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There's something outstandingly dedicated about Hokusai. | 0:00:16 | 0:00:20 | |
He doesn't shy away from things that are dangerous or that are challenging | 0:00:22 | 0:00:26 | |
or that are controversial. | 0:00:26 | 0:00:28 | |
And I think that's part of his heroism. | 0:00:28 | 0:00:31 | |
Hokusai is the person who invented modern art. | 0:00:48 | 0:00:50 | |
He is the person who taught us that you don't need to stick within | 0:00:50 | 0:00:54 | |
the tradition in which you were brought up. | 0:00:54 | 0:00:56 | |
You don't need to follow the master. You can cut and paste and bring things together. | 0:00:56 | 0:01:01 | |
CLUCKING | 0:01:01 | 0:01:04 | |
I must have first seen Hokusai prints when I was at the art school | 0:01:04 | 0:01:10 | |
in Bradford. | 0:01:10 | 0:01:12 | |
Their depiction of space, his way of looking at the world, | 0:01:12 | 0:01:19 | |
appealed to me straightaway. | 0:01:19 | 0:01:22 | |
Hokusai saw that, on a flat surface, everything is an abstraction, | 0:01:23 | 0:01:30 | |
everything. I mean, I was inspired by Hokusai there. | 0:01:30 | 0:01:35 | |
From the time when I was six until I was over 80... | 0:01:36 | 0:01:40 | |
..not a day went by when I didn't take up my brush. | 0:01:41 | 0:01:44 | |
And yet I still can't even paint a single cat. | 0:01:45 | 0:01:48 | |
It won't come out as I wish. | 0:01:49 | 0:01:50 | |
Hokusai's born in Edo, which is what we now know as Tokyo, | 0:02:10 | 0:02:14 | |
in the middle of the 18th century. | 0:02:14 | 0:02:15 | |
It's the biggest city in the world, so it's a thoroughly commercial, | 0:02:17 | 0:02:20 | |
thoroughly sophisticated place. | 0:02:20 | 0:02:22 | |
A consumer society, if you like. | 0:02:22 | 0:02:24 | |
He's born into the working-class districts of Edo, | 0:02:34 | 0:02:37 | |
and he's adopted into an artisan family. | 0:02:37 | 0:02:39 | |
Hokusai was born and lived for most of his life on the east bank of | 0:02:47 | 0:02:50 | |
the Sumida River. And the Sumida River is a locus of transport, | 0:02:50 | 0:02:55 | |
but also the river was turned over, particularly in the summer, | 0:02:55 | 0:02:58 | |
to fireworks and big barges with banquets and partying. | 0:02:58 | 0:03:02 | |
So I think Japanese people would have associated the Sumida River with pleasure. | 0:03:02 | 0:03:06 | |
Very young, he starts to get interested in drawing - | 0:03:21 | 0:03:24 | |
by his account, from the age of six, he was drawing things all the time. | 0:03:24 | 0:03:27 | |
And he's born in the right place at the right time - | 0:03:28 | 0:03:30 | |
a society with a huge hunger for | 0:03:30 | 0:03:33 | |
sophisticated renditions of the world around them. | 0:03:33 | 0:03:36 | |
And there's a huge demand for prints of the celebrities of the day. | 0:03:36 | 0:03:40 | |
In the city of Edo, | 0:03:50 | 0:03:51 | |
the Kabuki theatres and brothel district | 0:03:51 | 0:03:54 | |
on the northern outskirts of the city | 0:03:54 | 0:03:56 | |
were the subjects for the Floating World school - | 0:03:56 | 0:03:58 | |
this huge popular school of art. | 0:03:58 | 0:03:59 | |
It's a kind of joie de vivre, a mind-set, | 0:04:04 | 0:04:07 | |
which really got going in the middle of the 17th century. | 0:04:07 | 0:04:10 | |
So, by the time Hokusai's born in 1760, | 0:04:10 | 0:04:12 | |
it's already more than 100 years old. | 0:04:12 | 0:04:14 | |
The Floating World really | 0:04:18 | 0:04:20 | |
illustrates the world of downtown Edo. | 0:04:20 | 0:04:24 | |
I mean, in the way that, when we look at a Vermeer painting, | 0:04:29 | 0:04:31 | |
we disappear into a Dutch world | 0:04:31 | 0:04:33 | |
and we understand it through the painting. | 0:04:33 | 0:04:35 | |
I think that's what we can do through these prints. | 0:04:35 | 0:04:38 | |
For a minute, we can disappear into that world | 0:04:38 | 0:04:40 | |
and understand a little bit about it. | 0:04:40 | 0:04:42 | |
The process by which these prints were produced was a publisher - | 0:04:48 | 0:04:51 | |
that was the person with the money, | 0:04:51 | 0:04:53 | |
who knew which courtesan was really popular, | 0:04:53 | 0:04:55 | |
which actor was really popular. | 0:04:55 | 0:04:57 | |
And so the publisher would go to the artist and commission an image. | 0:04:57 | 0:05:02 | |
And it would then be taken to the carvers, who carved the blocks. | 0:05:02 | 0:05:05 | |
And when the blocks were finished, they were taken to the printer's. | 0:05:05 | 0:05:08 | |
As a teenager, Hokusai apprentices to a woodblock cutter. | 0:05:10 | 0:05:13 | |
So the first thing he does as an artist is learn how to cut the blocks. | 0:05:13 | 0:05:16 | |
It's a very complex process. | 0:05:16 | 0:05:18 | |
The original drawing, which is on very thin paper, | 0:05:20 | 0:05:23 | |
is reversed and actually glued down onto the blocks. | 0:05:23 | 0:05:26 | |
And the carver then carves to reproduce that brushed line in wood. | 0:05:35 | 0:05:39 | |
And that is the phenomenal skill of those carvers. | 0:05:43 | 0:05:46 | |
One of the greatest challenges, | 0:05:54 | 0:05:56 | |
when you're trying to carve a brushed line in wood, | 0:05:56 | 0:05:59 | |
is how you imitate that part of the line | 0:05:59 | 0:06:02 | |
where the ink is starting | 0:06:02 | 0:06:03 | |
to run out, which is highly valued aesthetically in calligraphy. | 0:06:03 | 0:06:08 | |
And these carvers are able to imitate that in wood. | 0:06:08 | 0:06:12 | |
And very often, they carve in the same direction | 0:06:15 | 0:06:18 | |
that the line was actually brushed. | 0:06:18 | 0:06:19 | |
Then Hokusai entered the studio of an artist called Katsukawa Shunsho, | 0:06:23 | 0:06:26 | |
who was right at the epicentre of the Floating World school | 0:06:26 | 0:06:29 | |
of popular art. | 0:06:29 | 0:06:30 | |
And Shunsho, his teacher, | 0:06:30 | 0:06:32 | |
was doing thousands of colour wood block prints of the Kabuki actors, | 0:06:32 | 0:06:35 | |
who were the superstars of popular culture of the day. | 0:06:35 | 0:06:38 | |
So Hokusai's earliest published prints are very much | 0:06:38 | 0:06:41 | |
in the style of his teacher. | 0:06:41 | 0:06:43 | |
JANGLING | 0:07:19 | 0:07:20 | |
We do have a very early print, from 1779, | 0:07:34 | 0:07:36 | |
