Latest news with #KatsushikaHokusai
24-05-2025
- Entertainment
Edo Meets Pop Culture: Reimagining Ukiyo-e with a Modern Manga and Anime Twist
Fans of the Japanese anime and manga series Doraemon are familiar with the robot cat's ability to travel into past ages. Publisher Hanzō has tapped into this reputation, recreating famous works by masters like Hokusai and Hiroshige that feature Doraemon and friends romping through Edo (now Tokyo). The expertly crafted prints are made using traditional techniques, providing an authenticity that complements their pop-culture value. Japanese traditional woodblock prints, known as ukiyo-e , played an important role in the lives of residents of Edo. Appearing in the seventeenth century, they were the mass media of their day, conveying news and information, advertising the latest fads, and providing entertainment. Artists like Katsushika Hokusai (1760–1849), Utagawa Hiroshige (1797–1858), and Kitagawa Utamaro (1753–1806) became masters of the form, creating scenes and portraits that are admired for their beauty and techniques to this day. Producing ukiyo-e was a collaborative process that involved an army of nameless artisans, from painters who created original designs to carvers who chiseled images onto woodblocks to printers who applied layer after layer of ink to sheets of Japanese paper. The entire process was managed by publishers called hanmoto . Workers produce ukiyo-e at a book publisher's workshop in a scene from the series Ima yō mitate shinōkōshō shokunin by Utagawa Toyokuni Ⅲ. (Courtesy the Edo-Tokyo Museum Archives) Today, only a handful of publishers still produce woodblock prints. One such modern hanmoto is Sakai Eiji, the president of Tokyo-based Hanzō. Following tradition, he teams up with talented painters, engravers, and printers to create stunning works that push the boundaries of tradition with their inclusion of modern manga and anime themes. Hanzō President Sakai Eiji was in his twenties when he left his job at a trading company and started publishing ukiyo-e . (© ) Hanzo's signature ukiyo-e series featuring characters from Doraemon are whimsical reinterpretations of classics. They have proven popular in Japan and abroad, with many of the company's new releases, which typically come out at a pace of around once a year, selling out in short order. From top: Katsushika Hokusai's Mitsui Shop at Surugachō in Edo from his Thirty-Six Views of Mount Fuji . (Courtesy the Metropolitan Museum of Art); Doraemon and friends inhabit the scene in Hanzō's ukiyo-e . (Courtesy Hanzō; © Fujiko-Pro) Modern Pop Culture Invades Edo Along with its Doraemon-themed remakes of famed ukiyo-e works, Hanzō offers a lineup of stunning prints featuring iconic Japanese characters like Godzilla and Crayon Shinchan, as well as Darth Vader, Yoda, and other names from the Star Wars universe. Entertainment firms fiercely guard their intellectual property, and Sakai says that collaborations typically involve long negotiations, particularly when it comes to recasting characters in the ukiyo-e medium. With the Star War series, Hanzō went back and forth with the Walt Disney Company for a year about using Japanese colors, garb, and other traditional elements. Sakai declares that 'the fact that we were allowed to create original interpretations illustrates the high regard the ukiyo-e form enjoys.' From top: Hiroshige's Hara print from his Fifty-Three Stations of the Tōkaidō . (Courtesy the Tokyo Metropolitan Central Library); a remake of the print featuring characters from the manga and anime Crayon Shinchan . (Courtesy Hanzō; © Usui Yoshito/Futabasha/Shin-Ei Animation/TV Asahi/ADK 2025) Hanzō has another tie-up with the popular smartphone game Fate/Grand Order . The game has amassed an army of dedicated younger players in Japan and is making inroads abroad with its gameplay and lineup of characters inspired by legendary figures from literature, history, and elsewhere. From left: a woodblock print from the Holy Grail War Yūshōden series featuring servant Altria Pendragon; the heroic spirit of rider Ushiwakamaru. (Courtesy Hanzō; © Type-Moon/ FGO Project) Traditional Craftsmanship Sakai previously worked for another publisher but left to found