Famous Top 10 Katsushika Hokusai Paintings

Katsushika Hokusai (born October 31, 1760, and died May 10, 1849, in the Japanese city of Edo) was a ukiyo-e artist, illustrator, and printmaker who worked under a large number of pseudonyms. Hokusai is also one of the most famous Japanese printmakers in the West, a master of the late period of Japanese woodblock printing. For those interested in exploring timeless works of global masters, tryartwork offers access to a wide collection of art and reproductions.

Throughout his life, the artist signed his works with different names - no fewer than 30 variations - which was a common practice among Japanese masters of that time. His pseudonyms are often used to define specific stages of his creative journey.

The exact origins of Katsushika Hokusai remain unknown, but many researchers believe that the boy was raised by adoptive parents, as his biological mother and father most likely came from the poorer strata of society. It is known that his adoptive father was a craftsman specializing in making and decorating mirrors, which inspired Hokusai to try drawing at the young age of six.

Later, the young man left his adoptive family and began working in a bookstore, where he learned to read and write and soon entered the workshop of a woodblock carver. His youth coincided with the flourishing of theatrical, musical, and artistic culture in Edo, so it is no surprise that he chose the artistic path and became a student of one of Japan’s most renowned ukiyo-e and woodblock masters. During this time, Hokusai developed his own distinctive style and emerged as a fully formed artist with his unique vision and convictions.

The artist lived nearly ninety years and, over the course of his career, created many remarkable works. We present ten of the master’s most famous paintings and engravings that are well worth your attention.

The Great Wave off Kanagawa (1831)

The ukiyo-e woodblock print The Great Wave off Kanagawa (The Great Wave off Kanagawa) was created in 1831 and belongs to the series Thirty-Six Views of Mount Fuji. It is one of Hokusai’s most famous works and appears on the 1,000-yen banknote issued in 2024.

The central element of the print is a huge wave looming over three boats near Kanagawa, ready to swallow the small vessels and bury them forever with their crews in the waters of the Sea of Japan. The sailors cling desperately to the sides of their boats, trying not to be swept into the raging surf. In the background stands the sacred Mount Fuji, revered by the people of the Land of the Rising Sun. Beyond the obvious struggle with the sea, the print symbolizes humanity’s helplessness before the overwhelming forces of nature.

Copies of this print are held in the Metropolitan Museum of Art in New York, the British Museum in London, and at the home of the French artist Claude Monet in Giverny.

Fine Wind, Clear Morning (Red Fuji) (c. 1830–1832)

The print Fine Wind, Clear Morning (Red Fuji) was created between 1830 and 1832 as part of the series Thirty-Six Views of Mount Fuji. In it, the artist depicted Mount Fuji in a deep red hue, a color the mountain can take on in late summer or early autumn under specific weather conditions (a southern wind and a clear sky). Illuminated by the rays of the rising sun, the mountain turns red. According to art historian T. Clark, this composition is both the most abstract and the most “meteorologically specific” in the entire series.

In their book Hokusai: Genius of Japanese Ukiyo-e, authors S. Nagata and J. Bester note that despite its apparent simplicity, this print conveys the grandeur and power of nature. The fiery red palette of Fuji’s slopes and the blue sky with drifting white clouds embody a majestic vision. For those who wish to discover more of Hokusai’s genius, visit the collection of Katsushika Hokusai artworks, where his iconic pieces are presented in one place.

Thunderstorm Beneath the Summit (Rainstorm Beneath the Summit / Black Fuji) (c. 1831)

Thunderstorm Beneath the Summit (also known as Rainstorm Beneath the Summit/ Black Fuji) is a woodblock print created in 1831 and belongs to the series Thirty-Six Views of Mount Fuji.

In the foreground of this ukiyo-e print, the master depicts Mount Fuji in reddish-brown tones with a snow-capped peak. Lightning flashes at the foot of the mountain, and beyond it lie green hills, over which curly white clouds drift across a blue sky.

The Dream of the Fisherman’s Wife (1814)

The woodblock print in the shunga style, The Dream of the Fisherman’s Wife, was created in 1814. In this ukiyo-e piece, the master depicted a nude woman lying on her back while a large octopus performs cunnilingus, stimulating her with its tentacle. Another, smaller octopus presses its beak against her mouth while caressing her breast with its limbs. The inscriptions on the print suggest that all three participants are experiencing great pleasure from the act.

This famous tentacle print was first published in the artist’s three-volume shunga book Young Pines. In the original, it had no fixed title, which is why Western art historians have referred to it as “Diver and Octopi,” “Diver and Two Octopuses,” or “Pearl Diver and Two Octopuses.” Today, alongside other works in the erotic genre, it continues to spark discussion about the boundaries of art and sexuality. For collectors and enthusiasts, our collection of oil painting replicas also includes works by artists who explored sensuality and the nude style in diverse ways.

Old Tiger in the Snow (1849)

The woodblock print Old Tiger in the Snow, executed in the lithographic technique, was created in 1849. It depicts an old tiger lying on the snow amid coniferous trees blanketed with snow. Large snowflakes fall onto the animal from above. To render the tiger and the background of this ukiyo-e–style print, the artist used yellow-brown and black inks. Today the work is in a private collection, and its reproductions can be found in many catalogs of art galleries and museums around the world.

