Latest news with #TheGreatWaveoffKanagawa
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)
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
Tokyo Weekender
09-05-2025
- Tokyo Weekender
Follow the Money: A Travel Guide to Japanese Banknotes
There are many ways to experience Japan. You can plan your itinerary based on everything from exciting activities to delicious food or fascinating people waiting for you in every corner of the country. You can even construct a sightseeing plan around money. We're not talking about being mindful of expenses while planning your travels (though you should definitely do that) but rather visiting the locales printed on Japanese banknotes, old and new. From world-famous destinations to hidden gems, here's what you can expect on a wallet-inspired tour of Japan. List of Contents: Cranes: Back of the D Series ¥1,000 Bill Lake Motosu: Back of the D Series ¥5,000 Bill and the E Series ¥1,000 Bill The Green Pheasant: Back of the D Series ¥10,000 Bill Shureimon Gate: Face of the D Series ¥2,000 Bill The Irises Screen: Back of the E Series ¥5,000 Bill The Phoenix Statue of Byodoin: Back of the E Series ¥10,000 Bill The Great Wave off Kanagawa: Back of the F Series ¥1,000 Bill Wisterias: Back of the F Series ¥5,000 Bill Tokyo Station Marunouchi Main Building: Back of the F Series ¥10,000 Bill Related Posts Cranes: Back of the D Series ¥1,000 Bill Izumi in Kagoshima Prefecture is the largest migratory bird site in Japan. It attracts more than 10,000 cranes each winter. Symbolizing good luck and prosperity, the birds were first recorded wintering in this cozy corner of Kyushu back in 1694 and have been a protected natural resource ever since. cranes flying in izumi, kagoshima The Izumi Crane Observation Center leases nearly 5 square kilometers of rice paddies for the majestic animals to sleep, frolic and feed on grain and fish every morning, which is the best time to see them up-close from the viewing deck. The crane-wintering season in Izumi lasts from November to March. Lake Motosu: Back of the D Series ¥5,000 Bill and the E Series ¥1,000 Bill Formed by an eruption of Mount Fuji, Lake Motosu offers some of the best views of Japan's iconic sacred mountain. Located in Minobu, Yamanashi Prefecture, it's the westernmost body of water among the Fuji Five Lakes. It's also the deepest of the lakes at 121 meters and known for its clear waters which, when observed from the shore, appear an otherworldly shade of ultramarine. Water sports and camping are popular activities around Lake Motosu, which is also a religious ceremony site for people who worship Mount Fuji as a god. The Green Pheasant: Back of the D Series ¥10,000 Bill As Japan's national bird, the green pheasant can be spotted in the wild all over the country, but the Kumano Kodo pilgrimage network gives travelers a chance to enjoy the emerald bird amid the picturesque and historic scenery of the Kii Peninsula. Spreading across Mie, Nara and Wakayama prefectures, this UNESCO World Heritage Site has been bringing people to the spiritual heart of Japan for over a millennium while giving them plenty of pheasant-spotting opportunities. Other animals that may be enjoyed — from afar — on the Kumano Kodo routes are tanuki racoon dogs, black kites and blue-tailed skinks. Shureimon Gate: Face of the D Series ¥2,000 Bill A symbol of Okinawan culture, the vermilion Shureimon Gate is an impressive wooden structure located near Shuri Castle. Inspired by Chinese architectural styles, the gate was constructed in the mid-16th century to welcome envoys and important guests to the Ryukyu Kingdom. Shureimon Gate Noted for its beauty, the gate was designated as a National Treasure in 1933. It was unfortunately destroyed during World War II and consequently rebuilt in 1958. The Irises Screen: Back of the E Series ¥5,000 Bill Considered an icon of Japanese screen-painting, 'Irises' by Ogata Korin takes up a pair of six-panel screens dating back to the 18th century. In the possession of the Nezu Museum in Tokyo, this National Treasure has a much bigger impact in person than on the back of Japanese money (featuring the right screen) where its original azure and green colors have understandably been toned down. Praised for its abstract portrayal of nature combined with a pleasing geometrical design, it's said that the screen inspired the Iris paintings of Vincent van Gogh. The Nezu Museum's collection numbers 7,600 works, including other National Treasures as well as Important Cultural Properties. The Phoenix Statue of Byodoin: Back of the E Series ¥10,000 Bill The Phoenix Hall is the only original structure of the Byodoin Temple in Uji city, located just south of Kyoto. Built in 1053, its name was inspired by its form, with the hall's elegant architecture giving it the appearance of a bird taking flight. The roof is also adorned by golden phoenix statues. Originally a villa of the Fujiwara clan, the Phoenix Hall also served as the background of The First Battle of Uji where samurai battled warrior monks. The Great Wave off Kanagawa: Back of the F Series ¥1,000 Bill One of the most reproduced images of all time, Katsushika Hokusai's 'The Great Wave off Kanagawa' was produced in 1831 and is the first in the Thirty-six Views of Mount Fuji series capturing a 19th-century view from somewhere in modern-day Yokohama. Often mistakenly referred to as a painting, The Great Wave is actually a woodblock print, meaning that there are various, equally-legitimate versions of the work found in museums around the world. The Ota Memorial Museum of Art in Shibuya, Tokyo, has an early print, as does The Tokyo National Museum, though not on permanent display. A great place to learn more about Hokusai is the Sumida Hokusai Museum in Tokyo's Sumida ward, where the artist spent most of his life. Wisterias: Back of the F Series ¥5,000 Bill A popular symbol of good luck and longevity, Japanese wisteria can be best enjoyed at the Ashikaga Flower Park in