Hanzō some 20 years ago with the purpose of preserving the techniques and traditions of woodblock printing first developed in the Edo period (1603–1868). The industry has suffered a steady decline in the number of skilled practitioners, and Sakai launched Hanzō to support modern-day ukiyo-e artisans in earning income from their skills while helping ensure the wonders of woodcut prints were passed down to future generations. Through the 1980s, there was still a lucrative market for original woodblock prints by renowned artists. But at the start of the 1990s, demand fell off a cliff with the economic downturn sparked by the bursting of Japan's asset market, forcing publishers to shift focus to reproducing famous works by past masters of the genre. The inexpensive replicas provided only a meager income, though, and many artisans hung up their tools without ever passing on their skills to apprentices. Sakai joined the ukiyo-e publishing industry during this period. 'I wasn't drawn so much by the prints themselves,' he explains. 'Rather, I wanted to preserve the traditional carving and printing techniques and to engage with younger people to let them know about the existence of these amazing skills.' Woodblock prints have come to be valued primarily as works of art, but their roots lie firmly in the popular culture of Edo. Sakai sees their counterpart in modern forms of entertainment like manga and anime, and it was the hope of appealing to young people that inspired him to feature characters from today's pop culture. Little did he expect that his endeavor would also pique the interest of fans far beyond Japan's borders. Hanzō held a hands-on ukiyo-e event at the Hotel Gracery in Shinjuku, Tokyo, a popular accommodation for overseas visitors. (© ) The event featured a demonstration by Tetsui Hirokazu, who is a second-generation woodblock printer. (© ) Producing woodblock prints is an expensive, time-consuming process. The basic materials are pricey, like the woodblocks themselves and the Japanese paper on which the designs are drawn and final images printed. Then there are the skilled carvers and printers, who might work for several weeks on a single piece. This limits the number of prints Hanzō can publish, with its current team of artisans able to create around five or six new works a year. Still, Hanzō has received a steady stream of offers for tie-ups featuring copyrighted characters. Sakai says he wants to take advantage of as many of these opportunities as he can 'to get more and more people interested in ukiyo-e .' However, the logistics involved along with the unpredictability of the publishing market make this a difficult goal, and along with its woodblock prints, Hanzō also creates ukiyo-e works that can be reproduced with high-resolution inkjet printers. Hanzō uses woodblocks made from high-quality cherry wood. (© ) Limited edition neon ukiyo-e on fabric board, featuring Godzilla in Tokyo (left) and Osaka. (Courtesy Hanzō; TM, © Toho Co., Ltd.) Another of Hanzō's projects is the recreation of the cover of the 1905 first edition of French composer Claude Debussy's La Mer , which is based on Hokusai's iconic Great Wave off Kanagawa . Sakai kept the color scheme and other aspects of the original, creating a stunning work highlighting the skills of ukiyo-e artisans. It was released to coincide with Hokusai's masterpiece being featured on Japan's newest ¥1,000 banknote, with different versions of the work available for purchase. La Mer: Orchestra Score , first print (left); original painting La Mer (Vagues Vertes Jade) with platinum leaf. (Courtesy Hanzō) Sakai declares his commitment to bringing attention to ukiyo-e with new collaborations and drawing new fans by highlighting the techniques and beauty of the art style. 'I want to create a buzz and get young people interested in learning the traditional methods of woodblock printing while current artisans are still able to pass along their skills.' (Originally published in Japanese. Banner photo: Doraemon and other characters inhabit a reproduction of Sudden Shower over Shin-Ōhashi Bridge and Atake from Hiroshige's woodblock print series One Hundred Famous Views of Edo . Courtesy Hanzō; © Fujiko-Pro.)
