Let’s Listen to the Old Madman

Katsushika Hokusai doesn't just create woodblock prints – he sculpts philosophy in water. His series "Eight Waterfalls" is a manifestation of nature’s untamed force, with every droplet brimming with energy, simultaneously becoming a mirror reflection of our life’s dramas. These are not just waterfalls; they are the pulse of our lives. And Hokusai, the old master, was not only a ukiyo-e artist, but a prophet – telling us what lies ahead. He is old and has already seen it – the cycle of life and death, the highs and lows, success and tragedy – and he shows it to us with one confident and powerful motion of water falling from top to bottom: a waterfall. His cascades are not gentle streams but mighty forces that crush rocks, cleanse souls, and remind us how fragile and small, yet strong, our existence truly is.

Looking at "Kirifuri," we see not only beauty – we see a force that knows no mercy. The waterfall, like a monster, engulfs everything with its ruthlessness, allowing no escape. In "Amida," we feel the water, which has the power to wash away our sins, bringing us closer to transcendence, while at the same time reminding us that our delicate bodies are "only here for a moment." "Yōrō," in turn, is not just a tale of water – it is a myth of transformation, a miracle that connects the world of humans with divinity. Hokusai does not paint nature – he reveals its brutal truth: it rules, not us.

This series of waterfalls is not just a landscape; it is a disturbing yet beautiful truth that life is a process – without respite, without rest, continuous. We pass away like falling water, but what remains of us is the force with which we can strike. Each waterfall in this series is a separate act, a separate reflection on the power of nature, on the fragility of humanity, and on our place in a world that never slows down. Hokusai was fascinated by this elusiveness, this ceaseless movement – he tried to capture it on paper, but in his waterfalls lies something more. There lies life, which with every drop reminds us that time is slipping away, and we – like those drops – cannot stop it.

I invite you to journey with the old madman – Katsushika Hokusai – through these waterfalls, where the water not only flows but also asks: how much longer will you persist in this rush of life before you disappear into its whirl?

What is a Waterfall?

To understand what Hokusai is telling us through his waterfalls, we must look at them as they were seen by a Japanese person in the Edo period – they were not just a physical phenomenon. In Japan, a waterfall was not just a beautiful element of the landscape; it was a gateway to spiritual reflection, a place where the world of humans met the world of divine forces. The Japanese of those times believed that nature was not merely the backdrop to our lives – it was a living, dynamic force that permeated our existence, taught humility, and cleansed our souls.

Waterfalls were special places where one could confront the inevitability of passing. The sound of water, relentless, unstoppable, reminded us of the cyclical nature of life – its ups and downs, its strength and fragility. In Shinto tradition, waterfalls were places where one could encounter kami, the spirits of nature, which in their unbroken flow symbolized the continuity of life and death. Every pilgrim who stood at the foot of a waterfall not only contemplated its beauty but stood before a force that cleansed the body and soul, washing away sins and worries. Water became a medium of transformation, and the waterfall – a sacred ritual.

Buddhist thought, which permeated Japanese spirituality at the time, saw waterfalls as a metaphor for samsara – the endless cycle of birth, death, and rebirth. Just as water flows continuously, so too do we go through the stages of life, losing, finding, and passing away. In Buddhist meditative practices, the falling water was a symbol not only of purification but also of mindful presence (today often called "mindfulness") – its sound reminded us of the necessity of being here and now, in complete harmony with nature. The waterfall became a place of meditation on impermanence, on that which is both elusive and eternal. "Mindfulness" at the waterfall is the noticing of each drop and the full awareness that each one was different and, after a moment, irreversibly disappeared forever.

By depicting waterfalls in his series, Hokusai is not merely painting landscapes – he is painting the spiritual landscape of Japan. Each waterfall, each strike of water against rocks, is a reminder of a force that surpasses us. It is not just nature in its physical form but a metaphysical force that cannot be stopped or fully understood. The waterfall is an image of our existence – great yet fleeting, strong yet fragile, like every drop that is lost forever, only to make way for the next. In this continuous cycle, Hokusai found the philosophical essence of life. He shares this discovery with us in his eight masterpieces.

