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The Hokusai Sketchbooks: Selections from the Manga
Michener, James A.
286 pages, Hardcover
First published December 15, 1958
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March 11, 2017There is currently an exhibition at the Crocker Art Museum in Sacramento on the influence of Japanese art on American art, from about 1880 to 1920. It is organized around the major world fairs/exhibitions in American cities during this period: San Diego, San Francisco, Chicago, St Louis... The walls and cases include both examples of Japanese arts and crafts that were shown at these fairs, and examples of the paintings, books, pottery, and other items of western manufacture that showed a Japanese influence through these pathways. I was particularly struck by a book open to show wonderful drawings of animals from Hokusai’s manga, or sketchbooks, and had to learn more about them.
The reason I bought this older book with James Michener acting as editor and writer was that I found a blog that claimed it had the best reasonably priced reproductions. Also, it is printed in a way that mimics the way the books were originally printed: with two sequential pages printed side by side on one side of a piece of paper, which was then folded in half. The book was bound with both edges in the stiched edge and the folded edge the one that the reader turned. That is, the left hand image would be our page one, and the right hand image our page two, on the flip side of the folded ‘page’.
Michener had the images printed at original size on slightly larger pages. With one two-page diptych he illustrated the difference between the technology of the original and the way he had to produce his book. He had the left hand side of the diptych printed with the offset lithography process used for almost all other pages in the book. But the right hand side of the diptych is printed using a newly cut woodblock (with Hokusai’s image on it), so you can see the variations in the reproduction processes. There is a hardness about the lithographed image, which makes you wish you had a few thousand dollars to spend on an original.
Michener says that all of the images were taken from prints that were made with the original blocks, although the sources were many different volumes. The books were meant to be used, and all became the victims of heavy use. The manga were so popular that they were reprinted many times, and the designs eventually had to be recut because the original blocks got worn out.
The original manga came out as a series of 15 volumes. Michener chose examples of each genre of drawing from among all the volumes: people, fauna, flora, landscapes, the past, grotesque, technical, and architecture. There are 187 plates, as well as hundreds more small images scattered across the top of his text pages. Colors are limited to the black, grey and pale pink colors in the originals.
Michener doesn’t lack for opinions. He is an art enthusiast, but not a trained art historian, so I would recommend supplementing this with other reading. He does spend quite a bit of time discussing the attitudes of the Japanese themselves toward Hokusai, in particular the way many art collectors (at least when he was writing) looked askance at such popular, low class art that ignored the precepts and examples of fine Chinese painting. But Michener himself enjoyed Hokusai’s reckless attitude toward life and his dedication to his art. That comes through, even though I disagreed with many of his judgments about the quality of particular drawings. He writes an introduction to each topic, as well as an explanation of what is going on in each plate. This edition also includes all of the original forwards written by various artists and writers for each of the fifteen volumes as they were issued.
I will return to dip into this occasionally. There are many images that show an understanding of human nature and daily life, its humor and ups and downs, that still amuse or inform.
The reason I bought this older book with James Michener acting as editor and writer was that I found a blog that claimed it had the best reasonably priced reproductions. Also, it is printed in a way that mimics the way the books were originally printed: with two sequential pages printed side by side on one side of a piece of paper, which was then folded in half. The book was bound with both edges in the stiched edge and the folded edge the one that the reader turned. That is, the left hand image would be our page one, and the right hand image our page two, on the flip side of the folded ‘page’.
Michener had the images printed at original size on slightly larger pages. With one two-page diptych he illustrated the difference between the technology of the original and the way he had to produce his book. He had the left hand side of the diptych printed with the offset lithography process used for almost all other pages in the book. But the right hand side of the diptych is printed using a newly cut woodblock (with Hokusai’s image on it), so you can see the variations in the reproduction processes. There is a hardness about the lithographed image, which makes you wish you had a few thousand dollars to spend on an original.
Michener says that all of the images were taken from prints that were made with the original blocks, although the sources were many different volumes. The books were meant to be used, and all became the victims of heavy use. The manga were so popular that they were reprinted many times, and the designs eventually had to be recut because the original blocks got worn out.
The original manga came out as a series of 15 volumes. Michener chose examples of each genre of drawing from among all the volumes: people, fauna, flora, landscapes, the past, grotesque, technical, and architecture. There are 187 plates, as well as hundreds more small images scattered across the top of his text pages. Colors are limited to the black, grey and pale pink colors in the originals.
Michener doesn’t lack for opinions. He is an art enthusiast, but not a trained art historian, so I would recommend supplementing this with other reading. He does spend quite a bit of time discussing the attitudes of the Japanese themselves toward Hokusai, in particular the way many art collectors (at least when he was writing) looked askance at such popular, low class art that ignored the precepts and examples of fine Chinese painting. But Michener himself enjoyed Hokusai’s reckless attitude toward life and his dedication to his art. That comes through, even though I disagreed with many of his judgments about the quality of particular drawings. He writes an introduction to each topic, as well as an explanation of what is going on in each plate. This edition also includes all of the original forwards written by various artists and writers for each of the fifteen volumes as they were issued.
I will return to dip into this occasionally. There are many images that show an understanding of human nature and daily life, its humor and ups and downs, that still amuse or inform.
