日本宝历10年（1760年），北斋出生在江戸本所割下水（现东京墨田区）的1 间普通民房里。本名叫中岛时太郎，后来改名叫铁藏。他的父亲是幕府的御用镜师，但是家里并不富裕，不过就像许多出生在平民区的孩子1 样，北斋具有 1 个简单而幸福的童年，当然其中或许 会略带1 点苦涩。同时，也同许多成功者1 样，他的童年也被后世的某些好事者，涂上了神话色彩，比如说他6岁就展示 出非凡的“绘画天才”云云。但葛饰北斋很早就受到了艺术的“陶冶 ”却是事实，只不过不是出自于父母的“望子成龙”式的培养，而是出于生活所迫。少年时代的他当过租书铺和印刷所的学徒，从而粗学过1 点雕刻。他正式的接触艺术，是在19岁那1 年。这1 年他进入胜川春章门下，正式开始学习绘画，立志当一位 绘师。 胜川春章对这位青年的艺术才能还是很赏识的，以致 转年就准予 他以“胜川春朗”为画号发表作品。他开始时只是为黄表纸、洒落本之类的小作品配上插图。在胜川画室工作的15年间，他的作品并不太多，其风格也大多模仿其师，然而这段经历，却为他当前 的创作打下了深厚的根基。

宽政4年（1792年），老师胜川春章去世。次年，北斋由于和同事春好不和，离开了胜川画室。从后来的经历来看，这对他来说何尝 不是1 件好事，由于 从此开始他迎来了事业的第1 个高峰。他很快继承了“淋派”画师“表屋宗理”的名号，此后他的作品以狂歌本为主，还画了1 些美人画。其中的代表作是《风流无くてななくせ》，这是他绘制的众多大首绘美人图中最重要的1 幅。他笔下的美人大多是苗条 的脸，微张的小口，再加上精致的笔法描绘，总能使得画面看起来妙趣横生，这便是被时人所称道的“宗理风”。其实，不论是高贵的仕女，还是神秘的神话人物，或是普通 的田汉村姑，在北斋的笔下都能被描绘的活灵活现。此时的他还广泛研讨 了狩野派、宗达—光琳派和洋风画派等各种门派的艺术特色，特别是洋风画派对他当前 的作品有很深的影响。

宽政10年（1798年），他把“宗理”的名号让给门人宗二，而改名为“北斋辰政”。七年后，才改为“葛饰北斋”，这1 年他46岁。北斋此后的作品日渐丰富，其画风也基本构成 了。后来，北斋常称本身 是5 十岁才降生的，可能就是这个原因 吧。北斋初期 所描绘的作品，次要 以风俗画和美人画为主，而此时则开始逐步 转向风景画。其实关于浮世绘中的风景画创作，北斋并不是第1 人。奥村政信、歌川丰春、司马江汉等人都创作过风景画，而北斋则结合之前 诸位大师的创作经验和东方 的绘画技巧，为浮世绘风景画的创作打开了1 个新的局面。

进入化政时代，由于市民对浮世绘的需求加大，和 创作手法和技术的日趋成熟，使得浮世绘创作进入了黄金时代。而葛饰北斋也迎来了他的第二个创作高峰期，他终身 中的两个最大成就都是在这1 时期完成的，1 个是《北斋漫画》，另1 个便是《富岳三十六景》。

文明 7年（1810年），北斋开始使用“戴斗”这1 画号。此后几年间，他出版了1 些指点 绘画的范本书，例如《略画早指南》（1812）、《北斋漫画》（1814）、《略画早学》（1814）、《三体画谱》（1816）等，用以指点 门人学习绘画。其中以《北斋漫画》最为着名 ，在《北斋漫画》中北斋示范了描绘各种形体时使用的不同方法和科学的认识，特别是对人物各种姿式 表情进行了深入的研讨 。在描绘的内容上既有人们的喜怒哀乐，也有鸟兽虫鱼、山川草木，甚至是日常生活中的普通 器物，可以称的上是1 部绘画版的百科全书。这部丛书洋洋洒洒十5 卷，直到北斋去世当前 才出版完。它对后世的影响很大，很多人认为《北斋漫画》是日本古代 漫画创作的鼻祖。