Hokusai – Master of Many Names

Katsushika Hokusai was an artist of many faces, who over the decades of his life went through various artistic phases, changing both style and the names under which he signed his works (more about him here: Hokusai). His art is like a constantly flowing stream – never the same, always in motion, always in search of something new. We know him primarily for his "Great Wave off Kanagawa," a masterpiece that is one of the most frequently seen Japanese motifs – on posters, mugs, and T-shirts – literally everywhere. But Hokusai is more than "The Great Wave" – he is a man who dedicated his life to art, striving to capture the intangible, to translate the spiritual and invisible onto paper (wood).

In the series "Eight Waterfalls," created between 1833-1834, Hokusai, already at an advanced age (73-74 years), discovers a new artistic and philosophical depth. It is a moment when his works reach maturity – they are not only technically perfect but also filled with deep reflections on life and nature. His artistic journey up to that point was like a river: full of twists, challenges, and new discoveries. During this period, he created many masterpieces, but it was the waterfalls that became a symbolic motif for him – the embodiment of power, elusiveness, and transience.

Hokusai was already a veteran of ukiyo-e by then, and the series "Eight Waterfalls" was an expression of his artistic maturity. It was the first ukiyo-e series entirely devoted to waterfalls, and at the same time the culmination of his interest in nature, which had manifested itself in earlier works such as "Thirty-Six Views of Mount Fuji". The waterfalls he chose for this series were places of pilgrimage, spiritual reflection, and often had a place in legends. Hokusai, as befits "the old man mad about drawing" – as he called himself – sought in these places something more than just the beauty of the landscape. For him, they were points of contact between man and the rest of the universe.

This series was created at a time when Japan was closed off to external influences, and daily life was conducted in accordance with traditions that were closely tied to Japanese spirituality. Hokusai, being a follower of Nichiren Buddhism, wove into his works elements of Buddhist reflection on the nature of reality, as well as Shinto beliefs in which nature was animated by spirits (kami). "Eight Waterfalls" is not just a series of landscapes – it is a kind of dialogue between the artist and nature, between man and the forces that surpass him.

Hokusai used his skills to create dynamic, vertical compositions that fully conveyed the movement and power of falling water. The use of intense Prussian blue (bero-ai), which was a novelty in the Japanese market at the time, added depth and drama to the images, emphasizing the monumental nature of the waterfalls. Each waterfall is different – Hokusai sought to capture the unique character of each place, giving the water an almost human personality. The falling water becomes almost a living entity that both fascinates and terrifies, reflecting the inner world of the artist himself, who at this stage of his life was increasingly approaching philosophical calm, but at the same time confronting his own mortality.

A Spiritual Pilgrimage Through Hokusai's Eight Waterfalls

1. Amida Waterfall on the Kisokaidō Road

This majestic waterfall is located in the Kiso region, in the central part of Honshū island. The waterfall was named after Amida Nyorai, the Buddha of Infinite Light, who in Japanese Buddhism symbolizes salvation and the hope for rebirth in the Pure Land. Waterfalls like Amida were often places of spiritual pilgrimage, where prayers were made for the purification of the soul and salvation. Legends also surround this waterfall, telling of monks meditating in caves nearby. It is said that the presence of the Buddha was felt in the constant sound of the falling water. It is also said that one of the monks, after years of meditation, achieved enlightenment when he saw the reflection of Amida Nyorai in the stream of the waterfall – thanks to the contemplation of the endless flow of water.

In the image, we see the waterfall cascading from a great height, surrounded by rugged rocks and lush vegetation. Hokusai uses strong, vertical lines to emphasize the height and power of the waterfall, which falls from a round ravine above. The water flows over a vertical precipice, creating a powerful stream that crashes against the rocks below. The human figures situated lower down are tiny and insignificant, further enhancing the monumental nature of the scene.

