Katsushika Hokusai: The Life and Art of Japan's Greatest Ukiyo-e Master
Few artists have achieved the worldwide recognition of Katsushika Hokusai (1760–1849). His iconic Under the Wave off Kanagawa—better known simply as The Great Wave—is one of the most reproduced images in the history of art. Even people with little knowledge of Japanese art have likely seen the famous wave towering over boats with Mount Fuji rising in the distance.
Yet that single image represents only a tiny fraction of Hokusai's extraordinary career. Over the course of seven decades, he produced more than 30,000 paintings, drawings, book illustrations, sketches, and woodblock print designs. His work explored everything from landscapes and flowers to ghosts, waterfalls, humorous scenes, and everyday life. Few artists have displayed such remarkable range while maintaining such consistently high standards.
In this article we'll look at Hokusai's life and follow the development of his art chronologically, with a particular focus on his woodblock prints and the series that helped establish him as one of Japan's greatest artists.
Early Life
Although Hokusai changed his name more than thirty times during his lifetime, I'll simply refer to him as Hokusai throughout this article.
He was born in Edo (modern-day Tokyo) in 1760 into an artisan family. His father worked as a mirror maker, while his mother may have been a concubine. According to Hokusai himself, his fascination with drawing began remarkably early. He later wrote that he had loved copying the forms of things since the age of six.
His artistic education began through practical trades rather than formal painting. At twelve he worked in a bookshop, where he was surrounded by illustrated books and printed images. Two years later he became apprenticed to a woodblock carver, learning the technical side of print production that would prove invaluable throughout his career.
At eighteen he entered the studio of Katsukawa Shunshō, the leading artist of the Katsukawa School. The school specialized in kabuki actor prints (yakusha-e) and portraits of beautiful women (bijin-ga), and Hokusai quickly absorbed its style and traditions.
(Actor print by Katsukawa Shunshō)
(Women of the Chōjiya House of Pleasure, 1776 by Katsukawa Shunshō)
Breaking Away from Tradition
When Shunshō died in 1793, leadership of the Katsukawa School passed to Katsukawa Shunkō. By this time Hokusai had begun exploring artistic traditions outside the school, studying painting associated with the rival Kanō School, experimenting with European perspective, and developing an increasing interest in landscapes and scenes of everyday Japanese life.
Such independence was not welcomed.
The ukiyo-e schools of the period expected artists to follow established styles closely, and Hokusai's willingness to experiment ultimately led to his expulsion from the Katsukawa School. Ironically, what must have felt like a serious setback became one of the defining moments of his career. Looking back years later, Hokusai remarked:
"What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō's hands."
Freed from the restrictions of a formal school, he began developing the highly individual style that would eventually change the course of Japanese printmaking.
The Early Prints
Even while working within the Katsukawa School, Hokusai's versatility was already becoming apparent.
One of his earliest landscape designs is Komagata, from the series Ten Views of the Miyato River (1784). The composition contrasts a young boy flying a kite with the rigid posture of a marching standard bearer, creating an engaging interaction between playfulness and discipline.
(Komagata, Ten Views of the Miyato River, 1784)
From 1788 the popular folk hero Kintarō alongside his animal companions, the eagle and the bear.
(Kintarō with Eagle and Bear, 1788)
Another delightful design from this early period is Fifth Month: A Dashing Sanbasō Dance Play, from the series Courtesans Play Acting (1793).
(Fifth Month: A Dashing Sanbasō Dance Play, 1793)
Looking across these early works, it's remarkable how broad Hokusai's interests already were. Landscapes, historical subjects, folklore, animals, theatrical scenes, and everyday life all appear within the first decade of his career. Even at this early stage, it's clear he wasn't content to specialize in a single subject.
Kabuki Actors
Like nearly every ukiyo-e artist of his generation, Hokusai also designed kabuki actor prints. Interestingly, however, they make up only a small percentage of his overall output.
Among the finest examples from this period are Actor Ichikawa Omezō I as the Shamaness (1791) and Actor Matsumoto Kōshirō IV as Banzui Chōbei (1791).
(Actor Ichikawa Omezō I as the Shamaness, 1791)
(Actor Matsumoto Kōshirō IV as Banzui Chōbei, 1791)
These prints clearly reflect the artistic conventions of the Katsukawa School, emphasizing dramatic poses, expressive faces, and the theatrical presence of the actors. Although Hokusai would eventually move far beyond this style, these early works demonstrate the solid artistic foundation upon which he built the rest of his career.
A New Way of Seeing Edo
One series that particularly stands out from this period is Hokusai's Perspective Prints of around 1788.
At the end of the eighteenth century, Edo was one of the largest cities in the world, with a population approaching one million people. These prints offer fascinating glimpses into the architecture, entertainment, and daily bustle of the city.
One print depicts the Kabuki Theatre Crowded for the Kaomise, the annual debut performances that marked the beginning of the kabuki season.
