#rainstorm beneath the summit

[cutehomeart]

'Rainsorm Beneath the Summit' is a distinctive and refreshing deviation from Hokusai's wave-themed artworks. It's one of the 36 views of Mount Fuji series, which sees Japan's sacred mountain from diverse vantage points and seasons.

In 'Rainstorm Beneath the Summit,' Hokusai splendidly captures an image of Mount Fuji during a heavy downpour. The mountain’s majestic summit is depicted using Prussian blue, a synthetic pigment that Hokusai famously introduced to Japanese prints. This color paints a calm contrast to the dramatic, cascading rain showering the landscape. There's a particular subtlety and softness to the painting. It's a reminder of Hokusai's ability to artistically interpret the raw power and serenity of nature.

[the-cricket-chirps]

Katsushika Hokusai

Rainstorm beneath the Summit (Sanka haku-u), from the series Thirty-six Views of Mount Fuji (Fugaku sanjûrokkei)

ca. 1830-31

[masterpeaces-of-japanese-culture]

Rainstorm Beneath the Summit, from Thirty-six Views of Mount Fuji, 1830-1832

[stories-of-wispclan]

(Moon 0) Prologue—

Pelt soggy and dripping with water that had her soaked to the bones, Caterpillardapple pushed her sore and shaky legs forward with each tired step as she squelched through the dampened peat. Her lithe body was shivering thoroughly, and her brain was fogged with a heavy sense of fatigue clinging to her waterlogged body. All she knew was that she desperately needed shelter and rest.

A few days of wandering aimlessly around the territory that had once been the home of the mysterious and adaptable WispClan, now a drenched forest of entrapping mud and puddles that looked deep enough for a cat to disappear beneath their mud-clouded surface. Things had been disastrous, catastrophic, her clan was gone.

One moment, her and her clanmates had been enjoying a nice, peaceful rainstorm, huddling in the comfortable warmth of their dens and each other’s company, listening to the rhythmic patter of water droplets against their meticulously crafted hideaways. It was a moment to late that they heard the rushing flood as it tore down into the gully where they were comfortably nestled.

There were cats scattering left and right, paws flying desperately to gain purchase on soggy mud as frantic cats to scramble out of the sudden surge before they were pulled beneath the frothy surface, ultimately failing as they were pulled into the relentless depths. Most cats tried to save each other, Caterpillardapple hadn’t. Now, she felt like a worthless coward, and now she was, supposedly, the sole survivor of the drastic disaster that had seized her home.

Minutes felt like hours, and each step felt like she was dragging a dead body on top of her, but eventually, she came to the summit of a smoothly-sloping hill. A large, rocky scape was perched atop the peak, sprawling up to a second one much further into the currently cloud-blanketed canvas of blue that hung above the dull world.

Carved among the stone-laden expanse, barely noticeable against the grays and greens of massive boulders, was a small gap, a cave. Wearily, Caterpillardapple dragged herself in to find a massive cavern of stones and pebbles coated in moss and lichens, a gap in the far-spanning ceiling of the cave illumining the grotto with a grayish beam highlighted by delicate particles of dust. Then she collapsed in a soggy heap of dark brown fur, her eyes fluttering closed and her world swirling into a peaceful darkness, a final, weak thought crossing her exhaustion-riddled mind: rebuild WispClan, before she lost consciousness.

[theartof-al-ien]

oil pastels.

plz do not reupload thx

[ylnd]

[mia-japanese-korean]

Rainstorm beneath the Summit, Hokumyō, c. 1834-1837, Minneapolis Institute of Art: Japanese and Korean Art

Size: 3 1/8 × 4 5/8 in. (8 × 11.8 cm) (image, sheet, yatsugiriban) Medium: Woodblock print (nishiki-e); ink and color on paper

https://collections.artsmia.org/art/22788/

[harvard-art-museums-prints]

Rainstorm beneath the Summit (Sanka haku-u), from the series Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei), Katsushika Hokusai, c. 1831, Harvard Art Museums: Prints