of a very famous actor, Segawa Kikunojo, | 0:07:36 | 0:07:38 | |
the third generation in this particular acting lineage. | 0:07:38 | 0:07:41 | |
The really interesting thing is that you have an actor in front of | 0:07:43 | 0:07:46 | |
a partition and then, on the right of the actor, | 0:07:46 | 0:07:48 | |
we have a screen with waves. | 0:07:48 | 0:07:50 | |
And of course, water will become, throughout Hokusai's career, | 0:07:50 | 0:07:53 | |
a preoccupation for him. | 0:07:53 | 0:07:54 | |
He never abandons water or waves as a theme. | 0:07:55 | 0:07:58 | |
So even in the first work that we have, we see some of what's to come. | 0:07:58 | 0:08:01 | |
When he was very young, he was very talented. | 0:08:03 | 0:08:06 | |
I mean, prodigies are a bit rare in visual art. | 0:08:06 | 0:08:11 | |
They're common in music, aren't they? | 0:08:11 | 0:08:13 | |
But I mean, he was a little prodigy, like Picasso or something. | 0:08:13 | 0:08:18 | |
While Hokusai was struggling to make ends meet, | 0:08:22 | 0:08:25 | |
a man came and asked him to paint a picture for the Boys' Day. | 0:08:25 | 0:08:28 | |
Hokusai immediately prepared red pigment and drew a picture of Shoki, | 0:08:29 | 0:08:33 | |
the Demon Queller. | 0:08:33 | 0:08:34 | |
The customer very satisfied with the picture | 0:08:35 | 0:08:37 | |
and paid the artist two gold Ryo. | 0:08:37 | 0:08:40 | |
This was the payment that ultimately made Hokusai confident that he could | 0:08:40 | 0:08:43 | |
earn his living as an artist | 0:08:43 | 0:08:45 | |
and vowed to the bodhisattva Myoken that he would succeed. | 0:08:45 | 0:08:48 | |
Hokusai's family belongs to a particular sect of Buddhism. | 0:08:51 | 0:08:54 | |
But in fact, for Hokusai, | 0:08:54 | 0:08:55 | |
the divinity who becomes enormously important is Myoken. | 0:08:55 | 0:08:59 | |
Myoken is a Buddhist deity, if you like, a bodhisattva, | 0:08:59 | 0:09:03 | |
associated particularly with the North Star. | 0:09:03 | 0:09:05 | |
And at a certain point in his life, | 0:09:06 | 0:09:07 | |
he renames himself by the name we know today - Hokusai. | 0:09:07 | 0:09:11 | |
It means North Star. | 0:09:11 | 0:09:12 | |
North Star Studio, actually. | 0:09:12 | 0:09:14 | |
It's the one point in the heavens that doesn't move, | 0:09:15 | 0:09:18 | |
whereas the whole of the rest of the heavens move around it. | 0:09:18 | 0:09:20 | |
So, for Hokusai, it's a fixed point, | 0:09:20 | 0:09:22 | |
which is a potential source of huge spiritual strength. | 0:09:22 | 0:09:27 | |
We do know that, for Hokusai, | 0:09:28 | 0:09:30 | |
Myoken is associated particularly with the Kosho-ji Temple, | 0:09:30 | 0:09:33 | |
which still exists today. | 0:09:33 | 0:09:34 | |
It still has a hall within it dedicated to Myoken. | 0:09:34 | 0:09:37 | |
And Hokusai himself produces an image of this | 0:09:37 | 0:09:39 | |
quite early in his career. | 0:09:39 | 0:09:41 | |
He becomes acquainted with some very sophisticated cultural networks of | 0:11:05 | 0:11:10 | |
men of wealth, men of taste. | 0:11:10 | 0:11:12 | |
And in Edo at this time, you have these huge clubs of popular poets. | 0:11:12 | 0:11:16 | |
They come together and they have these outrageous poetry parties, | 0:11:16 | 0:11:21 | |
where they compose what are called crazy verses. | 0:11:21 | 0:11:24 | |
And it's Hokusai who's one of the artists of choice who they then hire | 0:11:24 | 0:11:29 | |
to do little beautiful designs to accompany their poems. | 0:11:29 | 0:11:32 | |
The first singing of the warbler is more impressive than listening to | 0:11:37 | 0:11:42 | |
your parents' objections to getting up early on a spring morning. | 0:11:42 | 0:11:46 | |
Moving into the early 19th century, | 0:11:55 | 0:11:57 | |
there's a new genre of popular illustrated literature | 0:11:57 | 0:12:00 | |
that is really big. | 0:12:00 | 0:12:02 | |
And Hokusai is working with the leading author of these adventure stories, | 0:12:02 | 0:12:06 | |
an author called Takizawa Bakin, providing the illustrations. | 0:12:06 | 0:12:09 | |
And these illustrated printed books are phenomenally popular. | 0:12:09 | 0:12:12 | |
Tametomo let loose a whistling arrow aimed at a ten-foot rock | 0:13:19 | 0:13:22 | |
shaped like a cactus. | 0:13:22 | 0:13:24 | |
The rock split right down the middle, | 0:13:26 | 0:13:28 | |
sending bits flying in all directions. | 0:13:28 | 0:13:30 | |
A big chunk fell into the sea | 0:13:34 | 0:13:36 | |
and spray shot up like the blow of a whale in the shallows. | 0:13:36 | 0:13:40 | |
Waves struck back against the land and the ground shook. | 0:13:40 | 0:13:43 | |
Oh, my God, I can't really believe you had to walk that far just to get | 0:14:03 | 0:14:06 | |
to the end of all these volumes! | 0:14:06 | 0:14:08 | |
Look at how many there are! | 0:14:08 | 0:14:10 | |
To think that I did it all... | 0:14:10 | 0:14:12 | |
-VOICEOVER: -In the early 1980s, | 0:14:13 | 0:14:15 | |
I started a catalogue raisonne of Hokusai's prints. | 0:14:15 | 0:14:19 | |
And by the end of the 1980s compiled about 15,000 photographs. | 0:14:19 | 0:14:25 | |
And, in fact, doubled Hokusai's known work. | 0:14:25 | 0:14:29 | |
But that was just the tip of the iceberg with Hokusai. | 0:14:29 | 0:14:32 | |
By God, the guy's a genius, you know? | 0:14:32 | 0:14:34 | |
He's really amazing. | 0:14:34 | 0:14:36 | |
When Hokusai was 45, he came to the notice of the shoguns, | 0:14:42 | 0:14:46 | |
the military governor of Japan. | 0:14:46 | 0:14:49 | |
So the shogun put out the word that he'd like to have this artist do him a demonstration. | 0:14:49 | 0:14:54 | |
But the leading painter of the day, Tani Buncho, was also invited. | 0:14:58 | 0:15:02 | |
And Tani Buncho painted | 0:15:02 | 0:15:04 | |
these breathtaking landscapes and mountains | 0:15:04 | 0:15:06 | |
and things like that. And then it was Hokusai's turn. | 0:15:06 | 0:15:09 | |
And he got this sheet of paper and he spread it out | 0:15:10 | 0:15:14 | |
and he had a whole pot, which was just blue ink, | 0:15:14 | 0:15:17 | |
so he brushed this onto the length of this long sheet of paper. | 0:15:17 | 0:15:22 | |
And people were just sitting there. | 0:15:25 | 0:15:27 | |
The shogun was sitting there, thinking, | 0:15:27 | 0:15:29 | |
