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Lot Essay
Gaifu kaisei is translated literally "clear weather with a south breeze". On summer mornings when the air is clear, the northern slopes of Mount Fuji appear pink at sunrise. Local villagers nicknamed the mountain "pink Fuji". The earliest impressions of Hokusai's design simulate this effect with light, delicate color. Other impressions emphasize the contrast between the red-brown mountain, deep blue sky and green landscape, which accounts for the print's popular soubriquet, "Red Fuji".
Fugaku sanjurokei is a set of forty-six prints, thirty-six in the original edition and ten supplementary prints published at a slightly later date. As in this example, the early impressions of the first thirty-six were printed with blue outlines. The ten supplementary prints, and later editions of the first thirty-six, are printed with black outlines. The set is dated to 1830-2 because of an advertisement the publisher Nishimuraya Yohachi placed in the backof the book Shohon-jidate (Kabuki Tales), released New Year, 1831:
The Thirty-six Views of Mount Fuji
By Venerable litsu, formerly called Hokusai
Single sheet prints, in aizuri [blue printing] technique
Scene on each sheet, now in the process of publication
These pictures show Fuji's form in each of its different locations and shapes. For example, its form at Shichiri Beach, or its aspect as seen from Tsukuda Island-all, in their infinite variety, for the edification of those who would master the art of landscape painting thus, if engraving proceeds apace, the results will likely exceed a hundred sheets-not just limited to thirty-six
(Translated by Richard Lane, Hokusai, Life and Work; New York 1989, p. 184
For other impressions see Kobayashi Tadashi, Fugaku sanjurokkei, vol. 13 of Ukiyo-e taikei (Tokyo: Shueisha, 1975), pl. 2-1 (Takahashi Collection, Tokyo); Narazaki Muneshige and Yamaguchi Keizaburo, Daiei hakubutsukan/The British Museum.., vol. 11 of Ukiyo-e shuka (Tokyo Shogakukan, 1979), pl. 66 (British Museum, London); Richard Lane, Hokusai, Life and Work, New York 1989, pl. 254 (Shinjo Collection, Osaka); Narazaki Muneshige, ed., Gime bijutsukan II (Musee Guimet II), vol. 7 of Hizo ukiyo-e taikan/Ukiyo-e Masterpieces in European Collections (Tokyo: Kodansha, 1990), pl. 112.
Fugaku sanjurokei is a set of forty-six prints, thirty-six in the original edition and ten supplementary prints published at a slightly later date. As in this example, the early impressions of the first thirty-six were printed with blue outlines. The ten supplementary prints, and later editions of the first thirty-six, are printed with black outlines. The set is dated to 1830-2 because of an advertisement the publisher Nishimuraya Yohachi placed in the backof the book Shohon-jidate (Kabuki Tales), released New Year, 1831:
The Thirty-six Views of Mount Fuji
By Venerable litsu, formerly called Hokusai
Single sheet prints, in aizuri [blue printing] technique
Scene on each sheet, now in the process of publication
These pictures show Fuji's form in each of its different locations and shapes. For example, its form at Shichiri Beach, or its aspect as seen from Tsukuda Island-all, in their infinite variety, for the edification of those who would master the art of landscape painting thus, if engraving proceeds apace, the results will likely exceed a hundred sheets-not just limited to thirty-six
(Translated by Richard Lane, Hokusai, Life and Work; New York 1989, p. 184
For other impressions see Kobayashi Tadashi, Fugaku sanjurokkei, vol. 13 of Ukiyo-e taikei (Tokyo: Shueisha, 1975), pl. 2-1 (Takahashi Collection, Tokyo); Narazaki Muneshige and Yamaguchi Keizaburo, Daiei hakubutsukan/The British Museum.., vol. 11 of Ukiyo-e shuka (Tokyo Shogakukan, 1979), pl. 66 (British Museum, London); Richard Lane, Hokusai, Life and Work, New York 1989, pl. 254 (Shinjo Collection, Osaka); Narazaki Muneshige, ed., Gime bijutsukan II (Musee Guimet II), vol. 7 of Hizo ukiyo-e taikan/Ukiyo-e Masterpieces in European Collections (Tokyo: Kodansha, 1990), pl. 112.