(Kabuki Theatre Crowded for the Kaomise)
Another shows The Main Gateway to the New Yoshiwara Pleasure Quarters, while Enjoying the Evening Cool Viewing Fireworks at Ryōgoku Bridge captures one of Edo's favorite seasonal pastimes.
(Main Gateway to the New Yoshiwara Pleasure Quarters)
(Enjoying the Evening Cool Viewing Fireworks at Ryōgoku Bridge)
Perhaps my favorite is his view of Edo's main kabuki district. Crowds gather to study the theater playbills announcing upcoming performances, while around them the city continues its daily rhythm. Meals and fish are being delivered, porters weave through the streets carrying goods, merchants conduct business, and groups pause to talk.
These scenes reward careful viewing. The longer you look, the more details emerge, allowing us to immerse ourselves in the everyday life of Edo more than two centuries ago.
Hokusai the Showman
Following his expulsion from the Katsukawa School, Hokusai worked tirelessly to establish his own reputation. He wasn't just an exceptional artist—he also understood the value of publicity.
One famous example took place in 1804 during a festival in Edo. Hokusai and his students laid out an enormous sheet of paper measuring roughly 59 by 35 feet. Using buckets of ink and a broom in place of a brush, Hokusai painted a gigantic image of the Zen monk Daruma. When the painting was complete, it was hoisted into the air like a massive hanging scroll, drawing crowds of amazed spectators.
(Illustration of the Great Daruma painting)
Another story highlights both his creativity and sense of humor. Invited to a painting contest before the shogun Tokugawa Ienari, Hokusai first painted a simple blue curve across a sheet of paper. He then dipped a chicken's feet in red paint and allowed it to walk across the page.
When asked to explain the unusual image, Hokusai declared that it represented a river with floating autumn maple leaves. The originality of the idea reportedly won him the contest.
Whether every detail of these stories is true or not, they perfectly capture Hokusai's inventive spirit and willingness to think differently.
Six Journeys Along the Tōkaidō
Between 1801 and 1806 Hokusai designed no fewer than six different series depicting the famous Fifty-three Stations of the Tōkaidō, the highway connecting Edo and Kyoto.
One comparison I particularly enjoy is Station 15, Yoshiwara. Looking at the same location across the different series reveals just how differently Hokusai approached the subject.
The compositions vary dramatically in viewpoint, atmosphere, and emphasis. Some are highly detailed, while others are much simpler. These differences were likely influenced by the publisher, the intended audience, production budgets, and the amount of time Hokusai devoted to each project.
It's a wonderful reminder that even when revisiting the same location, Hokusai rarely repeated himself.
Humor and Everyday Life
One of my favorite series is One Hundred Comic Poems from around 1811. These prints demonstrate not only Hokusai's sense of humor but also his remarkable understanding of movement and the human figure.
Broom Kick may be my favorite. A woman swings a broom at a man, sending him sprawling across the floor. His body twists into an almost impossible position—one leg ends up behind his head—yet rather than appearing injured, he seems to be laughing at the whole situation.
Other memorable designs include Prostitute and Client, Wooden Tubs at the Bathhouse, and Asking a Frog if It Will Rain or Not.
These scenes are wonderfully expressive. Hokusai exaggerates gestures and body language just enough to make the humor clear without sacrificing believable human movement.
Hokusai and Shunga
Like many ukiyo-e artists, Hokusai also designed erotic prints known as shunga.
His best-known example is The Dream of the Fisherman's Wife, published in 1814. It remains one of the most discussed works of Japanese erotic art and continues to attract scholarly attention today.
Flowers, Birds, and Nature
Although Hokusai is often remembered for landscapes, his nature studies are equally remarkable.
I had the opportunity to see several of these prints at the Bowers Museum, and they are even more impressive in person than in photographs.
His Large Flowers series from 1831 includes beautiful compositions such as Bellflower and Dragonfly and Hibiscus and Sparrow.
(Bellflower and Dragonfly)
(Hibiscus and Sparrow)
One detail I particularly enjoy in Hibiscus and Sparrow is the treatment of the leaves. They appear to have been painted with quick, blocky, almost abstract brushstrokes, yet they fit perfectly within the otherwise carefully rendered composition.
A few years later Hokusai produced his Small Flowers series, featuring elegant subjects such as Kingfisher with Iris and Wild Pinks, and Bullfinch and Weeping Cherry.
These prints reveal another side of Hokusai's genius. Instead of dramatic landscapes, he focused on quiet moments in nature, balancing careful observation with graceful design.
Ghosts and the Supernatural
In 1831 Hokusai began designing a series titled One Hundred Ghost Stories.
Despite the ambitious title, only five designs were ever completed.
Among my favorites are The Laughing Demoness—a print I own as a reprint from around 1920—and The Ghost of Kohada Koheiji, in which the ghost slowly pulls aside a mosquito net to reveal itself.
