Artwork

冨嶽三十六景尾州不二見原|Fujimigahara in Owari Province (Bishū Fujimigahara), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)

冨嶽三十六景尾州不二見原|Fujimigahara in Owari Province (Bishū Fujimigahara), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) is an ink print by the Japonisme artist Katsushika Hokusai. It dates from 1831 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created around 1831 by the Japanese printmaker Katsushika Hokusai, this woodblock print belongs to his celebrated series Thirty‑six Views of Mount Fuji. The work, titled Fujimigahara in Owari Province, is part of the Metropolitan Museum of Art’s collection. It presents a modest urban scene rendered in ink and color on paper, characteristic of early‑19th‑century ukiyo‑e.

Subject & Meaning

The composition centers on a large, empty basket mounted on wheels that rolls down a grassy slope. A crouching figure clutches a rope attached to the basket, suggesting movement or transport. A solitary tree stands to the left, while a distant, faintly outlined mountain rises under a pale sky, imparting a quiet, anticipatory atmosphere.

Technique & Style

Hokusai employs traditional ukiyo‑e woodblock methods, using fine, intersecting lines to depict the basket’s wheels, creating a cage‑like texture. Ink outlines define the forms, while subtle color washes convey the sky and landscape. The restrained palette and delicate hatching emphasize depth without overwhelming the scene, exemplifying Hokusai’s skill in balancing detail and simplicity.

History & Provenance

The print was produced in the late Edo period, a time when Hokusai’s series circulated widely among merchants and travelers. It entered the Metropolitan Museum of Art’s collection through acquisition in the 20th century, where it remains catalogued as an example of Hokusai’s later output within the Thirty‑six Views series.

Context

Fujimigahara depicts a locale in Owari Province, one of the many sites Hokusai selected to illustrate the varied perspectives of Mount Fuji. By focusing on everyday activity rather than the mountain itself, the image reflects the ukiyo‑e interest in ordinary urban life, while still situating the scene within the broader thematic framework of the series.