文政2年（1819年）北斋又把“戴斗”的画号让给门人斗円楼北泉，本身 则改名“为1 ”。对于北斋为何 会不断的更改画号，在日本学界有1 种看法，说是北斋为生活所迫，不得不把本身 创出名堂的画号转让给他人，以换取1 笔转让费用，来保持 1 家人的生活。且不管这类 说法是否精确 ，但北斋终身 清贫，而且饱经磨难却是事实。进入中年当前 ，妻子和两个女儿也前后 去世，三女婚事又不谐，暮年 再遭火灾，毁去了他几十年的画稿与血汗 ，给他精神上形成 了很大的打击，但这似乎并没有影响到他的创作。

文政末年到天保初年，70岁的北斋陆续创作和发表了横大判《富岳三十六景》共46枚，这是后来为他博得 世界性荣誉的代表作。在这些精美的作品中，以《凯风快晴》和《神奈川冲浪里》最为着名 ，我们几乎可以在任何1 部介绍日本绘画的书中看到它们，并可以读到对于这些作品的高度评价。例如，著名美术史学家秋山光和就认为，这几幅作品将日本绘画以往的所有成就都再1 次集中的展示 出来了。

然而有人却更喜欢《骏州江尻》。在这1 幅画中，北斋用最为简单的几何线条勾勒出美丽的富士山，而画面的次要 场景画的是在大风天气中赶路的人们。有的人头上的斗笠被吹走，而有的人手中的纸被吹的漫天飞舞，北斋对这类 瞬间画面的把握，达到了很高的境界。在这样1 幅“风”景画中，北斋画出了风，毫无疑问“风”是没有色彩 的，但任何1 个人看到这幅画时，都能听到从画中传出的呼呼的风声，我想这就是所谓“能画1 枝风有声”吧！

如果单从题目上看，《富岳三十六景》自然应以富士山为配角 ，然而在《富岳三十六景》这46幅作品中，除了少数的几幅之外 ，富士山几乎都是1 个远远的背影，画面的主题大多是普通 百姓的生产和生活场景，并充满了浓郁的乡土气息。恐怕正由于 这样，才使的这些作品，受到当时人们的欢迎。此后，他又前后 发表了横大判《琉球八景》、纵大判《诸国泷廻り》和 绘本《富岳百景》等作品，同样受到了好评。

天保5年（1834年），北斋放弃了为他迎来巨大成功的“为1 ”这1 画号，转而使用“画狂老人卍”。从此开始，他的木版锦绘作品逐步 减少，取而代之的是大量的“肉笔画”。（所谓“肉笔画”其实就是直接画在纸或绢本上的手绘彩图。）从取材上看，也从之前 的风俗和风景画转为以描绘动植物为主。天保年间的日本，已 开始受到东方 列强的滋扰，国内的矛盾也日益尖锐，出现了“大盐平八郎之乱”等1 系列事件，幕府作为垂死挣扎而进行的“天保改革”也已失败告终。1 向安逸的江户，开始越

来越不平静，北斋遂迁往较为清净的信州小布施町。并在小布施町完成了他的1 些重要作品，例如为“上町”和“东町”两座祭屋台绘制天井画等。

事实上，此时葛饰北斋的光芒与荣耀，早已被年轻的歌川广重夺去，他那业已失去变化的画风，也渐渐失去了市场。对于1 个画家来说，想象力的日益衰退，可能比身体的衰老和亲人的离去更让他感到伤心。但尽管如此，耄耋之年的北斋仍然倔强的坚持创作，据说他有时请在远方的弟子们，为他带1 些只要 当地才有的鱼类和贝类，并以此作为速写的素材。此时的北斋还像孩子1 样的说过，“如果再给我十年寿命，我将会成为1 个真实的 画家”。就这样他怀揣着这点希望，渐渐走完了失意和悲凉的暮年 。