(Laughing Demoness)
(Ghost of Kohada Koheiji)
Thirty-six Views of Mount Fuji
While producing ghost prints, Hokusai was simultaneously creating what would become his greatest masterpiece: Thirty-six Views of Mount Fuji.
The series depicts Japan's sacred mountain from many different locations and seasons, transforming a single landmark into an endless source of artistic inspiration.
One fact always amazes me. When Hokusai designed this series, he wasn't forty or fifty years old. He was already in his seventies. Most artists would consider that the end of their careers. For Hokusai, it marked the beginning of his most celebrated period.
No introduction is needed for Under the Wave off Kanagawa, better known as The Great Wave.
(Under the Wave off Kanagawa)
The enormous wave, tiny fishing boats, and distant Mount Fuji combine into one of the greatest compositions in the history of printmaking.
The series also includes Fine Wind, Clear Weather, often called Red Fuji, and Kajikazawa in Kai Province, one of the finest examples of aizuri-e, prints produced almost entirely in the newly imported Prussian blue pigment.
(Fine Wind, Clear Weather)
(Kajikazawa in Kai Province)
Together these works permanently changed landscape printmaking in Japan and continue to influence artists around the world.
Waterfalls, Fans, and Books
Hokusai's fascination with nature continued in A Tour of the Waterfalls of the Provinces, published in 1832.
Among the highlights are The Falling Mist Waterfall at Mount Kurokami, The Waterfall at Ono on the Kisokaidō Road, and the wonderfully abstract Amida Falls in the Far Reaches of the Kisokaidō Road.
The waterfalls feel almost alive, twisting and flowing through the landscape in imaginative ways while remaining rooted in careful observation.
Around the same time Hokusai also designed a number of uchiwa-e, prints intended for round or oval hand fans.
Flying Hawk and Carp in a Pool are two particularly elegant examples.
Beyond prints, Hokusai was an extraordinarily prolific illustrator.
Over his lifetime he designed more than 280 books, covering subjects ranging from drawing manuals and poetry to travel, crafts, and even dance instruction.
One fascinating recent discovery was a group of 103 previously unknown drawings created for an unpublished encyclopedia called The Great Picture Book of Everything.
(Cats and Hibiscus; Virūḍhaka Killed by Lightning)
For collectors, pages from Hokusai's illustrated books remain one of the most accessible ways to own an original work by the artist.
The Old Man Mad About Art
Beginning in 1834, Hokusai adopted perhaps his most famous artistic name:
Gakyō Rōjin Manji—"The Old Man Mad About Art."
He also left behind one of the most revealing statements ever written by an artist:
"From the age of six, I had a passion for copying the form of things... At seventy-three I partly understood the structure of animals, birds, insects and fishes... When I am one hundred and ten, each dot, each line will possess a life of its own."
It is a remarkable expression of humility. Even after decades of artistic achievement, Hokusai believed he was still learning.
Bridges and Final Series
Among Hokusai's final major print series is Remarkable Views of Bridges in Various Provinces (1834).
His final print series, One Hundred Poems Explained by a Nurse, followed shortly afterward. These richly colored prints paired scenes from Japanese history and literature with famous poems presented inside decorative cartouches.
The Final Years
At the age of eighty-three Hokusai traveled to Shinano Province, where he painted the celebrated Masculine Wave and Feminine Wave on ceiling panels for the Kammachi Festival float. The float is now preserved at the Hokusai Museum in Obuse.
His final known painting is Tiger in the Snow.
(Tiger in the Snow)
The tiger appears almost weightless as it moves through the composition, while the sharp bamboo leaves echo the shape of its claws. Although Hokusai's body had grown frail, the painting possesses remarkable vitality.
Art historian Narazaki Mune-shige beautifully described it by writing:
"While the artist's body was emaciated and bones wearied by age, in his thoughts he was a charging tiger."
Hokusai's Legacy
On his deathbed in 1849, Hokusai reportedly said:
"If only Heaven will give me just another ten years... Just another five more years, then I could become a real painter."
He was eighty-eight years old.
Shortly before his death he also composed a final haiku:
"Though as a ghost, I shall lightly tread, the summer fields."
These words perfectly capture the lifelong curiosity that defined his career. Even after creating thousands of extraordinary works, Hokusai believed there was still more to learn.
Today he is remembered not simply for The Great Wave, but for the astonishing breadth of his achievement. Landscapes, flowers, waterfalls, birds, ghosts, humorous scenes, illustrated books, and countless other subjects all flowed from the same restless imagination. For collectors, Hokusai offers an almost endless field of exploration. His work spans every stage of the ukiyo-e tradition, and each new series reveals another facet of one of history's most inventive artists.
More than 175 years after his death, his prints continue to inspire artists and collectors around the world—and it's easy to see why.
For more information on Hokusai please check out the several videos we have on our YouTube channel.