In this piece, Hokusai emphasizes the smallness of man in the face of the forces of nature while also presenting the waterfall as a symbol of spiritual purification and transcendence. Water falling from such a height represents divine power that permeates the world and human life, striking us with its rawness while also offering hope for renewal. The waterfall itself, which in Buddhist tradition symbolizes infinity and rebirth, reminds us of the cyclical nature of life – of constant change and spiritual searching. The spiritual dimension of this place is enhanced by the connection to Amida Nyorai, encouraging the viewer to reflect on the spiritual journey and contemplate the Pure Land promised by Buddhist tradition.

2. Kirifuri Waterfall on Mount Kurokami in Shimotsuke Province

Kirifuri, which literally means "falling mist," is one of the most famous waterfalls in the Nikkō region of Shimotsuke Province (modern-day Tochigi). It is one of the most popular pilgrimage sites in Japan, surrounded by a mystical aura, where pilgrims would admire the waterfall before visiting the sacred Toshogu shrine, associated with the Tokugawa shogunate. The name "falling mist" perfectly captures the character of the waterfall, often enveloped in thick mist, creating an almost otherworldly atmosphere.

In the woodblock print, Hokusai captures the waterfall in its full glory – streams of water fan out like a hand, creating a delicate, dispersing mist that envelops the rocks and surrounding vegetation. The people climbing the path in the background look like tiny dots against the vastness of nature, further emphasizing their fragility.

In "Kirifuri," Hokusai presents water as a force both gentle and powerful. The delicate mist rising above the waterfall reminds us of the transience of our lives – just as mist dissipates into the air, so do we pass away. Yet, the stream of water that pours from above with unyielding force demonstrates the inevitability of nature and its ability to continuously renew itself. Kirifuri here becomes a symbol of the spiritual journey – the climb up the mountain, which requires perseverance, becomes a metaphor for the quest for spiritual enlightenment. The water that creates the mist is elusive yet present – a reflection on how many things in life are fleeting but significant.

3. Yōrō Waterfall in Mino Province

養老の滝

(Yōrō no taki)

Yōrō Waterfall, located in present-day Gifu Prefecture, is renowned not only for its natural beauty but also for the legend surrounding the miraculous properties of its water. The story tells of a poor woodcutter who, seeking to ease his father’s suffering, brought him water from the waterfall. This water, in a magical transformation, turned into sake, and after drinking it, his father felt a renewal of strength and health (leaving aside the fact that it was sake, an alcoholic beverage, that restored the woodcutter's father). This miracle made the waterfall a symbol of renewal and regeneration, and its water was regarded as sacred.

In Hokusai’s woodblock print, the waterfall is depicted as gently flowing, forming a smooth, continuous stream of water cascading over a rocky edge. The figures of travelers observing the waterfall emphasize their awe and respect for nature. The surrounding vegetation and deep, rocky slopes create a harmonious image in which humans are small but conscious elements of a powerful ecosystem.

Yōrō Waterfall is not only a symbol of nature but above all, a symbol of spiritual rebirth and the miracle of transformation. The water, possessing healing power, becomes a metaphor for our own ability to renew ourselves, both physically and spiritually. Hokusai’s work reminds us that life, despite its difficulties, offers moments of relief and regeneration. The legend of the miraculous water turning into sake permeates the image, giving it a spiritual dimension, where the contemplation of nature can lead to inner transformation. The waterfall, in constant motion, reminds us of the world's perpetual ability to renew itself and those who can recognize its power.

4. Roben Waterfall in Ōyama, Sagami Province

大山ろうべんの滝

(Ōyama Rōben no taki)

Roben Waterfall, located at the foot of Mount Ōyama in today's Kanagawa Prefecture, has for centuries been a destination for pilgrims. The mountains of this region, including the waterfall itself, were sacred sites for the ascetic practices associated with shūgendō (修験道 – literally "the way of practice and experience") – a mixture of Shinto and Buddhism. Pilgrims came to the waterfall to undergo a purification ritual – the ritual washing of the body with water, known as misogi (禊), was intended for spiritual and physical renewal before continuing their journey to the mountain’s summit. The waterfall was named after the monk Rōben, who, according to Buddhist tradition, played a key role in the development of Tōdai-ji Temple.