Tom's Guide
23-05-2025
- Tom's Guide
Watch: This Laptop Is Literally a Work of Art – MSI Prestige 13 AI+ Ukiyo-e Edition
MSI is making waves — literally — with the Prestige 13 AI+ Ukiyo-e Edition, part of its new Artisan Collection. Featuring The Great Wave off Kanagawa, the iconic woodblock print from 1831 by Japanese artist Katsushika Hokusai, this limited-edition laptop combines traditional Japanese lacquerware techniques with a cutting-edge ultralight design. But it's not just about looks — this 2.2 lb laptop also packs an Intel Core Ultra 9, a gorgeous 2.8K OLED screen, solid port selection, and a 5MP webcam with a physical shutter. Pricing: Rumored to start at $1,599 (TBD)
Tom's Guide
20-05-2025
- Tom's Guide
MSI just made the most beautiful laptop I've ever seen — here's why the Prestige 13 AI+ Ukiyo-e Edition took my breath away
With nearly 20 years under my belt as a tech journalist, I've become pretty jaded to design gimmicks in laptops. It's going to take more than a painted lid to get me to fall in love with a laptop — at least that's what I thought before I laid my eyes on MSI's new Prestige 13 AI+ Ukiyo-e Edition at Computex 2025. At first, the crush felt purely skin deep. The use of Ukiyo-e master Katsushika Hokusai's 'Great Wave off Kanagawa' artwork for the lid is an eye catching choice to say the least. But there's levels to this. Part of the company's Artisan Collection, it's a collaboration with Japanese lacquerware company OKADAYA that runs deep into the aesthetic — I'm talking authentic traditional handcrafted lacquerware on each of these using pure gold leaf powder. CPU Up to Intel® Core™ Ultra 9 processor 288V RAM Up to 32GB LPDDR5x-8533 Memory on Package Storage 1 x NVMe M.2 SSD by PCIe Gen4 Display 13.3" 2.8K (2880 x 1800), 16:10, 100% DCI-P3 (Typical), VESA DisplayHDR™ True Black 500, OLED panel Ports 2x Thunderbolt 4, 1x USB 3.2 Gen1 Type-A, microSD card reader, HDMI 2.1 Battery size 75Whr Dimensions 11.8 x 8.3 x 0.7 inches Weight 2.2 pounds So you're getting all the same feature set that made us really enjoy the OG Prestige 13 AI+ Evo a few months ago. That Intel Core Ultra 9 makes it truly sing, the LPDDR5 RAM directly on the chip with zippy fast multitasking, and that 2.8K OLED display is a feast for the eyes. Oh, and don't forget that surprising stunner in the 5MP webcam. But the true statement piece here has to be that one-of-a-kind laptop artwork crafted with 8 layers of lacquer painting. Every layer is added on by hand, and the adhesive is applied as a base for the gold powder that really stands out within the waves, the MSI logo and the artist's signature. Cap it all off with the subtle details like golden text on the ports, the piano gloss finish atop the keyboard with gold lettering, and the fact that there will only be 1,000 of these made (laser engraved with a unique number to let you know which one you got), and not only does this look like a work of art, it feels like a work of art and has the exclusivity of a work of art. Feeling the ripples of each lacquer layer is a simply irresistible activity for pretty much the entire time I went hands-on with this thing. Pretty on the eyes and in the hands. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. Yes, this is a question I'm just as terrified of as you are. With how complex the handcrafting process is, the amount of tech crammed into such a thin and light system, and all the things you get in the bundle, this is not going to be cheap. We've already seen MSI do something similar with the Titan 18 HX Dragon Norse Myth edition, and while I don't expect this Prestige 13 to be $7,000, it's going to come with a premium. That's a little heartbreaking given just how mesmerizing this Ukiyo-e Edition is from all angles. That sleek utilitarian build with ultra portability in mind blends with the uber-premium lacquerware art atop the lid to make this almost feel like you're working on a work of art.
Metropolis Japan
09-05-2025
- Entertainment
- Metropolis Japan
International Hokusai Club
When The Great Wave off Kanagawa started appearing on t-shirts and phone cases, I wondered if people knew the artist behind it. The name Katsushika Hokusai doesn't always come up, but his brushwork has rippled through global art history—from Monet's garden to pop culture timelines. Now, a new initiative is putting Hokusai back at the center of the conversation, and not just in Japan. The International Hokusai Club was recently launched to share Hokusai's legacy beyond museum walls, focusing on his role not just as a ukiyo-e printmaker but also as an educator, innovator and global bridge between Edo-period aesthetics and modern design. In a 1999 issue, Life magazine named Hokusai the only Japanese person among the top 100 people who shaped the last millennium. That's no small recognition. But ironically, many in Japan still associate him with just a few famous prints. In contrast, overseas curators, collectors and scholars have been unpacking his layers for decades. At a recent press presentation hosted by the Japan Art Academy, cultural experts—including art historian Hidehiko Tsunoda and Fujihisashi, a global arts advisor—highlighted how museums in the U.S. and Europe see Hokusai as more than an artist. He's studied as a designer, animator even a kind of social commentator. What stood out was the idea that Hokusai's value isn't static—it's still being uncovered. That's where the club comes in. Think of it as a cultural platform: part fan club, part think tank. The club is structured with multiple membership tiers—corporate, full and general—allowing