嘉永2年（1849年）元月，北斋抱病创作了他的最初 1 幅作品——《富士越龙》。画面上具有鲜明“北斋风格”的富士山，和 自始自终 的精致笔法，表明这位老人的绘画技巧照旧 是那样的纯熟 。而墨色浓重显得有些阴冷的画面，可能也表达了他此时的心情 ，还有那条在黑云中飞升的苍龙，是他本身 的化身吗？三个月后，葛饰北斋在位于浅草圣天町遍照院的家中去世，享年90岁。

葛饰北斋绘画作品

若提起江户时代的绘画，浮世绘几乎可以称得上是代名词。浮世绘最早出如今 江户时代初期，创始人是菱川师宣，后来经过铃木春信（1725-1770）的发展出现了“锦绘”。所谓“锦绘”实际上就是多色印刷，从而加强 了浮世绘的表现能力，为浮世绘黄金时期的到来，奠定了基础。

进入化政时期当前 ，在浮世绘方面，同时出现了几位大师。例如，以美人画见长的喜多川歌麿（1753-1806），以风景画见长的葛饰北斋和安藤广重（1797-1858），另外还有歌川派的1 些大师也很着名 。此外，在各种介绍日本美术的书籍中，还会提到一名 叫东洲斋写乐的画家，他是由鸢屋重三郎发现的非凡天才，但在浮世绘的舞台上仅仅活跃了1 年，他的消逝 和出现1 样突兀。他对人物的刻画，为当时的浮世绘注入了1 股新颖 的血液。他如今 的成就，是被东方 首先认同的，进而被日本美术界接受，成为与上列几位并称的人物。

浮世绘同化政时代的“町人文学”是相反相成 的，有很多作家本身就是浮世绘师，例如山东京传。同时，1 些浮世绘师也参加文学创作，例如葛饰北斋就和曲亭马琴经常就文学创作交换意见。然而，浮世绘却也由于 它的世俗味十足，在很长的历史时期内，不被日本文明 界认同。这类 情况不断 持续到浮世绘被东方 画坛留意 ，进而才在日本产生了浮世绘的研讨 热和收藏热，不过这已 是1 个多世纪当前 的事了。

除了浮世绘之外 ，化政时代的绘画成就还表如今 写生画、文人画等诸多画种上。在这些领域里的画家们，开始尝试使用东方 的绘画方法进行创作，对后世的影响很大。另外值得1 提的，还有司马江汉（1738-1818）的洋画创作。化政时代绘画的西洋趣味，虽然还大多出于个人爱好，但却为后来东方 绘画体系的全面传入，打下了坚实的基础。

葛饰北斋绘画作品

 这时候 的北斋，在大胆吸收荷兰风景版画手法的同时，又继承日本名胜画的传统，仔细 观察江户市民的生活风俗，创造出《狂歌绘本·东都名迹概览》。《富士三十六景》（1830）则是结合东方 手法和日本情趣创立的新款式 代表作。在这46幅系列作品中，北斋完全通过本身 的眼睛，从人们生活的角度观察自然。日本灵峰富士山的高耸 抽象 ，通过与庶民生活诸相的对比，出人预料 的构图、或瞬间即逝的千姿百态，呈现出令人目眩的丰富表情。

北斋还以日本各地的山川大海为题，创作了其他风景版画杰作。自然通过北斋的视觉而被把握住本来面目，并与画中人物互感。他的具有革命意义的表现情势 ，对当时江户市民的冲击之大是可想而知的。

北斋的才能不仅在风景画领域，而且在读本插图、花鸟画甚至《百物语》这类 妖怪画等所有画域都有簇新 的表现，还反映在肉笔画中。他自号“画狂人”，直至90岁去世留下了数量巨大的作品。通过多产的作画活动，他寻求 的主题既有自然，也有人间生活、鬼怪世界。他将进入其见闻的包罗万象的事物的本质，作为1 种“动态”来理解，以超常的机智和富有戏剧性的想象力来把握和表现这样变幻莫测的景象 。在《椿说弓张月》（1807-1808）插图中出现的诸怪异场面的逼真表现，在日本美术史上,北斋是位想象力特别丰富的实验艺术家。据说他曾将活公鸡的脚上沾满了红色颜料,任其自在 地覆印于白纸上,最初 依势落笔而成美丽的秋枫图。北斋是极端的完善 主义者,其才华不仅表如今 绘画方面,文笔也超人1 等。在他长达八十年的创作生涯中创作的众多佳作,对后世影响很大。