what on earth is this all about? | 0:15:29 | 0:15:31 | |
And so then he opened a basket and he took out a rooster | 0:15:31 | 0:15:34 | |
and he dipped the rooster's feet in red ink | 0:15:34 | 0:15:38 | |
and he then plopped the rooster along the length of this blue strip. | 0:15:38 | 0:15:42 | |
And then when he finished doing that, he said, | 0:15:43 | 0:15:46 | |
"This is autumn leaves on the Tatsuta River," | 0:15:46 | 0:15:49 | |
which was a famous subject of classical painting. | 0:15:49 | 0:15:51 | |
And that took everybody's breath away. | 0:15:51 | 0:15:53 | |
His clever trick was a pure surprise to everyone present. | 0:15:54 | 0:15:59 | |
Buncho, who was sitting next to Hokusai, said, | 0:15:59 | 0:16:03 | |
"I could not keep my palms from sweating." | 0:16:03 | 0:16:06 | |
When he was 50, he stopped doing a lot of the commercial prints that he | 0:16:50 | 0:16:55 | |
did, and he just began travelling. | 0:16:55 | 0:16:56 | |
He went down to Nagoya for a while, and then this friend of his, | 0:16:58 | 0:17:02 | |
who was a pupil, said, "Look, stay with me as long as you want. | 0:17:02 | 0:17:05 | |
"Here's materials, paint as much as you like, draw as much as you like." | 0:17:05 | 0:17:09 | |
Then he invited a bunch of his friends for a party. | 0:17:09 | 0:17:13 | |
And he said, "Tonight, Hokusai, | 0:17:13 | 0:17:15 | |
"you're going to do some drawings for my friends." | 0:17:15 | 0:17:17 | |
People would call out subjects and they'd say, | 0:17:21 | 0:17:24 | |
"How about doing a dragon?" | 0:17:24 | 0:17:26 | |
-And he'd just... -HE IMITATES DRAWING | 0:17:26 | 0:17:28 | |
..draw a dragon. | 0:17:28 | 0:17:29 | |
Or, "How about doing a prostitute?" you know? | 0:17:30 | 0:17:32 | |
And that carried on through the night, and a publisher, | 0:17:51 | 0:17:55 | |
who lived in that area, thought, this would make a great book to publish. | 0:17:55 | 0:17:58 | |
And so they compiled all these things, and that was | 0:17:58 | 0:18:01 | |
the first manga, which means random drawings. | 0:18:01 | 0:18:03 | |
Enormously influential. And they really took off. | 0:18:03 | 0:18:06 | |
Hokusai himself titled Hokusai Manga. | 0:19:39 | 0:19:42 | |
He used the word manga. | 0:19:42 | 0:19:44 | |
But each illustration is quite different from modern manga. | 0:19:44 | 0:19:50 | |
It's a very good point. Hokusai's manga, when you look at it, | 0:19:50 | 0:19:53 | |
it really draws you in. | 0:19:53 | 0:19:54 | |
But there is no story line. | 0:19:54 | 0:19:55 | |
Whereas Hokusai's illustrated novels propels you through visually, | 0:19:55 | 0:19:59 | |
so Hokusai's manga and Hokusai's illustrated novels, | 0:19:59 | 0:20:03 | |
when taken together, | 0:20:03 | 0:20:04 | |
can be seen as a foundation for contemporary manga. | 0:20:04 | 0:20:07 | |
They're separate and they're different, | 0:20:07 | 0:20:09 | |
but they all are incremental steps to getting what we have today | 0:20:09 | 0:20:13 | |
as a fully line-driven narrative. | 0:20:13 | 0:20:16 | |
He did observe all kinds of things, | 0:21:20 | 0:21:23 | |
all kinds of people. | 0:21:23 | 0:21:25 | |
I mean, the drawings are marvellous drawings. | 0:21:25 | 0:21:29 | |
They're beautiful. I mean, he's always looking fresh. | 0:21:29 | 0:21:33 | |
He's a great artist, Hokusai. | 0:21:33 | 0:21:35 | |
A great artist, yeah. | 0:21:35 | 0:21:36 | |
Traditionally, Japanese people | 0:21:49 | 0:21:50 | |
believe the zodiac cycle repeats every 60 years. | 0:21:50 | 0:21:53 | |
So the big change comes when Hokusai turned 61. | 0:21:53 | 0:21:57 | |
And there's a sense in which, if you live that long, you're born again. | 0:21:57 | 0:22:01 | |
Your zodiac cycle is repeating so you can, in a sense, | 0:22:03 | 0:22:05 | |
start your life again. | 0:22:05 | 0:22:07 | |
60, for every Japanese person who should live that long, was a marker. | 0:22:09 | 0:22:14 | |
It meant that the first significant part of your life was finished. | 0:22:14 | 0:22:19 | |
And that, from now on, | 0:22:19 | 0:22:20 | |
you had a whole different group of things | 0:22:20 | 0:22:22 | |
that you should be attending to. | 0:22:22 | 0:22:24 | |
Hokusai's never happy with one name. | 0:22:26 | 0:22:28 | |
He keeps on kind of ringing the changes. | 0:22:28 | 0:22:30 | |
Once he's passed 60, he becomes the old man, crazy to paint. | 0:22:30 | 0:22:33 | |
So the changes, the big changes, | 0:22:33 | 0:22:35 | |
seem to correspond to changes in style, | 0:22:35 | 0:22:37 | |
changes in interest. We can see him embarking on a new phase of artistic experimentational growth. | 0:22:37 | 0:22:41 | |
People think of Japan as closed during this period - it wasn't. | 0:22:47 | 0:22:50 | |
The Dutch go up to Edo, now Tokyo, every year. | 0:22:50 | 0:22:53 | |
They know that Hokusai is the biggest name in town. | 0:22:53 | 0:22:55 | |
They commission paintings from him. | 0:22:55 | 0:22:57 | |
The big commission of his early to middle 60s came in 1822. | 0:22:59 | 0:23:04 | |
Dutch merchants, working in Japan, | 0:23:04 | 0:23:06 | |
commissioned Hokusai to do a series of paintings showing typical scenes | 0:23:06 | 0:23:11 | |
of Japanese life, but they're absolutely unique | 0:23:11 | 0:23:14 | |
for the very interesting hybrid style that he came up with | 0:23:14 | 0:23:18 | |
where there's a deep sense of spatial recession | 0:23:18 | 0:23:21 | |
within the picture, | 0:23:21 | 0:23:22 | |
a deep European-style perspective system. | 0:23:22 | 0:23:25 | |
It's also as if there is a single light source | 0:23:25 | 0:23:28 | |
casting shadows in the picture. | 0:23:28 | 0:23:31 | |
This is completely revolutionary in a Japanese context. | 0:23:31 | 0:23:34 | |
So we've got Japanese scenes painted in this hybrid, | 0:23:34 | 0:23:37 | |
halfway between Japanese and European style. | 0:23:37 | 0:23:40 | |
There's an incredible scene where travellers are suddenly caught in | 0:23:47 | 0:23:51 | |
a thunderstorm. | 0:23:51 | 0:23:53 | |
There's a lightning flash across the back of the picture. | 0:23:53 | 0:23:55 | |
And the figures are caught in this fitful light. | 0:23:55 | 0:23:58 | |
It's almost like a strobe light | 0:23:58 | 0:23:59 | |
with a really dark, thunderous sky behind. | 0:23:59 | 0:24:01 | |
