AESTHETIC CONCEPTS AND AESTHETIC EXPERIENCE IN HOKUSAI’S UKIYO-E SERIES THIRTY-SIX VIEWS OF MOUNT FUJI

Abstract

This research aims to examine the reflection of aesthetic concepts and experience in the ukiyo-e woodblock print series Thirty-Six Views of Mount Fuji (1826–1833) by Katsushika Hokusai. Employing a qualitative research approach, the study draws primarily on documentary sources, including textbooks, scholarly literature, related research, and Hokusai’s original prints. Data were analyzed using descriptive analysis and aesthetic interpretation. The findings reveal that Hokusai vividly conveys the beauty of nature and the relationship between humans and the natural world through prominent visual art elements. These include the use of color that varies according to the seasons such as blue and white to evoke winter, and green and brown to reflect the abundance of nature in summer—the use of rhythmic, fluid, and dynamic lines to express the power and movement of nature, and compositional arrangements that position Mount Fuji both as the central focal point and as a backdrop to everyday human life. Furthermore, an analysis of the pictorial content demonstrates a symbolic connection between humans and nature, often depicting human figures on a smaller scale in comparison to Mount Fuji. This visual strategy reflects the concept of nature’s grandeur and human humility, a core value in Japanese culture. The works also employ religious and cultural symbolism, notably Mount Fuji as a sacred mountain associated with Shinto and Buddhist beliefs, which reflects the faith and spiritual worldview of Edo-period Japanese society. The application of aesthetic theory indicates that Hokusai’s aesthetics do not emphasize idealized beauty; rather, they foreground lived experience, impermanence, and the harmonious coexistence of humans and nature. This study offers new perspectives and deeper insights into the aesthetic qualities of Hokusai’s work, highlighting characteristics that distinguish him from his contemporaries in the ukiyo-e tradition. The findings can be applied to teaching and learning in art education and the study of art history.