In Hokusai's woodblock print, the pilgrims are depicted immersed in the waterfall. A powerful stream of water falls from the mountains, crashing against the rocks and filling the space with continuous movement. The figures of people are insignificant, almost engulfed by the power of nature.

Roben Waterfall embodies the idea of spiritual purification and renewal brought by water in Shinto tradition. In his woodblock print, Hokusai shows humans as small, insignificant beings in the face of nature’s power, highlighting their dependence on divine forces. The pilgrims immersed in the water symbolize surrender to a greater order, a process of spiritual cleansing in which a person recognizes their place in the world. Water becomes not only an element but also an intermediary between humans and spiritual reality – its continuous motion reminds us of the constant transformation of which we are all a part.

5. The Waterfall Where Yoshitsune Washed His Horse, Yoshino, Yamato Province

吉野義経馬洗滝

(Yoshino Yoshitsune uma arai no taki)

This waterfall, located in the Yoshino region of the former Yamato Province (now Nara Prefecture), is strongly associated with the legend of the famous samurai Minamoto no Yoshitsune. According to the story, Yoshitsune, a young warrior known for his bravery and tragic life story, washed his horse in the waters of this waterfall during one of his journeys. Yoshino had long been a place of spiritual reflection and a refuge for many warriors and monks, and the waterfall became a symbol of the warrior’s strength and purity.

In Hokusai’s depiction, the waterfall has a gentle descent, perfect for washing a horse. The scene shows the figure of a warrior with his horse near the waterfall, surrounded by lush vegetation. The waterfall itself does not dominate the composition – it flows calmly and gently, creating a harmonious landscape. The viewer feels in this scene a clear sense of peace and quiet, which contrasts with the dramatic life of Yoshitsune.

This waterfall, despite its peaceful character, symbolizes the power of history and memory. The water that flows gently is not only a force of nature – it is also the carrier of a legend that has endured for centuries. The image in which Hokusai portrays Yoshitsune is a reflection on both impermanence and endurance – just as water flows through time, so too do the stories of warriors like Yoshitsune flow through generations. The waterfall here becomes a symbol of the warrior's purification, his preparation for the next stage of his journey, both physically and spiritually. In a philosophical context, it is a meditation on fate – on how life, though filled with dramatic twists, finds its place in the harmony of nature.

6. Ono Waterfall on the Kisokaidō Road

木曽海道小野の滝

(Kisokaidō Ono no taki)

Ono Waterfall, located along the historic Kisokaidō road, which connected Edo (modern-day Tokyo) with Kyoto, was an important stop for travelers. Kisokaidō was one of the main routes during Japan's Edo period, and the waterfall served as both a place of rest and spiritual reflection. Travelers, traversing this mountainous route, would stop to admire the majesty of nature and find a moment of respite in the shadow of the waterfall.

In Hokusai’s woodblock print, the waterfall is shown falling from a high, rocky edge, and below we see travelers crossing a bridge over the river. The stream of water is wide and dynamic, and the trees surrounding the waterfall emphasize the natural power of this place. The entire scene is dynamic and alive – both the water and the people are in motion, in eternal flow. In this ukiyo-e, we can admire how great Hokusai’s talent was in portraying ordinary human life against the backdrop of majestic nature – this is the extraordinary magic that sometimes makes it impossible to take one’s eyes off his ukiyo-e works.

Ono Waterfall is a metaphor for a journey – both physical and spiritual. The water that falls with force reminds us of the constant movement of life, of the fact that everything is in a state of continuous change. By placing the travelers on the bridge, Hokusai creates a parallel between the human journey and the path the water takes. In a spiritual context, the waterfall becomes a symbol of crossing – the bridge over the river is the moment in which one can come closer to nature, pause for a moment, but at the same time must continue, always striving towards the goal. The water that falls from a height reminds us that in every journey, both external and internal, movement and transformation are essential, and any stop is only temporary.

