Who painted 諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo?

諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo was painted by Katsushika Hokusai in 1827.

Where can I see 諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo?

諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo is held by Metropolitan Museum of Art.

What movement is 諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo?

諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo is associated with Japonisme.

Artwork

諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo

Katsushika Hokusai , 1827

諸國瀧廻東都葵ヶ岡の瀧|Fall of Aoiga Oka, Yedo is an ink print by the Japonisme artist Katsushika Hokusai. It dates from 1827 and is held in the collection of the Metropolitan Museum of Art.

Accession no.: JP1086
Credit line: Museum Accession

About this work

Overview

Created around 1827 by the Japanese printmaker Katsushika Hokusai, this woodblock print depicts a waterfall scene at Aoiga Oka in the eastern capital, then known as Yedo. Executed in ink and color on paper, the work is part of the Metropolitan Museum of Art’s collection and exemplifies the landscape genre popular in early nineteenth‑century ukiyo‑e.

Subject & Meaning

The composition gathers a small group of figures on a rocky slope beside a modest cascade. To the left, several men and children shelter beneath a tree; on the right, a shirtless man points toward the falling water. A raised wooden house with a tiled roof anchors the background, suggesting a rural settlement integrated with the natural setting.

Technique & Style

Hokusai employs the characteristic ukiyo‑e woodblock process, layering ink and pigments to achieve depth. Fine dots and delicate lines render the waterfall’s texture, while darker, wavy strokes define the surrounding foliage. The balance of busy human activity against a tranquil sky demonstrates the artist’s skill in arranging multiple elements within a compact format.

History & Provenance

The print was produced during Hokusai’s mature period, when he was exploring varied landscape subjects beyond his famed Mount Fuji series. It entered the Metropolitan Museum of Art’s collection through acquisition in the early twentieth century, where it remains on view as a representative example of Edo‑period Japanese printmaking.