Glossary
Edo period. From 1615 to 1868. This period corresponds to the arrival in power of the Tokugawa family (1603-1868), their choice of Edo, (now Tôkyô) as their new capital rather than Kyôto, as well as their policy of closing off Japan from the rest of the world (l639-1859).
“Fugaku hyakkey”. “The hundred views of Fuji”, one of the most famous books illustrated by Hokusai, published in 3 volumes in 1834, 1835 and around 1845.
Hanshita-e. A preparatory drawing for a Japanese print in its final form which would be supplied to the wood-block carver (see ichiji shita-e and shita-e).
Hiragana. Phonetic Japanese script composed of simplified Chinese cursive characters.
“Hyakunin Isshû”. Literally: “100 people, each one a poem”, the title of a famous collection of Japanese poems from the 13th century. Theme of the last large series of prints by Hokusai, c. 1835–36.
Ichiji shita-e. The first preparatory sketch for a Japanese print. (see hanshita-e and shita-e).
Kanji. A Chinese character used in Japanese writing.
Kanô. One of the schools of painting in Japan. Founded in the 15th century, and mainly catering for the military elite of the country, it reached its peak in the 16th century, and then slowly declined. Originally inspired by Chinese Song painting, it was long considered to be “the” classical school, and therefore the one where many painters learnt their first skills.
Kimono. A traditional Japanese garment.
Koto. A Japanese harp which is placed flat on the ground to be played.
Manga. Literally: man “haphazard”; ga “drawings”. A word which became famous due to the title of Hokusai’s best known book.
Mon. Coat of arms.
“Nisshin Jôma”. Literally: “Daily exorcisms”. The name of a series of drawings representing Shishi lucky charms which Hokusai drew at the rate of one a day from January 1843 to February 1844. As the name implies, this habit had all the marks of an exorcism tinged with humour.
Obi. A belt worn with the kimono, to add elegance.
Shishi. A mythical lion inspired from Buddhism, a symbol of good luck.
Shita-e. A full size preparatory sketch for a Japanese print. Normally a reworking of the ichiji shita-e with a first sketch for layout and composition of the landscape. It precedes the hanshita-e (see ichiji shita-e and hanshita-e).
Shorthand. Indications of detail, which are generally decorative and drawn with a light stroke and lighter ink to be more easily seen and reworked at the next stage of the project.
Sumi. Traditional black ink.
Tatami. A panel of woven rice straw measuring about 6 feet by 3 feet. The traditional floor covering in Japanese homes.
Tempô. An era in the traditional Japanese calendar, starting on 25 January 1830 and ending 17 February 1844 –
Tengu. Mythical creatures, not always with humans best intentions in mind. Generally looking like a man with wings, claws and a large nose.
Ukiyo-e. A school of painting and later of wood block printing, flourishing in Japan from c. 1650 to c. 1900, mainly catering for the city-dwelling middle classes. From its rather elitist beginnings which were solely in painting, it became more and more popular with the spread of its prints. Later to be identified as “Japanese prints”.
Usugami. Thin, transparent paper, usually used for tracing copies.
Yomihon. Illustrated storybooks, characterised by an inspiration shared between tradition and magical adventures, a hectic pace and heroic illustrations. China, having known during the Bunka era (1804-18) a return to influence, was perfectly situated for some of the most incredible adventures. No doubt Hokusai found here a perfect setting to express his unbridled dramatic imagination within the classical Chinese culture which inspired him.