Great Daruma (The Great Bodhidharma) (1817)

Old Tiger in the Snow is a woodblock print executed using a lithographic technique, created in 1849. It depicts an old tiger lying on the snow amid coniferous trees covered with a blanket of snow. Large snowflakes fall onto the animal from above.

To render the tiger and the background of this ukiyo-e–style print, the artist used yellow-brown and black inks. Today the work is in a private collection, and its reproductions can be found in many catalogs of art galleries and museums worldwide.

Bullfinch and Weeping Cherry Blossoms (c. 1834)

The woodblock print Bullfinch and Weeping Cherry Blossoms was created in 1834 and belongs to the series Small Flowers, executed in a lithographic style.

Against a dark blue background, the artist depicts blooming sakura branches with delicate pink blossoms and green leaves. On one of the branches, a red-breasted bullfinch hangs upside down. Japanese inscriptions describe the nature of the print. The theme of flowers and birds was one of the master’s favorite subjects, which he brought together into a large series of prints.

Ducks in a Stream (1847)

The woodblock print Ducks in a Stream was created in 1847 and forms part of the Flowers and Birds illustration series rather than being a separate, widely known stand-alone work by the master. It depicts ducks in their natural aquatic element, demonstrating the artist’s unsurpassed talent for portraying nature. The ducks swim and rest in a stream, in keeping with classical Japanese painting. This and other works by the master are held in various museums around the world and can also be viewed on many websites devoted to art and Japanese painting.

Li Bai Admiring a Waterfall (1849)

The woodblock print Li Bai Admiring a Waterfall was created in 1849 and is part of a series of works titled One Hundred Poems by Great Poets. It depicts the Chinese poet Li Bai in traditional clothing, contemplating and admiring the beauty of a waterfall. He stands on a high hill, with trees bearing lush canopies behind him.

This ukiyo-e work vividly demonstrates the artist’s talent for conveying the dynamic state of nature and the inner emotional state of its hero. The print was also created to illustrate classic poems by renowned Chinese and Japanese poets.

Kajikazawa in Kai Province (c. 1830–1832)

The woodblock print in the ukiyo-e style Kajikazawa in Kai Province was created between 1830 and 1832 and belongs to the series Thirty-Six Views of Mount Fuji. Today it is held in a private collection.

The title given to this work by art historians most likely incorrectly identifies the location in Japan as Kajikazawa. This area lies in the floodplain of the Fujisawa River, formed by the confluence of the Fuefukawa and Kamanugawa rivers. In Chinese, the word Kajikazawa is written with different characters but read as kajika -  meaning bullhead, a type of fish found in these waters. The Fujisawa is one of Japan’s largest rivers, known for its fast and turbulent current.

As in many of the artist’s works, Mount Fuji is given a special role, serving both as a natural landmark and a sacred symbol of Japan. In the print, the mountain seems to emerge from the depths of the waters, rising majestically above the landscape and supporting the white-blue sky with its peak.

The master realistically depicts the river’s rapid flow, with foamy spray splashing against a steep cliff covered in green grass and looming threateningly over the water. With clear horizontal lines in the background, layered and intersecting, the artist conveys the river’s irresistible force.

On the cliff stands a fisherman pulling his nets, while beside him, a boy sits with his back to the viewer, holding a basket for the catch. In Hokusai’s print, we see a juxtaposition of boundless nature with the small human figure, seemingly lost in the vastness. This seemingly ordinary moment in the life of a fisherman takes on an epic significance. The artist seeks not only visual accuracy but also a convincing embodiment of the deeper meaning of the work, where every detail reflects his unique style and mastery.

The Art of Katsushika Hokusai: Its Significance in Japanese Culture and Painting

The famous master of classical Japanese woodblock printing in the ukiyo-e style, Katsushika Hokusai, was not an artist in the traditional sense. His works often displayed the influence of Western art, including linear perspective, depictions of the lives of the poor, realism, and other currents. Hokusai’s prints reflect a philosophical outlook on the world. In his works, he paid great attention to even the smallest details, meticulously rendering every element of the scene.

Hokusai never copied the manner of other artists and consistently incorporated techniques from European masters. At first, his art did not bring him much income, and only with the creation of surimono - engraved prints - did he gain broad popularity. He also created book illustrations, but it was his series of prints and albums that brought him the most recognition, where he depicted scenes of daily life, animals and birds, landscapes, bridges, as well as ghosts and spirits.

Katsushika Hokusai’s work made a significant contribution to Japanese art and culture and also resonated with numerous European and American painters, including the Impressionists. For example, artists such as Camille Pissarro drew inspiration from Japanese prints, which influenced the development of their style. Hokusai’s tireless pursuit of perfection pushed him toward constant innovation and new solutions in painting, earning him widespread acclaim and success.

The final years of the artist’s life were spent in poverty. After returning to Edo (modern Tokyo), plundered by enemies, he made a living selling his prints. Soon after, a fire broke out in his workshop, destroying all of his sketches, and until his death in 1849, he produced almost nothing new.