And again, this is really totally revolutionary | 0:24:01 | 0:24:04 | |
in a Japanese context. | 0:24:04 | 0:24:05 | |
Things seem to be going well. | 0:24:09 | 0:24:11 | |
He has this major commission from the Dutch which | 0:24:11 | 0:24:13 | |
he successfully completes. | 0:24:13 | 0:24:15 | |
But then, in the late 1820s, | 0:24:15 | 0:24:18 | |
Hokusai seems to be hit by a succession | 0:24:18 | 0:24:20 | |
of personal life challenges. | 0:24:20 | 0:24:22 | |
He had a minor stroke of some kind. | 0:24:22 | 0:24:25 | |
Then suddenly, in 1828, his second wife died. | 0:24:25 | 0:24:29 | |
And he's constantly exasperated by the behaviour of his grandson, | 0:24:30 | 0:24:34 | |
running up huge gambling debts. | 0:24:34 | 0:24:35 | |
And Hokusai was continually paying off his debts. | 0:24:37 | 0:24:40 | |
And so he got into debt. | 0:24:40 | 0:24:41 | |
And finally, Hokusai lost his house and then took refuge in a temple. | 0:24:41 | 0:24:46 | |
He hid out. | 0:24:46 | 0:24:48 | |
This spring, no money, | 0:24:48 | 0:24:51 | |
no clothes. | 0:24:51 | 0:24:52 | |
Barely enough to eat. | 0:24:54 | 0:24:55 | |
If I can't come to an arrangement by the middle of the second month... | 0:24:56 | 0:24:59 | |
..then no spring for me. | 0:25:01 | 0:25:02 | |
One of the key documents for visualising Hokusai in his 80s | 0:25:04 | 0:25:07 | |
is a drawing | 0:25:07 | 0:25:09 | |
which was done by one of his pupils. | 0:25:09 | 0:25:10 | |
Tsuyuki Kosho is his name. | 0:25:10 | 0:25:12 | |
And it shows Hokusai and his daughter, Oei, | 0:25:12 | 0:25:15 | |
in very humble rented dwellings. | 0:25:15 | 0:25:18 | |
Hokusai has a heater quilt pulled over him, | 0:25:20 | 0:25:23 | |
and Tsuyuki quotes Hokusai. | 0:25:23 | 0:25:26 | |
No matter who comes to visit, I never leave the heater. | 0:25:27 | 0:25:31 | |
When I'm tired, I pick up the pillow beside me and go to sleep. | 0:25:31 | 0:25:35 | |
When I wake from sleep, I pick up my brush and keep drawing. | 0:25:35 | 0:25:39 | |
The 1820s is clearly a difficult decade, | 0:25:41 | 0:25:43 | |
but that recession from the world | 0:25:43 | 0:25:45 | |
is a way of pulling himself together | 0:25:45 | 0:25:47 | |
and pulling together the ideas that are going to become the triumph of | 0:25:47 | 0:25:51 | |
his next decade, the 1830s, his 70s. | 0:25:51 | 0:25:54 | |
And it's at this point that we begin | 0:25:54 | 0:25:55 | |
to see the germ of what will become the Thirty-six Views Of Mount Fuji. | 0:25:55 | 0:25:59 | |
Ever since earliest recorded times, | 0:26:13 | 0:26:14 | |
Mount Fuji has been important to Japanese people. | 0:26:14 | 0:26:17 | |
It's by far the largest physical feature in the Japanese islands | 0:26:17 | 0:26:21 | |
and dominates completely central Japan and the area around it. | 0:26:21 | 0:26:25 | |
It was celebrated in literature, but more importantly, perhaps, | 0:26:25 | 0:26:28 | |
for Hokusai, Fuji was always considered a deity. | 0:26:28 | 0:26:31 | |
And the whole idea of the series | 0:26:39 | 0:26:41 | |
Thirty-six Views Of Mount Fuji is to set up interesting pictures that | 0:26:41 | 0:26:46 | |
make Mount Fuji the fulcrum of our world, the centre of our universe. | 0:26:46 | 0:26:49 | |
I think, in the middle of his career, we can see his interest migrating. | 0:27:31 | 0:27:33 | |
The human interest is there but, increasingly, | 0:27:33 | 0:27:35 | |
his eye is drawn to the landscape behind it. | 0:27:35 | 0:27:38 | |
Hokusai is the guy who enables landscape within the Japanese artistic tradition, | 0:27:39 | 0:27:44 | |
the first one who begins to focus on the landscape as landscape. | 0:27:44 | 0:27:47 | |
The Great Wave is undoubtedly Hokusai's most famous work by far. | 0:28:20 | 0:28:25 | |
The Japanese title is Kanagawa-oki Nami Ura, | 0:28:25 | 0:28:29 | |
which we translate as Under The Great Wave Off Kanagawa. | 0:28:29 | 0:28:34 | |
And we're out at sea in the Pacific Ocean, | 0:28:34 | 0:28:36 | |
looking back under this great sudden storm wave towards Mount Fuji on | 0:28:36 | 0:28:41 | |
the horizon in the distance. | 0:28:41 | 0:28:43 | |
Hokusai has digested the lessons of European perspective that he learnt | 0:28:43 | 0:28:47 | |
in his middle years, and now he's playing with that. | 0:28:47 | 0:28:50 | |
Mount Fuji is the highest physical feature in Japan by far. | 0:28:50 | 0:28:54 | |
And yet Hokusai has arranged the picture | 0:28:54 | 0:28:57 | |
so that it appears that Mount Fuji | 0:28:57 | 0:28:59 | |
is dwarfed by the great storm wave, and the foam | 0:28:59 | 0:29:02 | |
and the water that comes off the great wave | 0:29:02 | 0:29:04 | |
then starts to seem like snow falling onto the peak of Mount Fuji, | 0:29:04 | 0:29:08 | |
which famously was always snow-covered all the year round. | 0:29:08 | 0:29:11 | |
Many people don't notice at first | 0:29:20 | 0:29:21 | |
that there are actually boats in this picture. | 0:29:21 | 0:29:24 | |
There are three of these fast delivery boats, | 0:29:24 | 0:29:26 | |
and they've taken delivery of a catch from the fishing fleet, | 0:29:26 | 0:29:30 | |
and they're trying to deliver it as fast as possible | 0:29:30 | 0:29:32 | |
to the fish markets in the centre of Edo. | 0:29:32 | 0:29:34 | |
And then suddenly, this freak wave has come up | 0:29:34 | 0:29:37 | |
and the oarsmen are all cowering down. | 0:29:37 | 0:29:39 | |
They've obviously made the decision | 0:29:39 | 0:29:41 | |
to go straight through the wave rather than try and escape from it. | 0:29:41 | 0:29:43 | |
So it's a huge drama, | 0:29:49 | 0:29:50 | |
and these are very heroic people at work. | 0:29:50 | 0:29:52 | |
It's typical of Hokusai to focus more on the world of working people | 0:29:54 | 0:29:58 | |
than anything else. | 0:29:58 | 0:29:59 | |
We have a relationship being described between a very dynamic | 0:30:03 | 0:30:07 | |
world of water | 0:30:07 | 0:30:09 | |
and of human endeavour dwarfed by the energies of nature. | 0:30:09 | 0:30:12 | |
Then in the middle, we have Fuji - this unmoving thing, | 0:30:13 | 0:30:16 | |
a still centre to a world of change. | 0:30:16 | 0:30:19 | |
Most of the prints in the Thirty-six Views have some kind of relationship | 0:30:22 | 0:30:25 | |
between human activity and the mountain. | 0:30:25 | 0:30:27 | |
