Drawing 17,  19.2 X 27.4 cm.

Apparition and small figures, by Hokusai.  

17 A.  Apparition.

Published in Bei bei kyôdan,  vol. 1, p. 7B, in 1815.

Changes from drawing to print:

• In the print, an eye and nose have been added to the apparition.
• The belt of the man in the foreground which is frayed in the drawing is in good condition in the print.
• The kneeling man’s head has been lifted slightly. On the other hand, the head of the sculpture behind the standing man has been reduced and made more rounded.
• The positioning of the figures has been completed: the decorative border has been finished following the example, the tassel in the lower right-hand corner has been positioned higher, text and two cartouches have been added.
   

Artist's shorthand:

• The pattern of the man in the foreground and, as usual, the flat black areas: the hair, leggings, scabbard and belt.
   

The working of the lines is exceptional, specially the pattern on the coat, extremely delicate and without hesitation or weakness.

17 B.  A Samurai holding a severed head.
Published in Bei bei kyôdan, vol. 4, pp.6B – 7A, in 1815.

Print from the 3rd edition, which is a close copy of the 1rst.
 

Changes from drawing to print:

• A cartouche with the name has been added.
   

Artist's shorthand:

• As usual, the hair and patterns on the clothes.

17 C.  Sketches of eight small figures.

Published in Bei bei kyôdan, vol. 5A, pp. 17B – 18A, in 1815.

Changes from drawing to print:
Since these sketches were spread around the remaining space on the paper before being grouped together in the print, it makes little sense to discuss the differences between the sketches and the print. It is worth noting, however, the following difference which is not linked to the positioning of the figures: the mon on the bamboo screen (top left sketch, in the bottom right in the print) has been removed.

Artist's shorthand:

• The pine needles in the sketch of the woman in the top left-hand corner.

 The patterns on the obi of the two women sitting with the child in the top right-hand corner are very stylised in the sketch.
 Although great freedom has been used in the positioning of the figures in this sheet, their outline has been faithfully copied onto the print and the artist’s shorthand clearly followed.