北斋的风景版画由于其令人耳目1 新，而受江户市民的欢迎。但他对理想 奇矫扭曲形状 的强烈偏执，却是超越当时人理解的，只要 到古代 艺术中才能引发 共鸣。在这个意义上说，他的艺术是超越时代的，是古代 艺术之前的古代 艺术。

葛饰北斋本身就是1 个中国迷画家。喜欢西游记和水浒传。由于 喜欢，故而为这些绘制了大量插图，印成绘本西游记、新编水浒画传。在此过程中，葛饰北斋不断吸收古今中国画帜艺术优点 ，在中国画技法的成就 上，日渐成熟。创作神奈川冲浪里前，葛饰北斋已 学习中国画六十年，深受中国画影响。

 Beizhai was born in a common dwelling house cut by Kangkumoto Institute (now Mouta District, Tokyo) in the 10th year of Baoli, Japan (1760). His original name was Shitaro Nakashima, and later he was renamed Tie Zang. His father was an imperial mirror artist in the shogunate, but his family was not rich, but like many children born in civilian areas, Beizhai had a simple and happy childhood, which of course might be a little bitter. At the same time, like many successful people, his childhood was painted with mythological colors by some good deeds of later generations, for example, when he was 6 years old, he showed extraordinary "painting genius" clouds. But it is a fact that Ge Zhai Beizhai was "edified" by art very early, but not from his parents'"hope for a child to become a dragon" type of training, but from the force of life. As a teenager, he was an apprentice to rent bookstores and printing institutes, so he learned a little sculpture. His formal contact art was at the age of 19. This year, he entered the door of Chunzhang Shengchuan, formally began to learn painting, determined to become a painter. Shengchuan Chunzhang still appreciated the young man's artistic talent, so that he was allowed to publish his works under the symbol "Shengchuan Chunlang" the following year. He started with illustrations for small works such as yellow paper and sprinkler books. During his 15 years working in Shengchuan Studio, his works were not too many and his style mostly imitated his teachers. However, this experience laid a solid foundation for his later works.

Four years of lenient government (1792), the teacher Shengchuan Chunzhang died. The following year, Beizhai left the Shengchuan studio because of his discord with his colleagues in Spring. From his later experience, it was a good thing for him, because from then on he ushered in the first peak of his career. He quickly inherited the title of "Painting Principles of the Ling School", and later his works were mainly composed of mad song books and painted some beautiful paintings. Among them, the representative work is "No Wind and Flow", "No Wind and Flow". This is the most important one in many of his paintings of beautiful women. Most of the beauties in his works are slender faces, small open mouths, and exquisite brushwork, which always make the picture look interesting. This is what people called the "Zongli Style". In fact, whether it is a noble lady, a mythical figure, or a general Tian Han Village Gu, can be depicted vividly in Beizhai's works. At this time, he also extensively studied the artistic characteristics of various schools, such as the Hunting-field School, Zonda-Guanglin School and the Western Style Painting School, especially the Western Style Painting School, which had a profound influence on his later works.

Ten years of lenient government (1798), he gave the name of "Zongli" to Menren Zong2, and renamed it "Beizhai Chen Zheng". Seven years later, it was changed to Ge Zhuo Beizhai, a 46-year-old man. Since then, Beizhai's works have become more and more abundant, and its painting style has basically formed. Later, Beizhai often said that he was born at the age of fifty, which may be the reason. In the early period of Beizhai, the paintings mainly focused on custom paintings and beauty paintings, while at this time they began to gradually turn to landscape paintings. In fact, Beizhai is not the first person to create landscape paintings in Ukiyo paintings. Aucun Zhengxin, Gechuan Fengchun, Sima Jianghan and others have created landscape paintings, while Beizhai has opened up a new situation for the creation of Ukiyo landscape paintings by combining the creative experience of previous masters and Western painting techniques.

