Hokusai's woodcut, "Under the Wave off Kanagawa" (Kanagawa oki no namiura), originally published in 1831 in the series Thirty-six Views of Mount Fuji (Fuji no sanjurokkei), is recognized around the world.' (Figure 1) Arguably Japan's first global brand, "The Great Wave," as it is commonly known, has been widely adapted to style and advertise merchandise, including home furnishings, clothing and accessories, beauty products, food and wine, stationery, and books. Most of the goods that trade on its celebrity status, however, are neither manufactured in Japan nor primarily dependent on the commodification of the Japanese aesthetic or locale. This essay examines the mobilization of "The Great Wave" to promote and sell mass-produced goods in the first decade of the twenty-first century, throwing light on the ways that this highly adaptive graphic design can mediate between the local and the global without necessarily referencing Japanese tradition.
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机译：北斋的木刻版画《神奈川的波涛下》（Kanagawa oki no namiura）最初出版于1831年，系列名为《三十六幅富士山风景》（Fuji no sanjurokkei），在世界范围内得到认可。 （图1）可以说，日本第一个全球品牌“大浪潮”已被广泛采用，以适应商品的样式和广告需求，包括家具，服装和配饰，美容产品，食品和葡萄酒，文具和图书。但是，大多数以名人身份交易的商品既不是在日本制造的，也不主要依赖于日本美学或地区的商品化。本文探讨了在二十一世纪前十年动员“大浪潮”促销和销售大规模生产的商品的情况，阐明了这种高度适应性的图形设计可以在本地和全球之间进行调解的方式。必须参考日本的传统
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