So we see people in the landscape with their hats blowing off... | 0:30:28 | 0:30:31 | |
..people working in Edo itself. | 0:30:41 | 0:30:43 | |
Hokusai is interested in the human world, | 0:30:45 | 0:30:47 | |
he's interested in the natural world, | 0:30:47 | 0:30:49 | |
he's interested in the spiritual world. | 0:30:49 | 0:30:51 | |
Above all, he's interested in the relationship between these things. | 0:30:51 | 0:30:54 | |
You know, the sea is totally | 0:31:00 | 0:31:02 | |
in charge of these little fragile boats. | 0:31:02 | 0:31:04 | |
And so, however beautiful a Hokusai work is, | 0:31:04 | 0:31:09 | |
it is this sense of awe in the face of nature | 0:31:09 | 0:31:13 | |
that, at once, one is aware of. | 0:31:13 | 0:31:16 | |
This curve of the wave, | 0:31:26 | 0:31:29 | |
which I find to be the most difficult thing | 0:31:29 | 0:31:32 | |
when painting the sea, | 0:31:32 | 0:31:33 | |
is made from many curves. | 0:31:33 | 0:31:35 | |
And the fact that that line changes adds to the movement of the wave. | 0:31:35 | 0:31:41 | |
I mean, what is exciting about it, of course, is that distilled moment | 0:31:41 | 0:31:47 | |
before this wave is going to crash. | 0:31:47 | 0:31:48 | |
I see it in one of his earlier paintings - | 0:31:52 | 0:31:55 | |
an early wave... | 0:31:55 | 0:31:56 | |
..which is pretty solid... | 0:31:59 | 0:32:01 | |
..and static. I mean, it could be a building, really. | 0:32:02 | 0:32:06 | |
It's doesn't immediately say water. | 0:32:06 | 0:32:10 | |
I mean, I think there were 20 years or something between these waves, and... | 0:32:10 | 0:32:14 | |
Ah! It's a sort of earlier prelude leading up to... | 0:32:15 | 0:32:20 | |
..what has become the iconic image of Hokusai. | 0:32:21 | 0:32:27 | |
That image of The Great Wave | 0:32:47 | 0:32:51 | |
has entered not just my consciousness, | 0:32:51 | 0:32:53 | |
but the world's consciousness, and so it's sort of inside one. | 0:32:53 | 0:32:58 | |
You know, you're always up against it, | 0:32:58 | 0:33:00 | |
like you're up against Rembrandt in a self-portrait. | 0:33:00 | 0:33:02 | |
I'm really coming to think that, in this image particularly, | 0:33:06 | 0:33:09 | |
Hokusai is inventing modern animation. | 0:33:09 | 0:33:12 | |
The Great Wave is caught | 0:33:12 | 0:33:15 | |
just at the moment where it's about to fall. | 0:33:15 | 0:33:17 | |
And all of the little tentacles of foam are just caught in suspended | 0:33:17 | 0:33:21 | |
animation, like the claws of an animal, | 0:33:21 | 0:33:25 | |
coming down, threatening these fishing boats. | 0:33:25 | 0:33:27 | |
This, to me, is anticipating modern animated cartoons. | 0:33:27 | 0:33:31 | |
Disney animation, for example, is very similar. | 0:33:33 | 0:33:35 | |
You've got a bold outline and very flat colour. | 0:33:35 | 0:33:38 | |
And it's entirely probable that | 0:33:38 | 0:33:40 | |
people who worked at Disney in the early days | 0:33:40 | 0:33:42 | |
had seen Japanese prints, had possibly even seen the technique. | 0:33:42 | 0:33:46 | |
And that aesthetic carried over into the early days of films. | 0:33:46 | 0:33:50 | |
The Great Wave would have been printed from | 0:33:58 | 0:34:00 | |
four planks of cherry wood. | 0:34:00 | 0:34:01 | |
One side was so-called key block, | 0:34:03 | 0:34:06 | |
which would have printed the outlines and the text on the image. | 0:34:06 | 0:34:09 | |
The rest of the blocks would have been left in | 0:34:15 | 0:34:17 | |
relief to print each of the colours in succession. | 0:34:17 | 0:34:20 | |
Hokusai would have been involved in making the decisions about what | 0:34:26 | 0:34:29 | |
colours to print, including the brilliant Prussian blue pigment. | 0:34:29 | 0:34:32 | |
But as the printing run wore on, | 0:34:33 | 0:34:35 | |
the publisher and the printers would start to cut corners. | 0:34:35 | 0:34:38 | |
And sometimes, the colours would change. | 0:34:39 | 0:34:41 | |
The audience for a print like this is anybody. | 0:34:48 | 0:34:51 | |
If you had just more than the price of a double helping of noodles, | 0:34:52 | 0:34:56 | |
you could buy a Great Wave in 1831. | 0:34:56 | 0:34:59 | |
These are mass-produced - | 0:34:59 | 0:35:00 | |
maybe as many as 8,000 impressions of this design printed at the time. | 0:35:00 | 0:35:04 | |
It's an incredibly democratic art form. | 0:35:04 | 0:35:06 | |
NHK, Japan's national broadcaster, has brought over special 8K cameras, | 0:35:17 | 0:35:21 | |
and they're going to be filming in the most incredible detail. | 0:35:21 | 0:35:24 | |
And therefore, we can blow things up | 0:35:24 | 0:35:26 | |
and start to really appreciate the detail | 0:35:26 | 0:35:28 | |
of these amazing works by Hokusai. | 0:35:28 | 0:35:30 | |
There's a level of detail that we're able to see | 0:35:33 | 0:35:36 | |
that's beyond what we can see with our naked eyes. | 0:35:36 | 0:35:39 | |
We begin noticing things that we had never noticed before | 0:35:39 | 0:35:43 | |
when we've been looking at them for years and years in the flesh. | 0:35:43 | 0:35:48 | |
-This is a treat. -Yes, it is. It sure is. | 0:35:55 | 0:35:58 | |
In Japan, interestingly enough, | 0:36:03 | 0:36:04 | |
the most important print is not The Great Wave. | 0:36:04 | 0:36:06 | |
The most important print is what we know as Red Fuji. | 0:36:06 | 0:36:09 | |
Clearly, in Japan, in the modern period, Fuji itself | 0:36:09 | 0:36:12 | |
became the centre of a very important set of ideas about national identity. | 0:36:12 | 0:36:16 | |
You didn't want Fuji from a distance - you wanted Fuji in its glory. | 0:36:16 | 0:36:20 | |
Oh, God, look at that! | 0:36:28 | 0:36:30 | |
Wow! | 0:36:30 | 0:36:31 | |
Oh, that's astonishing! | 0:36:32 | 0:36:34 | |
What's happening here, I wonder? | 0:36:38 | 0:36:39 | |
I'm seeing something like a wiping line. | 0:36:41 | 0:36:43 | |
-Yes, yeah. -Are you seeing those kind of horizontal... -Oh, I do. | 0:36:43 | 0:36:46 | |
The top lines of these clouds have been fairly smoothly cut | 0:36:46 | 0:36:51 | |
whereas the bottom edge consistently has been abraded. | 0:36:51 | 0:36:54 | |
He's using really abrasive leaf over rush. | 0:36:54 | 0:36:59 | |
You use it as a kind of sandpaper to... | 0:36:59 | 0:37:01 | |
..give it... It's not a sharp line. | 0:37:02 | 0:37:04 | |
