katsushika Hokusai, Manga/Transmitting the Spirit and Revealing the Form of Things: Hokusai's Sketchbooks, vol. 4, Image: Minneapolis Institute of Art

Due to the rising impact of anime and manga, those outside of Japan have had an increasing interest in Japanese culture. Manga is a wide ranging term that is now understood to envelope all Japanese illustration and comic books. Manga can be found in an assortment of configurations, including successive comic books, month to month magazines, and longer illustrated novels. All mediums are increasingly accessible in English. Beyond Japan, “manga” exclusively alludes to comic books, however “anime” remains quite distinct. Anime is short for animation, and references animated drawings such as those evident in cartoons. Anime is some of the time thought to be a moving or animated rendition of manga, and it also comes in a variety of genres. In both instances, artists harness the power of images to tell dynamic stories, just like Katsushika Hokusai did many centuries ago.

[1] The image of the wave has significance for contemporary Japanese viewers. In the year 2019, many Japanese citizens were greatly affected by the aftermath of a giant tsunami: Gough, N. (2019). Another Great Wave? Ecocriticism in Japan. electronic journal of contemporary Japanese studies

[2] Nicole Fabricand-Person, “Hokusai’s Manga,” Princeton University Library, https://library.princeton.edu/news/marquand/2014-12-16/hokusai%E2%80%99s-manga

References

Gough, Noel. “Another Great Wave? Ecocriticism in Japan.” Electronic Journal of Contemporary Japanese Studies, 16 Dec. 2019, www.japanesestudies.org.uk/ejcjs/vol19/iss3/gough.html. Accessed 15 Apr. 2022.

Harris, Leila Anne. “Hokusai, under the Wave off Kanagawa (the Great Wave).” Khan Academy, 2008,

www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/japan-art/a/hokusai-u nder-the-wave-off-kanagawa-the-great-wave.

Kharshandi, Darishisha. “The History of Anime: A Short Lesson.” Neotakus Webzine, 3 June 2021. https://neotakus.com/history-of-anime-a-short-lesson/

Kharshandi, Darishisha. “The History of Manga: All You Need to Know.” Neotakus Webzine, 13 Sept. 2021, https://neotakus.com/the-history-of-manga/

Toku, Masami. “What Is Manga?: The Influence of Pop Culture in Adolescent Art.” Art Education, vol. 54, no. 2, National Art Education Association, 2001, pp. 11–17, https://doi.org/10.2307/3193941

Yegulalp, Serdar. “Brief History of Anime from Origins to Today.” LiveAbout, 27 Apr. 2019: www.liveabout.com/brief history-of-anime-144979.

Citation: Harper, LaAsia. “Origin of Japanese Manga.” Journal of Art & Theatre, vol. 1, no. 2 (2022): 13-17.