In the era of chemical politics, the increasing demand for Ukiyo paintings and the maturity of creative techniques and techniques have brought Ukiyo paintings into the golden age. Ge Zhaibeizhai also ushered in his second creative peak. Two of his greatest achievements in his life were accomplished in this period. One was Beizhai Cartoon and the other was Fuyue 36 Views.

In the seventh year of culture (1810), Beizhai began to use the symbol "Daidou". In the following years, he published a number of model books to guide painting, such as "Early Guide to Sketching" (1812), Beizhai Cartoon (1814), "Early Learning of Sketching" (1814), and "Three-Body Painting Spectrum" (1816), to guide people to learn painting. Beizhai Cartoon is the most famous one among them. In Beizhai Cartoon, Beizhai demonstrates different methods and scientific understandings in describing various shapes, especially in-depth study of the various postures and expressions of the characters. In the content of the description, there are not only people's joys and sorrows, but also birds, animals, insects, fish, mountains and plants, and even ordinary objects in daily life, which can be called an encyclopedia of painting. Fifteen volumes of the book series were scattered about until Beizhai's death. It has a great influence on later generations. Many people think that Beizhai Cartoon is the originator of modern Japanese cartoon creation.

In 1819, Beizhai gave the painting number of "Dai Dou" to Doulan Tower Beiquan, a doorman, and renamed itself "Yi". There is a view in Japanese academia about why Beizhai constantly changes its pictorial marks. It is said that Beizhai is forced by life and has to transfer its famous pictorial marks to others in exchange for a transfer fee to maintain the life of a family. Regardless of the accuracy of this statement, it is true that Beizhai was poor all his life and suffered a lot. After entering middle age, his wife and two daughters also died successively. The marriage of the three daughters was not harmonious. In his later years, he suffered fire again, which destroyed his paintings and blood for decades, and caused a great blow to his spirit, but it did not seem to affect his creation.

From the end of literature and politics to the beginning of Tianbao, Beizhai, 70 years old, successively created and published 46 Hengda Judgment's Thirty-six Views of Fuyue, which later won him world honor. Among these exquisite works, Kaifeng Quick Clear and Kanagawa Surfing are the most famous. We can see them in almost any book introducing Japanese paintings, and we can read a high evaluation of these works. For example, the famous art historian Akiyama Kwanghe believes that these works once again show all the achievements of Japanese painting in the past.

However, some people prefer Junzhou Jianglian. In this painting, Beizhai outlines the beautiful Mount Fuji with the simplest geometric lines, while the main scene of the painting depicts people traveling in windy weather. Some people's hats were blown away, while some people's paper was blown all over the sky. Beizhai's grasp of this instantaneous picture reached a very high level. In such a "wind" landscape painting, Beizhai painted the wind, there is no doubt that the "wind" is colorless, but when anyone sees the painting, they can hear the voice of the wind from the painting. I think this is the so-called "can draw a wind with sound"!

If we look at the title alone, Fuji Mountain should naturally play the leading role in Fuyue 36 Scenes. However, in the 46 Works of Fuyue 36 Scenes, except for a few, Fuji Mountain is almost a far-reaching background. The themes of the pictures are mostly the scenes of production and life of ordinary people, and are full of rich countryside. The smell of earth. I'm afraid that's why these works were welcomed by people at that time. Since then, he has published such works as Hengda Judgment of Eight Sceneries of Ryukyu, Vertical Judgment of All Countries, and Picture Book of Hundred Sceneries of Fuyue, which are also well received.