It gives it a kind of fudged quality. | 0:37:04 | 0:37:08 | |
It couldn't be anything else. | 0:37:08 | 0:37:10 | |
It couldn't be anything else. What an amazing effect. | 0:37:10 | 0:37:12 | |
Uh-huh. | 0:37:12 | 0:37:13 | |
I mean, it's brilliant. It's a brilliant conception. | 0:37:13 | 0:37:16 | |
Because, otherwise, it would look totally dead. | 0:37:16 | 0:37:18 | |
-Yeah. -I suspect a lot of the reproductions that have been made, | 0:37:18 | 0:37:20 | |
-it probably is just a straight line. -Mm-hm. | 0:37:20 | 0:37:23 | |
What could that be? Nothing but surprises. | 0:37:30 | 0:37:33 | |
Certainly, this is a really large volume as well. | 0:37:37 | 0:37:39 | |
When I started really working on his art, | 0:37:40 | 0:37:43 | |
I realised that what came to be known as Red Fuji | 0:37:43 | 0:37:47 | |
Hokusai never meant to be read. | 0:37:47 | 0:37:50 | |
In fact, he probably would have been scandalised if he saw it looking | 0:37:50 | 0:37:53 | |
like it looks in these pictures here. | 0:37:53 | 0:37:56 | |
But I was visiting a Swiss collector in Basel, Dr Walter Verling, | 0:37:56 | 0:38:01 | |
who had a small collection, and we were looking at his prints, | 0:38:01 | 0:38:04 | |
and then he said, "I have one other print I'd like to show you, | 0:38:04 | 0:38:06 | |
"but I have to apologise for it because it's so faded." | 0:38:06 | 0:38:10 | |
And then he pulled out this print, which is in the albums here. | 0:38:10 | 0:38:14 | |
And I saw what he meant | 0:38:14 | 0:38:15 | |
because the colours were very light in the sky | 0:38:15 | 0:38:18 | |
and on the mountain itself. | 0:38:18 | 0:38:19 | |
And it was a very different kind of tonality and a very different effect | 0:38:19 | 0:38:23 | |
than on all the impressions I had ever seen in my life, which were | 0:38:23 | 0:38:27 | |
hundreds, but then I looked and noticed that there's | 0:38:27 | 0:38:30 | |
a little penumbra of blue around | 0:38:30 | 0:38:32 | |
the tip of the mountain. | 0:38:32 | 0:38:33 | |
And I realised that that had to have been printed | 0:38:33 | 0:38:35 | |
specially from a specially inked and carved block, | 0:38:35 | 0:38:38 | |
and it was intentional. | 0:38:38 | 0:38:39 | |
It wasn't accidental. And so then I looked more carefully, | 0:38:39 | 0:38:42 | |
and I realised there's nothing accidental about the print at all, | 0:38:42 | 0:38:46 | |
and that that was the earliest impression in the world | 0:38:46 | 0:38:49 | |
and that that was what Hokusai saw and meant to be seen. | 0:38:49 | 0:38:52 | |
It was harder to print for various reasons. | 0:38:58 | 0:39:01 | |
And the publishers, who weren't very scrupulous, | 0:39:01 | 0:39:04 | |
they were just cranking them out, | 0:39:04 | 0:39:05 | |
and so everybody got caught up with Red Fuji. | 0:39:05 | 0:39:08 | |
And it was enormously popular in his lifetime and afterwards. | 0:39:08 | 0:39:13 | |
What he was in fact revealing was the quality of light | 0:39:17 | 0:39:21 | |
just before dawn. | 0:39:21 | 0:39:23 | |
It was like a revelation. | 0:39:23 | 0:39:24 | |
Oh, God! | 0:39:30 | 0:39:31 | |
Incredible. | 0:39:36 | 0:39:37 | |
What this technology has given me a chance to discover | 0:39:38 | 0:39:42 | |
is that the Pink Fuji | 0:39:42 | 0:39:44 | |
is even more complex than I had even dreamed of | 0:39:44 | 0:39:47 | |
because I've been used to thinking that these little treelike shapes at | 0:39:47 | 0:39:51 | |
the base of the mountain were all printed from one block. | 0:39:51 | 0:39:54 | |
And, in fact, they're printed from three different blocks, | 0:39:54 | 0:39:57 | |
inked with very subtly different shades of blue. | 0:39:57 | 0:40:01 | |
And so it gives the whole forest a very lively quality, | 0:40:01 | 0:40:05 | |
which is extraordinary. | 0:40:05 | 0:40:07 | |
You think of it as such a monumental and abstracted design but, actually, | 0:40:08 | 0:40:13 | |
there's so much more subtlety in there. | 0:40:13 | 0:40:15 | |
Up here, you see these little triangles of pale green | 0:40:16 | 0:40:20 | |
along the slope of Mount Fuji? | 0:40:20 | 0:40:23 | |
Never, ever noticed that before. | 0:40:23 | 0:40:25 | |
But it's clear that all of this has been very carefully calculated. | 0:40:25 | 0:40:28 | |
And it gives life. | 0:40:28 | 0:40:30 | |
And it's almost like the trees are shimmering, aren't they? | 0:40:30 | 0:40:33 | |
-They are, yeah. -They're alive. | 0:40:33 | 0:40:35 | |
The discovery of this new version of the Red Fuji is a wonderful example | 0:40:44 | 0:40:49 | |
of how something that has become a conventional icon of Japanese art | 0:40:49 | 0:40:54 | |
in general is actually not what Hokusai had in mind at all. | 0:40:54 | 0:40:57 | |
So what I was able to say to the Swiss collector was, Walter, | 0:40:57 | 0:41:01 | |
this is not a faded print. | 0:41:01 | 0:41:05 | |
VOICE BREAKING: This is the best one I've ever seen. | 0:41:05 | 0:41:08 | |
It's really a moment for both of us. | 0:41:09 | 0:41:11 | |
The Thirty-six Views Of Mount Fuji did prove incredibly popular. | 0:41:16 | 0:41:19 | |
And then, straight on from that, | 0:41:19 | 0:41:21 | |
they start to issue even more Fuji designs - | 0:41:21 | 0:41:24 | |
the famous One Hundred Views Of Mount Fuji. | 0:41:24 | 0:41:27 | |
And yet further opportunity for Hokusai | 0:41:27 | 0:41:31 | |
to explore Fuji from all sides, | 0:41:31 | 0:41:34 | |
in all weathers, from all vantage points. | 0:41:34 | 0:41:36 | |
And, in fact, some of the compositions in this book are incredibly eccentric. | 0:41:36 | 0:41:39 | |
He's deliberately stretching the limits of composition | 0:41:39 | 0:41:43 | |
to pay homage to the mountain. | 0:41:43 | 0:41:44 | |
At the back of volume one of One Hundred Views Of Mount Fuji is like | 0:41:48 | 0:41:52 | |
a little potted autobiography. | 0:41:52 | 0:41:54 | |
This is Hokusai looking back at his career up to this point, | 0:41:54 | 0:41:58 | |
up to his mid-70s, and basically dismissing it. | 0:41:58 | 0:42:01 | |
From the age of six, I had the desire to copy the form of things. | 0:42:04 | 0:42:09 | |
And from about 50, my pictures were frequently published. | 0:42:09 | 0:42:13 | |
But until the age of 70, nothing I drew was worthy of notice. | 0:42:14 | 0:42:20 | |