Harvard Art Museums/Arthur M. Sackler Museum, Gift of the Friends of Arthur B. Duel Size: paper: 25.1 x 37.3 cm (9 7/8 x 14 11/16 in.) Medium: Ukiyo-e woodblock print in "ōban" format; ink and color on paper, with printed signature reading "Hokusai aratame Iitsu hitsu"

https://www.harvardartmuseums.org/collections/object/206838

[ironforgedrp]

♛  GARLAND REDWYNE

↳ details; male, 44 (b. 462). ↳ status; heterosexual, unmarried but once betrothed, no children. ↳ faceclaim; luke evans. ↳ hails from; the arbor, the reach. ↳ loyalty; house redwyne, house tyrell.

↳ position & title; lord of the arbor, the master of war & ships. ↳ religion; faith of the seven. ↳ spoken languages; the common tongue. ↳ reason for being in sunspear; arrived late at the summit but there as the small council member of master of war & ships to the reach.  

♛ PERSONALITY

↳ type; the virtuoso (istp-a). ↳ alignment; true neutral. ↳ star sign; aquarius. ↳ positives; capable, determined, honest, attentive. ↳ negatives; blunt, aloof, pessimistic, obsessive.

♛ BIOGRAPHY

↳ family lineage.

garland was born the firstborn child and son of lord roland redwyne and lady tyana redwyne (cée wylde) of the arbor, soon after followed his first sister, arwyn, then several years went by and they were finally joined by his second sister and then his younger brother. despite being brought up in a big family who liked to throw feasts and host splendid balls, garland was always a serious child. he was never quick to smile or laugh, but despite this, he was well-liked and respected as heir to the lordship of the arbor. garland could fight well, he could drink much and beat nearly everyone at card games, for the people of the arbor that was good enough. their mild-mannered lord who loved a party tended to spend too much gold anyway, no one complained he would be followed by someone a little more responsible.  

despite being fascinated and drawn by the sea and ships, the young redwyne had no desire to travel afar. there was no better place than the arbor, it was beautiful and green, full of the best wine in all the realms and he had been blessed to be born with a name that made life easy. when his friends spoke of all the places they wanted to see, he thought them fools for wanting to leave their bountiful island. while he was serious and brutally honest, as his mother often reminded him, he could be caught laughing and smiling when surrounded by friends. his life at the arbor grew a little darker the day his sister left for brightwater keep to marry lord florent, to make matters worse she was accompanied by his best childhood friend, who had been tasked with keeping her safe. he spent the following year alone with his younger siblings learning everything about the mechanics of ships and ship-building, he became obsessed with strategy and memorised many naval maps.  

when the news of his sister’s death in the childbed reached the arbor, it almost felt like a light flickered out. arwyn had been so beloved, the most beloved of all the redwyne children, and his family mourned, their people mourned and it seemed like the gods mourned too. soon they were plagued by horrible rainstorms that drowned the crop and left it to slowly rot, sickness spread on the island and soon it mercilessly took the lives of both his elderly father and mother. garland’s only comfort was the survival of his siblings and his infant niece being safe with the florents. after that horrendous year, garland broke his betrothal that had been finalised just before his sister’s death and took up the reins as lord of the arbor and worked hard to replenish their crop, to make wine that could be sold in a few years time, so the year of bad harvest would not leave the island longing for gold, he bought plenty of wood for shipbuilding as he became obsessed with building up their fleet, to make it even greater and stronger. basically, garland closed ranks and solely focus on the future of the arbor.

while garland worked hard, he first ignored the whispers coming from the mainland that his niece was not thriving growing up among her many half-brothers. it had left a sour taste in his mouth when lord florent remarried quickly after losing arwyn, but he had kept his displeasure to himself. when the whispers seemed relentless, he wrote to lord florent and asked for the seven-year-old girl to be sent to the arbor. his request was granted and soon a ship sailed in with the little girl on board. if not for his love of his late sister, lord redwyne would never have willingly accepted a ward, but thinking of the last piece of arwyn left alive being unhappy was unbearable to him.