November 7, 2021
One of the most beautifully produced books that I own. It is a great delight to handle and browse as well as reading the author's illuminating comments. As in the original manga volumes, pages are printed on only one side then folded in two to allow continuity of an image spread across two pages when the book is fully opened.
I am currently rereading this book as I have been looking at it frequently for the last 2 or 3 years.
I am currently rereading this book as I have been looking at it frequently for the last 2 or 3 years.
April 4, 2015
James Michener, well know for his historical fiction, was also an aficionado of Japanese culture and art, marrying, as he did, a Japanese woman after WWII, when such unions were controversial. It is my understanding that part of his attraction to the woman was a fascination with her culture, and he became a lover of Japanese imagery and collector of Japanese art.
This book offers a collection of artwork that Michener considers most significant from the Hokusai Manga, 15 volumes of woodblock prints from sketches, marketed to the largely illiterate masses of Japan for their entertainment. The word Manga can be translated as “random sketches,” “cartoons,” or “drawings from life.” Manga are a literary form still produced today. The book’s margins are filled with sketches, in addition to the full-page plates. Michener’s commentary on the art includes considerable biographical detail of this eccentric artist who lived in over 90 houses and assumed over 50 names.
The commentary is interesting partly because it is historical in itself, written in 1958. Many of the subjects—such as women wearing tall rain zoris with removable toe coverings—that Michener says can “still be seen today” have disappeared from Japan during the past 60 years. Another historical aspect is that the book is bound as the Manga was, in pages that are folded in and stitched so that each page is doubled, a process no publisher would seriously consider today.
Michener starts out with a summary of each of the 15 volumes, then organizes Hokusai’s subjects by chapter: people, flora, fauna, landscape, the past, grotesqueries, technical, architecture, and forerunners, the latter category being images that Hokusai uses later in his more famous and refined artwork. Michener has distinct likes and dislikes, however, he does not present just his favorites, but compiles sketches that have cultural and artistic significance. He shows samples of both beautiful renderings, and those that miss their mark.
Michener is quick to point out cultural context for Hokusai’s art. Although Michener gives personal opinions, he also states how Hokusai’s contemporaries, for whom the Manga was designed, were better able to appreciate, for example, images of ghosts and ancient mythology. He likens Hokusai to Leonardo da Vinci, similarly imagining and illustrating new technologies, but in the limiting context of late feudal Japan, akin to European Medieval society. Hokusai’s curiosity about the world was unusual in his era. In fact, some of his activities, like reading Western books, were illegal. Both his sense of life and sense of humor are reflected in his art.
Michener’s portrait of this unusual man is an interesting read, but the best way to read this book is: read Michener’s introduction on the Manga, then look at the art and develop your own impressions of it. Then go back and read the text. Then, look at the art again.
This book offers a collection of artwork that Michener considers most significant from the Hokusai Manga, 15 volumes of woodblock prints from sketches, marketed to the largely illiterate masses of Japan for their entertainment. The word Manga can be translated as “random sketches,” “cartoons,” or “drawings from life.” Manga are a literary form still produced today. The book’s margins are filled with sketches, in addition to the full-page plates. Michener’s commentary on the art includes considerable biographical detail of this eccentric artist who lived in over 90 houses and assumed over 50 names.
The commentary is interesting partly because it is historical in itself, written in 1958. Many of the subjects—such as women wearing tall rain zoris with removable toe coverings—that Michener says can “still be seen today” have disappeared from Japan during the past 60 years. Another historical aspect is that the book is bound as the Manga was, in pages that are folded in and stitched so that each page is doubled, a process no publisher would seriously consider today.
Michener starts out with a summary of each of the 15 volumes, then organizes Hokusai’s subjects by chapter: people, flora, fauna, landscape, the past, grotesqueries, technical, architecture, and forerunners, the latter category being images that Hokusai uses later in his more famous and refined artwork. Michener has distinct likes and dislikes, however, he does not present just his favorites, but compiles sketches that have cultural and artistic significance. He shows samples of both beautiful renderings, and those that miss their mark.
Michener is quick to point out cultural context for Hokusai’s art. Although Michener gives personal opinions, he also states how Hokusai’s contemporaries, for whom the Manga was designed, were better able to appreciate, for example, images of ghosts and ancient mythology. He likens Hokusai to Leonardo da Vinci, similarly imagining and illustrating new technologies, but in the limiting context of late feudal Japan, akin to European Medieval society. Hokusai’s curiosity about the world was unusual in his era. In fact, some of his activities, like reading Western books, were illegal. Both his sense of life and sense of humor are reflected in his art.
Michener’s portrait of this unusual man is an interesting read, but the best way to read this book is: read Michener’s introduction on the Manga, then look at the art and develop your own impressions of it. Then go back and read the text. Then, look at the art again.
August 8, 2011
Not necessarily the best of his work, but as a collection with commentary, very interesting. So strange to see his flubs as well - his dogs are atrocious, and he had never seen a tiger, so no wonder his look so bizarre! But his people and landscapes are delightful - I love the pages crammed with sketches of people at their everyday tasks, especially everything to do with the rice harvest. My favorite are plates 25-26 which represents 5 people caught up in a sudden windstorm. Also love the fact that Hokusai did his best work in his seventies and eighties.
June 25, 2008
THE authority on Hokusai. Great book.
Displaying 1 - 5 of 5 reviews