7. Kiyotaki Kannon Waterfall in Sakanoshita on the Tōkaidō Road

清滝観音

(Kiyotaki Kannon)

Kiyotaki Waterfall, located in Sakanoshita along the famous Tōkaidō road, combines elements of nature and spirituality. This waterfall was associated with Kannon, the bodhisattva of compassion, whose statue was reportedly near the waterfall. Kannon, as one of the most important figures in Buddhism, symbolizes mercy and protection, and pilgrims would come here to offer prayers and seek her guidance. The Tōkaidō road was one of the most important trade and pilgrimage routes, and Kiyotaki Kannon provided a spiritual haven for travelers.

In Hokusai’s woodblock print, the waterfall flows calmly, surrounded by lush vegetation and stone steps leading to a small mountain shrine. The composition conveys harmony between the water and the environment – the water, which flows peacefully, does not dominate the landscape but gently integrates into the spiritual space where pilgrims could find solace and reflection.

Kiyotaki Kannon Waterfall in Sakanoshita is not merely a natural phenomenon – it is a symbol of the mercy and protection offered by the bodhisattva Kannon. Hokusai, by painting this waterfall, shows it as a place of spiritual balance, where one can pause for a moment to meditate on one’s life and find inner peace. The calm flow of water symbolizes the gentleness and compassion Kannon offers to all who seek her. The composition, where the waterfall does not dominate but rather complements the surrounding landscape, reminds us of the harmony between man and nature. It gives hope for finding inner peace despite – or perhaps because of – the eternal motion of life’s transformations.

8. Aoigaoka Waterfall in Edo

葵ヶ岡の滝

(Aoigaoka no taki)

Aoigaoka Waterfall was located in Edo, present-day Tokyo, and was one of the few waterfalls in such a densely populated, urban space. It was an artificial waterfall, with water flowing from a dam into a retention basin, making it a special feature in the capital’s landscape. Though small and modest, Aoigaoka Waterfall held spiritual significance for the residents of Edo, reminding them of the beauty of nature that could exist even in a bustling metropolis, in an urban environment dominated by human civilization.

In Hokusai’s woodblock print, the waterfall is surrounded by the daily life of Edo – people rest, stroll, and some stop to gaze at the water. The waterfall is part of the urban landscape, which, despite its artificial nature, becomes a place of reflection and relaxation.

Aoigaoka Waterfall symbolizes the harmony between nature and civilization. Hokusai, by depicting an artificial waterfall in the heart of Edo, shows that even in urban spaces, one can find contact with nature and moments of reflection. The water that flows represents the flow of life in the big city – despite the noise and rush, the waterfall reminds residents of what is constant and unchanging. It serves as a metaphor that in every place, even the most chaotic, one can find space for contemplation and spiritual peace. This image, more than the others, may offer some inspiration for us – living in the crowded, concrete jungles: here, too, among the artificial creations of human enterprise, one can find inspiration similar to that found in the wild mountain spaces. At least, this woodblock print seems to give us hope for that, even if it is not always the case.

Hokusai’s Artistic Innovation: The Fusion of Nature and Human Scale

As a master of ukiyo-e, Hokusai was an artist who constantly sought new forms of expression. In the “Eight Waterfalls” series, he reached the peak of his artistic innovation, combining the power of nature with the delicacy of human presence. His techniques, which broke with the conventions of traditional Japanese art, created a new way of perceiving both the landscape and humanity’s place within it.

One of the most important innovations in Hokusai’s series is his use of vertical composition, which gives the waterfalls a monumental character. Through strong vertical lines, Hokusai emphasizes the power and height of the waterfalls, while the delicate details of the water, where each drop seems like a separate act, lend them dynamism. The use of Prussian blue, a new pigment imported to Japan, gives the images depth and strength. The intense blue contrasts with browns and greens, allowing both the force and purity of the water to be captured. Subtle details, such as the eddies in the water or the mist rising over the rocks, are full of life yet ephemeral.