he made arrangements for his sister’s septa to care for the child too, he thought it was good for his younger sister to have a female companion of noble birth, and someone younger than herself she could mother. it would prepare her for having children of her own one day. that was his original thought, but as the years went by, he became frightened by the idea of his younger sister leaving the arbor to get married. he could not care for his niece on his own, he also could not chance his sister dying like arwyn, so he kept her around promising her better betrothals if she only waited, but in reality, she only grew older and less amiable to court given her age. garland pretended not to notice her growing bitterness towards him as he enjoyed having his family close.

then one day, he received a letter from house florent asking for his niece to be sent back to brightwater keep, so they could find her a suitable lord to marry. he immediately protested, but he had no legal right to keep the half-grown child, so the servants started packing her belongings and he prepared for her trip to the mainland with a heavy heart. soon, a raven came with a request from the newly crowned king emeric, he wished for garland to take up the position as master of ships and war on his small council. garland had no desire to leave the arbor, but suddenly, he sensed an opportunity. he postponed his niece’s trip and went to highgarden himself where he accepted the position - on the demands that the girl’s future was left to the one who knew her best and wanted what was best for her. luckily for garland, the king agreed and he returned to the arbor to pack his things, leaving his brother in charge for the time being before travelling back to highgarden.

when he arrived back at the capital of the reach, he was met with an angry lord of house florent, who accused the redwynes of overstepping the terms of taking on a ward and ruining their chance of allying with another noble house through marriage. garland almost packed his bags to sail back to the arbor in anger, but a compromise was made by house tyrell who suggested a betrothal between prince cedric and his niece. garland knew there could be no better match than a prince and it seemed as if house florent agreed. despite the official issue being solved, garland has still not forgiven the florents for their abysmal behaviour towards his late sister and her child, and their greed and dark ambition regarding her future. tensions still lurk beneath the surface but garland only travelled to highgarden to fulfil his duties, not to entertain the pettiness of house florent.  

↳ personality.

garland is serious and hard-working, he is confident when it comes to battle strategies and ships, he likes facts and numbers, unfamiliar emotions can often scare him off and he will try and use reason to solve problems. he is someone you go to for solutions, not advice. he also has a history of becoming absolutely obsessed with a subject, spending hours upon hours reading about it, exploring it if he can. he can tell you everything about ships, he knows every little nook and cranny of those ships whose building he has personally overseen, he also knows every constellation and can use the night sky to navigate. his knowledge is not wide but exceptionally deep on few subjects.

his approach to life is one of planning, he likes being two steps ahead all the time, always having a plan and back-up plans if the first one should fail. but he also can get distracted by a new obsession and start shirking his responsibilities until the obsession passes. he does not get obsessed with people though, he is quite notorious for being blunt. and if he is not interested in something or someone, he likely never will be.

↳ the splitting of the kingdoms.

garland was surprised when news reached the arbor that the reach had become an independent kingdom led by king emeric tyrell, but he has grown to think his king made the right decision. however, he is no fool and he knows the situation is precarious. having studied the seas, fleets and war strategies, he knows if a war breaks loose, the reach is not guaranteed to win. he is putting his faith in emeric to keep the reach out of war, but garland is also ready to defend what is theirs if need be. he has brought along his maps and has hatched plans for the redwyne fleet to be deployed in less than a day after receiving a raven with the order.

garland does not have faith in the summit and believes it will cause as many problems as it seeks to solve, but he is casually optimistic the reach can establish good trading deals and alliances with the other independent kingdoms, he is less sure about the iron throne and the united kingdoms still loyal to the lion and dragon.

