The Dream of The Fisherman's Wife - Influence

Influence

The Dream of the Fisherman's Wife is often cited as an early forerunner of tentacle erotica, a motif that has been common in modern Japanese animation and manga since the late 20th century. Modern tentacle erotica similarly depicts sex between human women and tentacled beasts; notably, however, the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven, however, is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese culture following World War II. However, scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise," citing Hokusai's print an early exemplar of such a tradition.

The work has influenced a number of later artists such as Félicien Rops, Auguste Rodin, Louis Aucoc, Fernand Khnopff, and Pablo Picasso. Picasso painted his own version in 1903 that has been shown next to Hokusai's original in exhibits on the influence of 19th-century Japanese art on Picasso's work. In 2003 a derivative work by Australian painter David Laity, also titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving multiple complaints Melbourne police investigated, but determined it did not break the city's pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created a number of images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.

The so-called "aria della piovra" ("Octopus aria") "Un dì, ero piccina" in Pietro Mascagni's opera Iris (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its tentacles around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"