At 73 years, | 0:42:20 | 0:42:21 | |
I was somewhat able to fathom the growth of plants and trees... | 0:42:21 | 0:42:26 | |
..and the structure of birds, | 0:42:27 | 0:42:30 | |
animals, insects and fish. | 0:42:30 | 0:42:32 | |
Thus, when I reach 80 years, I hope to have made increasing progress, | 0:42:34 | 0:42:41 | |
and at 90 to see further into the underlying principle of things | 0:42:41 | 0:42:45 | |
so that, at 100 years, I will have achieved a divine state in my art. | 0:42:45 | 0:42:51 | |
And at 110, every dot and every stroke will be as though alive. | 0:42:51 | 0:42:58 | |
Hokusai is saying, well, you know, I've been pretty mediocre, | 0:43:04 | 0:43:07 | |
but I've done a lot of work. | 0:43:07 | 0:43:09 | |
But you haven't seen anything yet | 0:43:09 | 0:43:10 | |
until you've seen what's going to happen when I go forward from this. | 0:43:10 | 0:43:13 | |
He always thought he'd get better. | 0:43:15 | 0:43:16 | |
Well, the Chinese have a saying, painting is an old man's art. | 0:43:16 | 0:43:21 | |
Meaning you should get better because you know more | 0:43:23 | 0:43:27 | |
and you're more experienced at doing it. | 0:43:27 | 0:43:30 | |
I like to think I'm like that, actually. | 0:43:30 | 0:43:35 | |
People say I've gone off, but I don't think so. | 0:43:35 | 0:43:38 | |
There is a number of quite informal self-portraits by Hokusai from | 0:43:42 | 0:43:47 | |
different stages in his career. | 0:43:47 | 0:43:49 | |
And he's beguilingly informal in the way he depicts himself. | 0:43:49 | 0:43:55 | |
It's not a pompous view at all. | 0:43:55 | 0:43:57 | |
In the early period, | 0:43:59 | 0:44:00 | |
when he's working a lot on the popular literature, | 0:44:00 | 0:44:03 | |
he comes in almost as a tiny cartoon character in some of the pictures. | 0:44:03 | 0:44:06 | |
But later in life, thinking of his 80s, | 0:44:08 | 0:44:12 | |
he does a little lightning sketch of himself pointing, | 0:44:12 | 0:44:15 | |
gesticulating quite excitedly to something outside the picture | 0:44:15 | 0:44:19 | |
and seems to be talking to somebody at the same time. | 0:44:19 | 0:44:22 | |
And then the text above the self-portrait | 0:44:22 | 0:44:25 | |
is apologising for not producing | 0:44:25 | 0:44:27 | |
what the publisher wants and saying that he's sending instead | 0:44:27 | 0:44:31 | |
some old drawings which Hokusai did in his 40s, so four decades earlier. | 0:44:31 | 0:44:35 | |
And although he was an immature artist at that time, | 0:44:35 | 0:44:39 | |
maybe there's something amongst these drawings that you can use. | 0:44:39 | 0:44:41 | |
He trundled around for his entire life with a cart | 0:44:47 | 0:44:50 | |
that had his archive in it - | 0:44:50 | 0:44:52 | |
all of his drawings, all of his copies of paintings that he'd seen. | 0:44:52 | 0:44:55 | |
But in 1839, his house caught fire. | 0:44:59 | 0:45:02 | |
He jumped out the window with his brush | 0:45:02 | 0:45:04 | |
and his daughter jumped out the window with her brush, | 0:45:04 | 0:45:07 | |
but that cart was burned. | 0:45:07 | 0:45:08 | |
Hokusai rushed out of the house with only a painting brush in one hand. | 0:45:12 | 0:45:16 | |
His daughter, Oei, immediately followed him. | 0:45:17 | 0:45:20 | |
They lost all their possessions, clothes and painting materials. | 0:45:20 | 0:45:24 | |
They were nearly naked and looked like homeless beggars. | 0:45:25 | 0:45:27 | |
And from that time on, he didn't do any more drawings, | 0:45:34 | 0:45:37 | |
he didn't do any more prints, to speak of, | 0:45:37 | 0:45:39 | |
and his life took a radical change. | 0:45:39 | 0:45:41 | |
In Hokusai's 80s, and certainly in the last three years, 88, 89, 90, | 0:45:43 | 0:45:48 | |
it's almost exclusively paintings that he's working on. | 0:45:48 | 0:45:51 | |
I mean, he was 88. | 0:45:58 | 0:45:59 | |
He was going for it. | 0:45:59 | 0:46:00 | |
He was just, like, "I'm going to do something new." | 0:46:00 | 0:46:02 | |
And he, at that point, couldn't care whether anybody else notices or not. | 0:46:05 | 0:46:09 | |
He was going to go as far as he could for as long as he could. | 0:46:09 | 0:46:13 | |
In his last years, we have a sequence of paintings | 0:46:16 | 0:46:18 | |
where he's trying to | 0:46:18 | 0:46:19 | |
bring the world as we know it to life on the page. | 0:46:19 | 0:46:22 | |
He's trying to reach beyond the surface of things | 0:46:23 | 0:46:27 | |
to the life of things. | 0:46:27 | 0:46:29 | |
And in the British Museum, there's a wonderful scroll of a duck - | 0:46:29 | 0:46:32 | |
the duck is actually swimming on the page. | 0:46:32 | 0:46:34 | |
Wow! Astonishing. | 0:46:46 | 0:46:49 | |
Just astonishing. | 0:46:49 | 0:46:51 | |
I'm so much more aware of individual strokes. | 0:46:51 | 0:46:53 | |
Yeah, absolutely. | 0:46:53 | 0:46:55 | |
Cos you can see that there's lots of small, black accents | 0:46:55 | 0:46:59 | |
which are separate strokes. | 0:46:59 | 0:47:00 | |
Completely separate strokes. | 0:47:00 | 0:47:02 | |
-And different colours. -Black on top of grey. | 0:47:02 | 0:47:04 | |
Yeah. | 0:47:04 | 0:47:06 | |
It's a wonderful, wonderful painting. | 0:47:06 | 0:47:08 | |
When I look at the feathers, you can | 0:47:08 | 0:47:10 | |
just see that they're varying thicknesses of line, | 0:47:10 | 0:47:13 | |
they're spaced not evenly, not uniformly. | 0:47:13 | 0:47:16 | |
I mean, there's just a rawness about the detail in that painting. | 0:47:16 | 0:47:21 | |
Nobody but he could have drawn the ducks. | 0:47:21 | 0:47:23 | |
HE CHANTS AND SINGS | 0:50:28 | 0:50:35 | |
I think that, like many people in Japan, | 0:50:37 | 0:50:39 | |
he had completely internalised Buddhism. | 0:50:39 | 0:50:42 | |
It wasn't a set of beliefs, it was a way that you lived your life, | 0:50:42 | 0:50:45 | |
and he saw it all around him. | 0:50:45 | 0:50:47 | |
The way that he drew birds in the sky, the way that he drew plants, | 0:50:50 | 0:50:55 | |
it isn't just a person who is just sitting in front of a plant | 0:50:55 | 0:50:58 | |
and transcribing it | 0:50:58 | 0:50:59 | |
or sketching it out. | 0:50:59 | 0:51:00 | |
It was a person who digested it, made it their own, internalised it, | 0:51:00 | 0:51:05 | |
and had become the plant or the fish or whatever it was. | 0:51:05 | 0:51:08 | |