♛  STATUS; TAKEN

[artjapan]

The Hokusai

The Hokusai at The Sumida Hokusai Museum Media: Nihonga (2021-07-20 - 2021-09-26)

This exhibition will focus on two masterpieces, Hokusai’s Thirty-six Views of Mount Fuji series and the long-lost Scenery on Both Banks of the Sumida River picture scroll, whose rediscovery, after a century, when our museum opened caused a sensation. They are part of about a hundred widely admired works by Hokusai on display. This exhibition will also include, for the first time, two different versions of Thirty-six Views of Mount Fuji: Rainstorm Beneath the Summit displayed side by side. With several other works on exhibit for the first time as well, this exhibition offers a wealth of delights. It introduces Japan’s beauty throughout the four seasons and famous places along the Sumida River, famed as sightseeing destinations since the Edo period. Composed of works depicted with Hokusai’s peerless brushwork and creative power, this exhibition is a rare opportunity to savor the Edo ambiance along the Sumida River. Period 1: July 20th (Tue) -August 22th (Sun) Period 2: August 24th (Tue) -September 26th (Sun)

from TAB Events - Most Popular https://www.tokyoartbeat.com/event/2021/73CF

The Hokusai at The Sumida Hokusai Museum Media: Nihonga (2021-07-20 - 2021-09-26)

This exhibition will focus on two masterpieces, Hokusai’s Thirty-six Views of Mount Fuji series and the long-lost Scenery on Both Banks of the Sumida River picture scroll, whose rediscovery, after a century, when our museum opened caused a sensation. They are part of about a hundred widely admired works by Hokusai on display. This exhibition will also include, for the first time, two different versions of Thirty-six Views of Mount Fuji: Rainstorm Beneath the Summit displayed side by side. With several other works on exhibit for the first time as well, this exhibition offers a wealth of delights. It introduces Japan’s beauty throughout the four seasons and famous places along the Sumida River, famed as sightseeing destinations since the Edo period. Composed of works depicted with Hokusai’s peerless brushwork and creative power, this exhibition is a rare opportunity to savor the Edo ambiance along the Sumida River. Period 1: July 20th (Tue) -August 22th (Sun) Period 2: August 24th (Tue) -September 26th (Sun)

https://www.tokyoartbeat.com//media/event/2021/73CF-80 via Art Japan

[thehikingviking]

Turtlehead Mountain, Red Rock Canyon National Conservation Area

I feel a little conflicted writing about such a popular peak, but since it involves me carrying my son to the top, I will write my short story here, so that the memory may be better preserved in the future. While this hike is the tourist trap of the Red Rock Canyon, that didn’t make the hike itself less enjoyable. There was some unstable weather forecasted, and I think this convinced most parties to stay off the trail that day. This would be my first time in the area, and I must say that it is incredibly beautiful. We started at the Sandstone Quarry Overlook parking area and began up the well defined trail towards the unmistakable peak.

The trail cut across some washes and carved itself through the desert landscape. I had originally heard of the peak from my friend who I climbed Mt Langley with; a professional poker player who is deathly afraid of class 3. He didn’t make it all the way up Turtlehead Mountain, noting some scary climbing near the top, however Asaka and I were able to find a trail all the way to the summit.

Rain clouds pounded the higher peaks to our west. Small rain clouds would break off from time to time to drop precipitation over the high desert.

The trail aimed for the left shoulder of the rocky peak. Cairns, trail signs and paint on the rocks made the route very clear.

The route switched back several times as we made our way to the top of the ridge. I found entertainment and took pride in passing people with the baby in tow.

A light dusting of snow remained from light storms the night before. It became a bit colder here, but Leif was comfortably wrapped up in his full body down onesie.

While instinct tells one to climb the peak directly, the trail actually takes a circular path around the backside of the peak. Rather than follow the footprints, we followed the trail which was just discernable enough beneath the snow. We were the first group to break in this path that day.

We reached the top where there were two other parties enjoying the views. Leif, Asaka and I were having a great day.

To the east was Summerlin.

To the south was Red Rock Canyon.

To the northwest was La Madre Mountain.

To the northeast was Damsel Peak.

Then all hell broke loose. While Asaka was prepared lunch, Leif tipped over and fell face first onto the limestone rock. He cut his mouth and began crying uncontrollably. Between comforting him and feeding him, nothing would calm him down. After 15 minutes of crying we gave up and decided to head down. Everybody’s nice day on the mountain was disturbed by the screaming baby. We looked like the worst parents. We got off track and ended up having to down climb some class 3, and in a light snow, made the situation look worse than it really was. Once back on the trail, Leif eventually fell asleep in the carrier. A light rainstorm moved in as we descended, and I watched Turtlehead Mountain disappear behind us.