institutions, collectors and individuals to participate in different ways. Membership fees are still being finalized, but applications can be submitted through flyers at each event or via the Japan Art Academy website. The real mission? To reintroduce Hokusai as a dynamic figure through global exhibitions, educational outreach and high-tech preservation. In 2026, the club plans to launch the traveling 'Educator Hokusai Exhibition,' featuring animated shorts based on Hokusai Manga , rare hand-painted scrolls and interactive displays using ultra-high-resolution digital scans. Stops will include California, Singapore, Dubai, Paris and Milan. And it won't just be a passive experience. Workshops for families, school tours and lectures will be part of the rollout. The club is also working with overseas museums and collectors to expand Hokusai's representation in Western collections. TOPPAN Holdings introduced a demo of their digital imaging tech at the launch event—scanning Hokusai's brushstrokes down to the micron. The goal? To protect these fragile works for future generations while also using the data for research and exhibition. There's also a grassroots side to the club. Monthly 'Hokusai Club' meetups are being planned in Japan, and art-focused tours both domestically and abroad are in the works. The club isn't just about fans—it's got some serious backing. Honorary patrons include kabuki masters, art dealers, professors and even former ambassadors. But the door's open to anyone. If you're into traditional art, digital preservation or just wondering how a painter from the Edo period ended up on sneakers, there's a place for you here. How to Join or Learn More: Visit the Japan Art Academy's site at Or, reach out to contact@ to learn more. English applications and inquiries are welcome! Interested in Japanese art? Check out our other articles on quintessential Japanese artists: Kiyoshi Awazu and the Reinvention of Contemporary Japanese Aesthetics Ryushi Kawabata Dragon Knots by Yumiko Yamakawa
Japan Forward
07-05-2025
- Japan Forward
Hokusai's Mount Fuji, Where Tea Fields Meet the Sky
このページを 日本語 で読む Sunlight spills across the tea fields, illuminating the fresh green shoots that glisten with morning dew. The melodic call of a Japanese bush warbler drifts through the air. At the far end of the neatly ordered rows, the snow-capped peak of Mount Fuji rises in serene majesty. Mount Fuji rises above the tea fields. This breathtaking scene in Obuchi Sasaba was captured nearly 200 years ago by none other than Katsushika Hokusai in his renowned woodblock print, Fuji from the Katakura Tea Fields in Suruga . It is one of the many iconic works in his Thirty-Six Views of Mount Fuji series. Mount Fuji seen from the Obuchi Sasaba area. Trails near the summit are clearly visible, though the snow coverage changes daily. I first encountered this landscape more than a decade ago during a business trip to Vancouver, Canada. A café had used an image of it in an advertisement for matcha lattes. I remember thinking — could such a perfect, postcard-like view of Japan really exist? Being from Shizuoka Prefecture myself, I couldn't recall ever seeing a place like that. I assumed the image had been digitally altered, but some research revealed that the scene was real—and located in Fuji City. In Fuji City's Obuchi Sasaba area, tea fields have been made more accessible with paved walkways, viewing platforms, and the removal of frost covers—drawing about five times more tourists in recent years. Eager to see it with my own eyes, I made the journey. On the first day, thick clouds blanketed the sky, completely obscuring Mount Fuji, even though it was supposed to be close by. Undeterred, I returned the next morning before sunrise, quietly hoping for clearer weather. As dawn broke, the clouds parted and sunlight streamed across the fields. Slowly, the slopes of Mount Fuji emerged, deepening to a rich blue with every passing minute. A favorite spot among photographers. In June 2013, Mount Fuji was designated a UNESCO World Cultural Heritage site. Since then, Shizuoka Prefecture, Fuji City, and local preservation groups have worked together to enhance the area, adding amenities such as parking lots and restrooms. The new tea leaves are hand-picked with the "one bud, two leaves" method, where each sprout has a pointed bud and two young leaves. The new shoots glisten in the sunlight, shining in a bright yellow-green hue. Yoshihiro Fujita, 70, chairman of the Obuchi 2-Chome Sasaba Scenic Preservation Association, collaborated with landowners to maintain the natural beauty of the site. "After the World Heritage registration, we removed many frost-protection devices to preserve the view," he explained. "We also built a small shop and a photo platform to better accommodate visitors. As a result, tourist numbers have increased nearly fivefold." Rows of tea plants. Yusuke Sano, 39, a senior official at the Mt Fuji Tourism Exchange Bureau, added, "Compared to the Yamanashi side, we haven't promoted Mount Fuji as much. We're now focused on improving the visitor experience and sharing the charm of this region with more people, including those from abroad." Now, with summer approaching and the traditional eighty-eighth night—a special date marking the beginning of the new tea harvest—drawing near, the scene feels like something lifted from an old folk song. The fleeting harmony between Mount Fuji and the vibrant tea fields is a sight few are fortunate enough to witness, but once seen, it's never forgotten. Author: Kenji Suzuki, The Sankei Shimbun このページを 日本語 で読む