When I'm looking at Hokusai's late paintings, | 0:51:10 | 0:51:13 | |
they're the most incredible art works. | 0:51:13 | 0:51:15 | |
Technically, they're extraordinary. | 0:51:15 | 0:51:17 | |
But it's not just a tour de force. | 0:51:17 | 0:51:19 | |
There's a vital consciousness inhabiting those creatures, | 0:51:19 | 0:51:24 | |
those figures, that is looking out at me, wanting to engage with me. | 0:51:24 | 0:51:28 | |
And that just fills you with energy. | 0:51:28 | 0:51:31 | |
The Chinese say you need three things for painting - the hand, | 0:51:33 | 0:51:39 | |
the eye and the heart. Two won't do, | 0:51:39 | 0:51:43 | |
which is, I think, very, very good. | 0:51:43 | 0:51:46 | |
It's a spectacular painting. | 0:52:14 | 0:52:16 | |
Absolutely incredible. | 0:52:16 | 0:52:18 | |
Both of them are. What a pair. | 0:52:18 | 0:52:20 | |
I mean, there's no doubt about it, | 0:52:27 | 0:52:28 | |
that they were meant to be hung together as a pair. | 0:52:28 | 0:52:30 | |
Cos we have the same mounting, the same size, | 0:52:32 | 0:52:35 | |
the dragon and the tiger is a traditional subject | 0:52:35 | 0:52:37 | |
in East Asian art, and... | 0:52:37 | 0:52:39 | |
..they have pretty much identical signatures from Hokusai's 90th year. | 0:52:40 | 0:52:44 | |
The dragon is crawling up out of a tornado that it's making itself | 0:52:50 | 0:52:55 | |
and staring out at us with this incredibly inhabited expression. | 0:52:55 | 0:52:59 | |
Hokusai has painted dragons dozens of times | 0:53:02 | 0:53:04 | |
at this point in his career. | 0:53:04 | 0:53:06 | |
But at 90, in the final months of his life, God knows how he did it, | 0:53:06 | 0:53:10 | |
but he cracked it. | 0:53:10 | 0:53:11 | |
We felt, when we were looking at images of this painting, | 0:53:13 | 0:53:16 | |
that it must have been painted in reverse - | 0:53:16 | 0:53:18 | |
basically, starting with the colour of the paper, | 0:53:18 | 0:53:21 | |
which is the highlights | 0:53:21 | 0:53:22 | |
all over the composition, | 0:53:22 | 0:53:24 | |
and then working back through | 0:53:24 | 0:53:26 | |
a succession of ever darker shades of grey ink | 0:53:26 | 0:53:29 | |
until you finally get to the black. So you're working in reverse. | 0:53:29 | 0:53:32 | |
Hokusai has mentally worked all of this out before he even touches | 0:53:32 | 0:53:35 | |
the brush to the paper. | 0:53:35 | 0:53:37 | |
So, underneath all of these individual dragon scales | 0:53:37 | 0:53:41 | |
is a line which has completely different character | 0:53:41 | 0:53:43 | |
from its neighbour. | 0:53:43 | 0:53:44 | |
He's just totally incapable of painting the same line twice. | 0:53:44 | 0:53:48 | |
But always remembering to leave, at the edge of the spines, | 0:53:48 | 0:53:52 | |
the unpainted paper as the highlight. | 0:53:52 | 0:53:55 | |
You can't make any mistakes with this kind of painting. | 0:53:56 | 0:53:59 | |
It's not an oil painting where you could rub something out | 0:53:59 | 0:54:01 | |
and try it again. | 0:54:01 | 0:54:02 | |
Once you put the brush to paper, you're committed. | 0:54:02 | 0:54:05 | |
I just... Full of awe. | 0:54:05 | 0:54:08 | |
How did he do it? | 0:54:08 | 0:54:09 | |
In 1849, he was renting a lodging from a temple called Henjoin, | 0:54:25 | 0:54:29 | |
doing the paintings of his final few months. | 0:54:29 | 0:54:32 | |
He died at the end of the fourth month of his 90th year, | 0:54:35 | 0:54:37 | |
so there's just a few months when the paintings which are signed "aged 90", must have | 0:54:37 | 0:54:41 | |
been done. And these include the sublime painting | 0:54:41 | 0:54:45 | |
of the dragon flying into the sky around Mount Fuji | 0:54:45 | 0:54:48 | |
and going off up into the heavens... | 0:54:48 | 0:54:51 | |
It's glorious. | 0:54:51 | 0:54:52 | |
..which is rightly regarded as | 0:54:53 | 0:54:55 | |
one of the most sublime late Hokusai works. | 0:54:55 | 0:54:58 | |
It's so moving because he's bringing together the imagery | 0:54:58 | 0:55:01 | |
of such a long career. | 0:55:01 | 0:55:03 | |
You take one look at the painting, | 0:55:08 | 0:55:10 | |
and what jumps out at you is this startling, almost frightful, | 0:55:10 | 0:55:14 | |
oversimplification of Mount Fuji. | 0:55:14 | 0:55:16 | |
Then, to the top of the painting, | 0:55:21 | 0:55:23 | |
is a smudge, which you induce is clouds, | 0:55:23 | 0:55:26 | |
and then in the smudge there's some kind of a figure. | 0:55:26 | 0:55:28 | |
But then you see it's a dragon floating up and | 0:55:32 | 0:55:35 | |
drifting up above the mountain into the sky and disappearing. | 0:55:35 | 0:55:38 | |
And then you think, well, son of a gun! You know. | 0:55:40 | 0:55:42 | |
That's almost like an epitaph for himself. | 0:55:42 | 0:55:46 | |
He's saying, "So long," you know. | 0:55:46 | 0:55:48 | |
"Enjoy my work." You know, "You will really get a lot | 0:55:48 | 0:55:52 | |
"out of these pictures if you get into it like I did!" | 0:55:52 | 0:55:55 | |
In the little inscription that Hokusai puts next to his signature, | 0:56:10 | 0:56:13 | |
he says, "I'm aged 90, I was born in a Dragon Year." | 0:56:13 | 0:56:16 | |
I am painting this on a Dragon Day in my 90th year. | 0:56:18 | 0:56:23 | |
HE PRAYS | 0:56:45 | 0:56:50 | |
There's something so outstandingly dedicated about Hokusai | 0:57:13 | 0:57:18 | |
and about his stalwart approach to what he was doing. | 0:57:18 | 0:57:21 | |
It's sort of incomparable. | 0:57:21 | 0:57:23 | |
I think that he was one of the great heroes. | 0:57:23 | 0:57:27 | |
S... Sorry, I'm crying. | 0:57:27 | 0:57:29 | |
He never gave up. | 0:57:34 | 0:57:35 | |
He kept experimenting. | 0:57:37 | 0:57:39 | |
He kept doing new things. | 0:57:39 | 0:57:41 | |
He just felt that he had a connection with life, which was precious. | 0:57:41 | 0:57:45 | |
He worked all his life. | 0:57:48 | 0:57:50 | |
He had a long life. | 0:57:50 | 0:57:51 | |
I mean, he just worked, didn't he? That's all he did. | 0:57:51 | 0:57:54 | |
Well, that's all I do, actually. | 0:57:54 | 0:57:56 | |
But I'm not as good as Hokusai. | 0:57:56 | 0:58:00 | |
If heaven will afford me five more years of life... | 0:58:05 | 0:58:09 | |
..then I'll manage to become... | 0:58:10 | 0:58:13 | |
..a true artist. | 0:58:14 | 0:58:15 |