The negative space that Hokusai skillfully utilizes allows the viewer to focus on the movement and flow of the water, while also emphasizing the vast emptiness and silence of the surrounding landscape. It is within this emptiness that the philosophical depth lies—what we do not see is just as important as what we do.

Hokusai masterfully contrasts the monumentality of nature with the fragility of humanity. In almost every piece, small human figures are visible, nearly lost in the grandeur of the waterfalls, which further underscores their insignificance in the face of nature’s forces. However, despite their fragility, humans are part of this landscape—integrated with nature, not alienated from it. Hokusai’s waterfalls represent not only the power of nature but also a place of meeting—a space where, though small, humans find their place in the order of the world. Let’s take a moment to reflect on this, as it is something that is not obvious in our times—humans in Hokusai’s images are a natural part of the landscape, an element of the scenery with a right to exist in it just like a tree or a stone. Unlike what we have become accustomed to in more recent times, they are not set in contrast to nature.

Hokusai drew inspiration from Chinese landscape painters, particularly techniques related to conveying space and depth through color gradation. The bokashi technique he applied involves the subtle gradation of colors from the lightest to the darkest tones, which allows for the impression of three-dimensionality and spatial depth. The lines in his waterfalls, often curved, give the images a rhythm that reflects the movement of the water—undulating, dynamic, yet at the same time calm in its continuity. Hokusai plays with textures and perspectives to capture not only the physical appearance of the waterfalls but also their spiritual character.

The entire “Eight Waterfalls” series is not only a visual feast but also a deeply philosophical reflection on our relationship with nature. By combining technical innovations with spiritual depth, Hokusai created works that are not merely depictions of waterfalls but reflections on our existence, our fragility, and the power of nature, which continuously flows through time and space.

Final Reflection: Water and Spirituality in Hokusai’s Art

Hokusai spent his entire life in search—not only of artistic perfection but also of spiritual depth. His “Eight Waterfalls” series is more than just a pictorial (or woodblock) representation of nature; it is a record of his personal, spiritual journey. Hokusai struggled with tragedies, losses, and the passage of time over the years, and his art became a form of meditation on life and its fragility. Water, as a symbol of purification, strength, and eternal motion, reflects the artist's inner desire to achieve something timeless—something that transcends the boundaries of everyday reality and leads to transcendence.

“A Journey Through Waterfalls of Various Provinces” fits into Hokusai’s broader philosophy, where art is not merely a technical manifestation of skill but a process of spiritual transformation. In his waterfalls, Hokusai saw not only the beauty of nature but also a metaphor for human life—a force that can change and transform. His images of waterfalls are an invitation to the viewer to pause for a moment and engage in the contemplation of impermanence, to seek meaning in the motion and renewal of nature. Hokusai believed that art has the power to transform—not only the creator but also the viewer.

Hokusai’s final words, written just before his death—“Now as a spirit, I lightly wander over the summer fields”—serve as a summation of his life and art. His connection to nature, manifested throughout the years in his works, reflects a deep understanding of the cycles of nature that permeate both the physical and spiritual worlds. Hokusai’s waterfalls are not just images—they are spiritual reminders that water, like life, never stays in one place. It passes, but at the same time continues to flow, much like the spirit of the artist, who lives eternally in his works, treading lightly over the summer fields.

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 A connoisseur of Asian culture with a deep-seated appreciation for various philosophies of the world. By education, psychologist and Korean philologist. By heart, an Android developer and an ardent tech aficionado. In tranquil moments, he champions a disciplined way of life, firmly believing that steadfastness, perpetual self-enhancement, and a dedication to one's passions is a sensible path for life.

Personnal Motto:

"The most powerful force in the universe is compound interest."  - Albert Einstein (possibly)

  Mike Soray

(aka Michał Sobieraj)

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