Part 1

Read the text and answer the questions below.

Katsushika Hokusai

A Hokusai (born October 1760, Edo [now Tokyo], Japan—died May 10, 1849). Edo was a Japanese master artist and printmaker of the ukiyo-e (“pictures of the floating world”) school. His early works represent the full spectrum of ukiyo-e art, including single-sheet prints of landscapes and actors, hand paintings, and surimono (“printed things”), such as greetings and announcements. Later he concentrated on the classical themes of the samurai and Chinese subjects. His famous print series “Thirty-six Views of Mount Fuji,” published between 1825 and 1833, marked the summit in the history of the Japanese landscape print. Early years

B Hokusai was born in the Honjo quarter just during the age of two. He was adopted named Nakajima but he never accepted though the true son of Nakajima, he had been born of a concubine. “In (Tokyo) and became interested in… and by a prestigious artisan family”—but—possibly supporting the theory that, Hokusai is said to have served in his youth as a clerk in a lending bookshop, and from 15 to 18 years of age he was apprenticed to a wood-block engraver This early training in the book and printing trade certainly contributed to Hokusai’s artistic development as a printmaker.

C The earliest contemporary record of Hokusai dates from the year 1778, when, at the age of 18, he became a pupil of the leading ukiyo-e master, Katsukawa Shunshō. The young Hokusai’s first published works appeared the following year—actor prints of the kabuki theatre, the genre that Shunshō and the Katsukawa school practically dominated.

D To judge from the age of his several children, Hokusai must have married in his mid-20s. Possibly under the influence of family life, from this period his designs tended to turn from prints of actors and women to historical and landscape subjects, especially uki-e (“fake-bird’s-eye landscapes using Western-influenced perspective techniques”), as well as prints of children. The artist’s book illustration and text turned as well from the earlier themes to historical and didactic subjects. At the same time, Hokusai’s work in the surimono genre during the subsequent decade marked one of the early peaks in his career. Surimono were private prints produced for special occasions—New Year’s and other greetings, musical programmes and announcements, private verse selections—in limited editions and featuring immaculate printing of the highest quality. Middle years

E In his middle years, Hokusai experienced significant artistic evolution and personal hardship. He began to distance himself from the Katsukawa school, partly due to the death of his master Shunshō in 1792 and partly due to his own burgeoning interest in other Japanese and Chinese artistic traditions. He started using the name “Hokusai” around 1797, and his work from this period shows a broader range of influences.

F A series of personal tragedies, including the death of his wife and his own financial struggles, seemed to fuel rather than hinder his artistic output. He moved residence frequently—some accounts say over sixty times in his life—often to avoid creditors. Despite this instability, the period from 1800 to 1810 was one of prodigious production. He created several major illustrated books, including the first volume of his instructional manga (random drawings), which were sketchbooks of countless subjects—animals, people, mythological figures—intended as model books for other artists. These manga volumes became widely popular and demonstrated his incredible draftsmanship and observational skill. Later years and Legacy

G Hokusai’s most celebrated work was created in his seventies. It was during this period that he produced the iconic “Thirty-six Views of Mount Fuji,” which includes the world-renowned print “The Great Wave off Kanagawa.” This work was revolutionary for its bold composition, innovative use of the newly affordable Prussian blue pigment, and its focus on the daily lives of common people within dramatic landscapes. The series was so popular that ten additional prints were added to the original thirty-six.

H In his later writings, Hokusai expressed a profound belief in his own artistic growth with age. He famously wrote that by the age of 110, every dot and line he drew would be alive. Though he never reached that age, he continued working relentlessly until his death at 89. Hokusai’s influence extended far beyond Japan; after the country opened up in the Meiji period, his prints reached Europe and profoundly impacted the Impressionist and Art Nouveau movements. Artists like Claude Monet and Vincent van Gogh collected his prints and were inspired by his composition and use of colour.

Questions 1–6

Do the following statements agree with the information given in Reading Passage 1? In boxes 1–6 on your answer sheet, write: TRUE FALSE NOT GIVEN

1 Hokusai’s series “Thirty-six Views of Mount Fuji” was published over an eight-year period. □ TRUE □ FALSE □ NOT GIVEN

2 Hokusai was the biological son of the Nakajima family. □ TRUE □ FALSE □ NOT GIVEN

3 Hokusai’s apprenticeship with a wood-block engraver lasted for four years. □ TRUE □ FALSE □ NOT GIVEN

4 Hokusai’s first published works were landscapes. □ TRUE □ FALSE □ NOT GIVEN

5 Hokusai’s work in the surimono genre is considered one of the early high points of his career. □ TRUE □ FALSE □ NOT GIVEN

6 The death of his master Shunshō was the only reason Hokusai distanced himself from the Katsukawa school. □ TRUE □ FALSE □ NOT GIVEN

Questions 7–13

Complete the notes below. Choose NO MORE THAN TWO WORDS from the passage for each answer. Write your answers in boxes 7–13 on your answer sheet.

Hokusai’s Life and Work

Early training: 7 Worked as a clerk in a ____________ 8 Apprenticed to a ____________ from age 15 to 18.

Artistic Shifts: 9 After marriage, his subjects changed to historical scenes and ____________, which used Western perspective. 10 His surimono were known for their high-quality ____________.

Middle Years: 11 Began using the name ‘Hokusai’ around ____________ 12 Published ____________, which were sketchbooks for artists.

Later Work: 13 His famous series “Thirty-six Views of Mount Fuji” used a new blue pigment called ____________. His work greatly influenced European art movements, including Impressionism.