Tochigi Prefecture. It's home to over 350 wisteria trees, including a 160-year-old giant spanning 1,000 square meters with 80,000 individual flowers. The trees are in bloom from April to May. During the winter months, visitors to the Ashikaga Flower Park can also bask in the glow of 'The Garden of Illuminated Flowers,' an installation featuring 5 million colorful flower-themed lights. Tokyo Station Marunouchi Main Building: Back of the F Series ¥10,000 Bill First opened in 1914, Tokyo Station is the masterwork of architect Tatsuno Kingo. The station's iconic red-brick Marunouchi main building was restored in 2012 and today delights travelers from all over the world, particularly due to its octagonal domes decorated with eagle sculptures and zodiac motifs. Designated as an Important Cultural Property, the building is illuminated at night, enhancing its old-timey elegance against the techno-modern Tokyo skyline. The building houses the Tokyo Station Gallery with its revolving exhibitions and more than 150 stores, restaurants and other convenient facilities. Related Posts The Faces of Japan's New Banknotes | Spotlight Exploring the Lesser Traveled Prefectures of Ehime and Oita Sasebo Travel Guide: A Historic, Coastal Getaway
AU Financial Review
30-04-2025
- General
- AU Financial Review
Why ignoring your inner caveman will make you a better investor
The Great Wave off Kanagawa (known as 'The Great Wave') is Japan's most iconic artwork. Hokusai's woodblock print balances the yin of a raging, chaotic sea with the yang of the calmly enduring Mt Fuji. It is a portrait of resilience in the face of chaos. The wave's power reflects nature's dominance and the importance of adapting to forces beyond your control. The fishermen on the boats aren't panicking; they are calmly working together with determination to ensure their long-term survival.
The Independent
06-04-2025
- Health
- The Independent
How I found my way after losing my husband to a shock cancer diagnosis
To lose one husband may be regarded as a misfortune; to lose both looks like carelessness. That is, of course, a bad paraphrasing of one of Lady Bracknell's famous lines in The Importance of Being Earnest. But I did lose my husband – to cancer, in the summer of 2023. And then I lost what some people would call my 'work husband' the following year, following a bruising and lonely journey through grief. The Oscar Wilde reference is relevant because that play was a critical part of my recovery: I threw myself into the part of Lady B in a production at the Oxford Playhouse following a life-changing course of events. In the summer of 2023, I had been preparing for what was to come – the life after the empty nest, the life after 25 years of marriage. Then my husband, Brian, felt unwell and went to the GP. Blood tests revealed something was wrong, and at the Day Assessment Unit of our local hospital, he was told that he had cancer which had spread to his liver. Within a matter of days and a blurry reckoning of our past, present and future, we knew that in the nomenclature of cancer diagnoses, he had the one you absolutely do not want: small cell carcinoma. His prognosis was a year at best. We reeled in shock – our youngest was still at school, sitting exams. There was a slight delay before treatment could commence, and in that time, the relentless march of this thief of hope and joy took him out. He was gone on a Saturday morning, just six weeks after his diagnosis. While I raced around our city trying to find him prescription medications for the pain, our eldest sat by his hospital-at-home bed and watched him die. I will never forget that call from my son as I stood in line at the chemist: 'Mum, he's gone. He's dead.' I arrived home to a tableau of hysterical kids around his bed. I took one look at him and knew there was nothing more I could do. The people in the room needed me now. What followed was what I thought at the time was the right thing to do. I took just one week off from my demanding role as a global publishing director for an international firm before throwing myself into change management and contingency planning while leading the biggest team in the company. It is only when I look back now that I realise I was burning out. Just six weeks after my husband's death, I was attending an overseas crisis meeting. I had been very close to the owner of the business, and he was wonderful to me for a long time. Something changed. My grief was breaking over me like 'The Great Wave off Kanagawa' and anger and loneliness seeped through. I was confused, sad and angry – and driven. I ended up leaving the business and as a result, I lost the person whom, after my husband, I had entrusted with my deepest fears and vulnerabilities. I think somewhere back there, I unravelled. I was left with no insurance payout or coverage when my husband died, and the loss of my salary with three kids headed for university was a blow. I had to face facts, and not only the heartbreak of the loss of the job I loved, but also the connectedness I felt in the business. I hit a very low point – and then I stopped. All I had was within me, and it was my late husband who had told me to go on, to live and to do the things I was good at. I still had that. I reached out in my network and met the wonderful people I am now in a business partnership with, who could see my value and worth. They offered me the chance to launch and co-own a new publishing company, which we have named River Light Press. The Thames connects our two locations, and light is the thing we turn towards after the darkest night. It is also the Latin meaning of my name, Lucy. I am now acquiring my first titles for the press. I had felt doors slamming shut in my face at what is an exposing time for many women, but I now feel the warmth and pleasure of others opening up in their place. I can never move on from Brian, but I will move forward. My new partnership and new venture are giving me hope and purpose.
