When we think of Hokusai, we often picture one thing: The Great Wave off Kanagawa. That one perfect crest, that frozen tension before it crashes, has become the face of Japanese art worldwide. But Katsushika Hokusai’s story is much more than a single print. In fact, it’s not the story of one artist at all.
Over the course of his extraordinary 70-year career, Hokusai changed his art name—and his artistic identity—at least six times. Each new name marked a fresh start, a creative rebirth, and a reflection of the moment he was in. These names—Shunrō, Sōri, Hokusai, Taitō, Iitsu, and Gakyō Rōjin Manji—serve as chapters in a visual biography, each with its own voice, mood, and purpose.
Hokusai was not one artist. He was many.
Shunrō – 春朗 (1779–1794): The Budding Apprentice
Born in Edo in 1760 as Tokitarō Kawamura, Hokusai was adopted by a mirror-maker and trained early as an artisan. At 14, he began carving woodblocks and soon joined the studio of Katsukawa Shunshō, a master of kabuki actor portraits.
Taking the name Shunrō, he began producing actor prints (yakusha-e) in the Katsukawa style—dynamic, theatrical, and full of expressive gestures. These early works, though formulaic, show glimpses of Hokusai’s restless linework and curiosity about people’s everyday lives.
This period was about imitation, discipline, and foundation. The waves were still far off—but the tide was building.
Sōri – 宗理 (1795–1798): The Surimono Years
After Shunshō’s death, Hokusai left the Katsukawa school and joined the Tawaraya workshop, where he took the name Sōri. Contrary to earlier assumptions, he did not become Tawaraya Sōri, but used Sōri within the studio’s tradition.
During this time, he blossomed as a designer of surimono—luxurious, privately commissioned prints—alongside illustrations for poetry books and kyōka (comic verse). The work from this period is light, elegant, and often playful. You can already sense him breaking out of the ukiyo-e conventions of the time.
In these years, Hokusai wasn’t just an artist; he was a collaborator with poets, a craftsman of nuance and humor.
Hokusai – 北斎 (1798–1813): The Independent Innovator
In 1798, at age 39, he finally declared his independence. He left all studio associations and began using the name we now know best: Katsushika Hokusai. The name itself suggests a spiritual compass—“North Studio”—and perhaps a declaration of artistic direction.
This phase saw him become a true creative force. He illustrated novels, created humorous prints, and began developing his obsession with daily life, storytelling, and landscapes. Some early illustrated books, like Chinsetsu Yumiharizuki (Strange Tales of the Crescent Moon, 1807 – 1811, written by Takizawa Bakin), show his growing narrative confidence.
These were the years Hokusai built his foundation not as a pupil, but as a peer to the masters of his time.
Taitō – 戴斗 (1814–1849): The Teacher and Philosopher
From 1814 onward, Hokusai adopted the name Taitō. It was under this name that he became not only an artist but also a mentor to many students and a teacher to the wider world through his printed manuals.
The name Taitō represents the wisdom of a teacher who could distill a universe into brushstrokes and ink.
The most significant product of this phase? The Hokusai Manga. First published in 1814, this series of 15 sketchbooks captures a stunning range of subjects—from carpenters and wrestlers to ghosts, frogs, and even gods. The sketches are spontaneous, raw, and bursting with life.
The Hokusai Manga is a collection of woodblock-printed sketchbooks by Japanese artist Katsushika Hokusai, first published in 1814. Spanning 15 volumes released between 1814 and 1878, these books encompass thousands of images depicting a vast array of subjects, including landscapes, flora and fauna, everyday life, and the supernatural. Unlike contemporary manga, which are narrative-driven comics, the term “manga” in Hokusai’s time referred to informal drawings or random sketches, not connected by a storyline. The Hokusai Manga served as an art manual and reflected Hokusai’s dedication to capturing the essence of forms and movements, significantly influencing both Japanese and Western perceptions of Japanese art.
Iitsu – 為一 (1820–1834): The Master of Mount Fuji
Hokusai didn’t stop evolving. In 1820, he began signing his work Iitsu, meaning “one who acts on behalf of.” Humble in name but dazzling in output, this was the period in which he reached the peak of his ukiyo-e career.
Under Iitsu, he produced his most celebrated masterpieces:
- Thirty-Six Views of Mount Fuji (c. 1830–1833)
→ Featuring The Great Wave off Kanagawa and Red Fuji. - A Tour of the Waterfalls of the Provinces (c. 1833)
→ With dramatic vertical compositions of cascading falls. - Unusual Views of Famous Bridges (c. 1834)
→ Combining architecture and landscape with dynamic framing.
His use of imported Prussian blue and experimental perspective marked a revolutionary shift in ukiyo-e landscape. Nature became spiritual, monumental, and at times surreal.
These prints weren’t just scenic—they were sacred. Fuji became more than a mountain; it became a symbol of artistic transcendence.
Gakyō Rōjin Manji – 画狂老人卍 (1834–1849): The Old Man Mad About Art
In his seventies, Hokusai took his final and most poetic name: Gakyō Rōjin Manji, meaning “The Old Man Mad About Art.” He had lived through poverty, loss, illness, and fame. But he hadn’t lost his hunger for creation.
After a fire destroyed his home in 1839, Hokusai turned away from printmaking and devoted his final decade to painting. His work grew looser, bolder—alive with brush energy. He painted scrolls of birds, dragons, and tigers in snow. He meditated on myth and mortality, all while believing that his best work still lay ahead.
His final series of three illustrated books, One Hundred Views of Mount Fuji, shows Fuji not just as seen from the world—but as it existed inside him.
On his deathbed in 1849, he whispered, “If only Heaven will give me just five more years… then I could become a real painter.”
A New Way to See Hokusai: TASCHEN’s Monumental Book
If you’re curious to see how these phases unfold in breathtaking detail, TASCHEN’s new 708-page Hokusai monograph—edited by Andreas Marks—is the perfect companion. Titled The (Almost) Complete Hokusai, the book compiles 746 works, from famous prints to lesser-seen scrolls and book illustrations.
It follows Hokusai’s life chronologically, organized by these very art names. It’s not just a catalog—it’s a journey through a life devoted to the line, the brush, and the spirit of ukiyo-e.
You can read my full review of the TASCHEN Hokusai here.
Final Thoughts: One Man, Many Masters
Hokusai didn’t become a genius overnight. He evolved—again and again. With each new name, he discarded the old and pushed himself forward. That restlessness, that refusal to settle, is what made him great.
So next time you see The Great Wave, remember: it came from a man who had already lived many artistic lives by the time he carved that curve. And even after that, he kept going.
Because Hokusai wasn’t just one artist.
He was many.
Read more:
- 11 Things to Know About Collecting Japanese Woodblock Art
- The Tale of Genji and Its Representation in Ukiyo-e Art
- The Symbolism of Koi in Zen and Japandi Interiors
- The Significance of Japanese Cranes in Ukiyo-e Art
- Why Mono no Aware Is the Soul of Japanese Ukiyo-e
At The Art of Zen we carry a selection of our own hand-crafted original Japanese art prints in the ukiyo-e and Japandi style. Some of our best selling work is Mount Fuji wall art and Japandi wall art.
Add some zen to your space with brilliant original art from the Art of Zen shop.
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