Japanese Lunar Almanac for the harmony life with Hokusai’s Works

About The Japanese Calendar: Every Day is a Good Day (Wareki Hibi Kore Kōjitsu)

Japan, located in monsoon Asia, experiences pronounced seasonal changes. For those engaged in agriculture and fishing, understanding the seasons and tidal patterns in advance has long been an essential part of daily life, providing critical guidance for determining harvest and catch periods. The lunisolar calendar, based on the phases of the moon and the movement of the sun, originated in China and was adopted in Japan around the 6th century. This calendar underwent numerous revisions due to astronomical recalculations until the Meiji government officially adopted the Gregorian calendar, the global standard, in 1872. Since then, the traditional calendar has been referred to as the “old calendar.”

Seasonal festivals, such as Hinamatsuri (March 3), Tango no Sekku (May 5), and Tanabata (July 7), were originally held according to the old calendar, resulting in a misalignment with seasonal rhythms when mapped onto the Gregorian calendar. Similarly, traditional Japanese cultural practices, including tea ceremony, flower arrangement, haiku, noh, and kabuki, are deeply rooted in the rhythms of the old calendar. These seasonal transitions have profoundly influenced Japanese perspectives on life and death, as well as their lifestyle choices, which emphasize harmony with nature.

“The Japanese Calendar: Every Day is a Good Day” (Wareki Hibi Kore Kōjitsu) seeks to reintroduce the traditional Japanese calendar, often referred to as the “old calendar,” into modern life. By embracing the unique sense of seasonality, reverence for nature, and the aesthetic worldview characterized by concepts like wabi-sabi, this publication presents the Japanese calendar as a distinct and enriching time axis that differs from the Western calendar.

About The Japanese Calendar: Every Day is a Good Day (Wareki Hibi Kore Kōjitsu)

Katsushika Hokusai (1760–1849) continued creating art until his death at the age of 90, striving to capture all aspects of the natural and human world. From ukiyo-e prints to landscapes, portraits, and depictions of flora and fauna, Hokusai left behind a staggering body of work, estimated to include over 30,000 pieces.

For “Wareki Hibi Kore Kōjitsu”, we chose to feature Hokusai’s works for all illustrations. His relentless dedication, from the smallest detail such as a mouse to grand compositions of tumultuous waves, serves as more than just a historical record of a past master. We hope readers will see his life as a guiding light for the future world. Remarkably, as we curated seasonal columns, we found that Hokusai’s works perfectly complemented each theme, affirming his intention to depict the vast scope of the natural and human experience.

In an era with no cameras also no drones, it is astonishing to imagine how Hokusai conceived and executed his compositions. His genius is undeniable, yet an anecdote shared by his daughter, Katsushika Ōei, reveals his humility and unyielding curiosity. Even in his 80s, Hokusai reportedly wept, lamenting that he could not yet properly draw a single cat. This enduring pursuit of excellence likely sustained his artistic spirit throughout his life.

While masterpieces such as “Thirty-Six Views of Mount Fuji” and “The Great Wave off Kanagawa” are celebrated worldwide, we are particularly drawn to the empathy reflected in “Hokusai Manga”, which captures the lives of ordinary people in Edo period. The same compassionate gaze extends to mountains, rivers, flowers, and birds, forming the foundation of his creations.The theme of this journal, the “sense of wonder,” is vast and profound, yet we hope readers can experience it through Hokusai’s works.

The traditional lunisolar calendar, which forms the basis of this journal, counts days by the phases of the moon and marks seasonal transitions through the twenty-four solar terms and seventy-two microseasons. This rhythm resonates with Hokusai’s art, deeply rooted in the cycles of nature and life.

24 solar terms and 72 micro season

The twenty-four solar terms serve as seasonal markers for agricultural activities, while the seventy-two microseasons further divide the twenty-four solar terms into three parts, each representing approximately five days. These microseasons highlight distinctive weather patterns and subtle changes in flora and fauna. The seventy-two microseasons originated around 770 BCE in the Yellow River basin of China.

The seasons as depicted by Hokusai

Various seasonal words and color names were inspired by the calendar. This journal is entirely composed of Hokusai’s artworks. Please enjoy the seasons as depicted by Hokusai.The Japanese people believe in the presence of eight million gods. We hope you can feel the essence of this belief through the pages of this diary.

Contents of summary

1st moon Mutsuki (睦月）
The month to reaffirm the connection of lifeand the spirit of harmony—a time for gathering and fostering bonds of affection.