Leif woke up further down the mountain having completely forgotten about his earlier discontent.

Once back at the car, Asaka took the time to feed Leif. I did a little fun scrambling up the sand stone cliffs above the parking lot. The climbing opportunities in this area are endless.

The rest of the scenic loop was very enjoyable, and I look forward to coming back for more climbs in the future.

[all-things-japanese-aesthetics]

Rainstorm Beneath the Summit

Sanka hakuu

山下白雨

Artist: Katsushika Hokusai

Year: 1830-1832

Print Series: Thirty-six Views of Mount Fuji

[masterpeaces-of-japanese-culture]

Rainstorm Beneath the Summit, from Thirty-six Views of Mount Fuji, by Katsushika Hokusai, 1831-1834 

[marksonbilly]

My own version of Hokusai's Rainstorm Beneath the Summit taken from the bullet train on the way to Kyoto

[nhmars]

Hakousai

Katsushika Hokusai was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Born in Edo, Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji which includes the internationally iconic print, The Great Wave off Kanagawa.

Thirty-six Views of Mount Fuji

Thirty-six Views of Mount Fuji (富嶽三十六景, Fugaku Sanjūrokkei) is a series of landscape prints by the Japanese ukiyo-e artist Hokusai (1760–1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. Despite its name, it actually consists of 46 prints, with 10 of them being added after the initial publication. The series was produced from c. 1830 to 1832, when Hokusai was in his seventies and at the height of his career, and published by Nishimura Yohachi.[1][2] Among the prints are three of Hokusai's most famous: The Great Wave off Kanagawa (or The Great Wave); Fine Wind, Clear Morning; and Rainstorm Beneath the Summit.[1]The series has been described as the artist's "indisputable colour-print masterpiece".

The Great Wave off Kanagawa

The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa-oki Nami Ura, lit. "Under a wave off Kanagawa"), also known as The Great Wave or simply The Wave, is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was published sometime between 1829 and 1833 in the late Edo period as the first print in Hokusai's series Thirty-six Views of Mount Fuji. It is Hokusai's most famous work, and one of the most recognizable works of Japanese art in the world. The image depicts an enormous wave threatening three fishing boats off the coast of the town of Kanagawa (the present-day city of Yokohama, Kanagawa Prefecture) while Mount Fuji rises in the background. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background. Throughout the series are dramatic uses of Berlin blue pigment. Original impressions of the print are in many Western collections, including the Metropolitan Museum of Art, the British Museum, the Art Institute of Chicago, the Los Angeles County Museum of Art, the National Gallery of Victoria in Melbourne and in Claude Monet's home in Giverny, France, among many other collections.

[mia-japanese-korean]

Rainstorm beneath the Summit, Katsushika Hokusai, 1830-1833, Minneapolis Institute of Art: Japanese and Korean Art

Hokusai took an interest in the work of Rinpa school artists, whose boldly designed compositions were often inspired by themes from classical court painting. Hokusai must have been aware of two important sets of folding screens by earlier Rinpa artists picturing the gods of wind and thunder: one by Tawaraya Sōtatsu (active ca. 1600– ca. 1640), the other by Ogata Kōrin (1658–1716). His own renditions of those gods appear in the third volume of Hokusai manga (Random Sketches of Hokusai), published in 1815. He was probably also familiar with an interpretation of Kōrin’s wind and thunder gods by Sakai Hōitsu (1761–1828), who painted windblown autumn grasses and rain-soaked summer flowers on the reverse of Kōrin’s screens. Hokusai’s Rainstorm beneath the Summit, with its dramatic bolt of lightning, obviously stands for thunder, and his Fine Wind, Clear Weather (on view nearby) could represent wind. Hokusai may have intended these two compositions as companion pieces in his Thirty-six Views of Mount Fuji series. Size: 10 × 14 5/8 in. (25.4 × 37.2 cm) (image, sheet, horizontal ōban) Medium: Woodblock print (nishiki-e); ink and color on paper

https://collections.artsmia.org/art/9612/