In Tianbao 5 years (1834), Beizhai abandoned the symbol of "One for One" which ushered in great success for him, and instead used the "Mad Painter's Swastika". From then on, his woodblock brocade works gradually decreased, replaced by a large number of "meat brush painting". (The so-called "meat brush painting" is actually a hand-painted painting directly on paper or silk books.) From the point of view of material, it also changed from the previous customs and landscape painting to the description of animals and plants. During the period of Tianbao, Japan began to be disturbed by the western powers, and domestic contradictions became increasingly acute. A series of events such as the "Great Salt Flat Balang Rebellion" appeared, and the "Tianbao Reform" carried out by the shogunate as a dying struggle also failed. Edo, always at ease, began to grow

More and more uneasy, Beizhai moved to Xiaobushiding, a relatively clean Xinzhou. He also completed some of his important works in Xiao Bushiding, such as drawing patio paintings for the two altars of Shangding and Dongding.

In fact, at this time, the light and glory of Ge's Beizhai decoration had already been recaptured by the young Gechuan Guang, who had lost his changing painting style and gradually lost the market. For a painter, the declining imagination may hurt him more than the aging of his body and the departure of his relatives. Nevertheless, Beizhai, in his early years, stubbornly insisted on creating. It was said that he sometimes asked his disciples in the distance to bring him some fish and shellfish only available locally, and use them as sketch materials. At this time, Beizhai said like a child, "If I were given another ten years of life, I would become a real painter." In this way, with this hope, he gradually ended his disappointed and sad old age.

Jiayong 2 years (1849) January, Beizhai Baobing created his last work, Fuji Yuelong. Fuji Mountain, with its distinctive "Beizhai Style" on the screen, as well as its exquisite brushwork as before, shows that the old man's painting skills are still so skilled. And the dark color appears to be somewhat bleak picture, may also express his mood at this time, there is the Dragon soaring in the dark clouds, is his own incarnation? Three months later, Ge Zaibeizhai died at the age of 90 at his home in Santiandi Manzhao Hospital in Shallow Grass.

When it comes to painting in the Edo era, Ukiyo painting can almost be called a pronoun. Ukiyoshi Painting first appeared in the early Edo era. Its founder was Shixuan Lingchuan. Later, after the development of Suzuki Chunxin (1725-1770), there appeared "Jin Painting". The so-called "brocade painting" is actually multi-color printing, which strengthens the performance of Ukiyo painting and lays the foundation for the arrival of the golden age of Ukiyo painting.

After entering the period of chemical politics, in the aspect of Ukiyo painting, several masters appeared at the same time. For example, Xiduochuan Geluo (1753-1806), Beizhai Ge (1797-1858), and Guangzhong Ando (1797-1858), which are famous for their beauty paintings, are also famous for their masters. In addition, in various books on Japanese art, there will be mention of a painter named Dongzhouzhai who wrote music. He was an extraordinary genius discovered by Isuya Chongsanlang. However, he has only been active on the stage of Ukiyo painting for one year, and his disappearance is as abrupt as his appearance. His portrayal of the characters injected fresh blood into the Ukiyo paintings at that time. His achievements are first recognized by the West, and then accepted by the Japanese art circles, and he has become a number of people in the same name as the above.

In the era of Ukiyo painting assimilation, the "Di humanities" complement each other. Many writers are Ukiyo painters themselves, such as Jingchuan of Shandong Province. At the same time, some Ukiyo painters also participated in literary creation, such as Ge Zhaibeizhai and Quting Maqin often exchanged opinions on literary creation. However, Ukiyo painting is not recognized by Japanese cultural circles for a long time because of its secular flavor. This situation lasted until Ukiyo painting was noticed by the western painting circles, and then there was a research and collection fever of Ukiyo painting in Japan, but this has been more than a century later.

In addition to Ukiyo paintings, the achievements of paintings in the era of Huazheng are also manifested in many kinds of paintings, such as sketches, literati paintings and so on. Painters in these fields began to try to use Western painting methods to create, which had a great impact on future generations. In addition, it is worth mentioning that Sima Jianghan (1738-1818) created foreign paintings. Western interest in painting in the age of Huazheng, though mostly out of personal interest, has laid a solid foundation for the comprehensive introduction of Western painting system.