Asian Landscape and Nature Paintings

Ink paintings depicting serene landscapes, flora, and cultural scenes, showcasing traditional Asian artistic techniques and aesthetics.

Five noblemen and a servant on their way to a picnic View cherry blossoms in Ueno (series title) Ueno hanami no tei (series title), Six men, three young nobles in long robes and long hair, walking with two older nobles, one with a hat, and next to that a servant, all with a sword, in the direction of a tree with a blossom., Hishikawa Moronobu (attributed to), Japan, 1673 - 1677, paper, h 256 mm × w 387 mm

Landscape in Chinese style, Sasaya (workshop or), c. 1800 Design drawing for paintwork. Kyoto paper. ink painting Design drawing for paintwork. Kyoto paper. ink painting

Orchid and Rock, late 18th - early 19th century, Totoki Baigai, Japanese, 1733 - 1804, 10 3/4 × 12 1/4 in. (27.31 × 31.12 cm) (image)45 7/16 × 17 1/4 in. (115.41 × 43.82 cm) (mount, without rollers), Ink and color on paper, Japan, 18th-19th century

Young Scholar on His Way to His First Official Post , late 18th century. Ink and light color on silk, 10 5/8 x 15 1/2 in. (27.0 x 39.4 cm). Asian Art late 18th century

Five noblemen and a servant on their way to a picnic View cherry blossoms in Ueno (series title) Ueno hanami no tei (series title), Six men, three young nobles in long robes and long hair, walking with two older nobles, one with a hat, and next to that a servant, all with a sword, in the direction of a tree with a blossom., Hishikawa Moronobu (attributed to), Japan, 1673 - 1677, paper, h 256 mm × w 387 mm

Bamboo. Artist: Zhu Lu, Chinese, 1553-1632

Mountain River on the Kiso Road, 1857, 8th month, Utagawa Hiroshige; Publisher: Okazawaya Taheiji, Japanese, 1797 - 1858, vertical ōban triptych, Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Bedspread. Dated: 1935/1942. Dimensions: overall: 57.8 x 34.2 cm (22 3/4 x 13 7/16 in.) Original IAD Object: 22 1/2" long; 10" wide. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Phyllis Dorr.

Landscaping sheet with a poet on a mountain. Range Painting, representing a poet. Signed Suzuki Kiitsu (1796-1858).

Roosters in Face Off right of a pair, late 16th century, attributed to Kano Yukinobu, Japanese, c. 1513 - 1575, 39 1/2 × 19 5/8 in. (100.33 × 49.85 cm) (image)74 × 23 11/16 in. (187.96 × 60.17 cm) (mount, without roller), Ink and color on paper, Japan, 16th century

"Convenience in Drawing Water" from Jben (Ten Conveniences); "Pleasure of Dawn" from Jgi (Ten Pleasures) 1800 Totoki Baigai. "Convenience in Drawing Water" from Jben (Ten Conveniences); "Pleasure of Dawn" from Jgi (Ten Pleasures). Totoki Baigai (Japanese, 1749-1804). Japan. 1800. Two albums, each with ten leaves; ink and color on paper. Edo period (1615-1868). Paintings

Hawks by a Stream left of a pair, mid 17th century, Soga Nichokuan, Japanese, active c. 1620 - 1660, 59 5/16 × 137 11/16 in. (150.65 × 349.73 cm) (image)66 1/2 × 145 1/16 × 5/8 in. (168.91 × 368.46 × 1.59 cm) (outer frame), Ink and color on paper, Japan, 17th century, Birds of prey became a favorite subject of members of Japans warrior class beginning in the 1400s and 1500s. When applied to large-scale paintings like folding screens, such images, which express notions such as military prowess, power, and valor, made for a particularly impressive backdrop for warriors receptions rooms. Soga Nichokuan, like his father, Soga Chokuan (Nichokuan literally means 'the second Chokuan'), specialized in images of birds, especially hawks and other birds of prey, whose textured feathers they described using a meticulous layering of various tones of ink wash. The hawks of Nichokuan and his father owe a great deal to older Chinese and Japanese paintings . But Nichokuan, particularly in late works

TwoPines. Artist: Tang Yifen, Chinese, 1778-1853

Wen Zhengming (1470-1559). "Ode to the red cliff". Ink and colors on a gold background (paper), fan format, 1552. Paris, Cernuschi museum. 39229-10 Boat, calligraphy, water, ink on paper, Evening, red cliff, gold background, mountain, ode

Mallows, 17th century, traditionally attributed to Kitagawa Sōsetsu; Artist: Unknown seal of I'nen, 50 3/8 × 20 3/4 in. (127.95 × 52.71 cm) (image)85 3/8 × 26 5/8 in. (216.85 × 67.63 cm) (mount, without roller), Ink and colors on paper, Japan, 17th century

The Refinement and Mining of Precious Metals: Gold, Silver, Copper, 19th century, Unknown Japanese, 10 3/4 x 808 in. (27.31 x 2052.32 cm), Ink and colors on paper, Japan, 19th century

Shooting rapids under high cliffs. ink on paper. Origin: China. Date: 14th century. Period: Possibly Yuan dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Hawk, pine, plum, and rock Zhu Cheng Chinese dated 1873 Zhu Cheng painted in Shanghai in the waning years of the Qing dynasty. At a time when Chinas position on the world stage had been weakened, images of birds of prey became more popular. Artists and patrons looked to inject a sense of strength into the ink-painting tradition through these symbols of martial power. The hawk stands stolidly on a wizened old pine as flowering pluma sign of spring renewalblossoms below. View more. Hawk, pine, plum, and rock. Zhu Cheng (Chinese, 1826-1900). China. dated 1873. Hanging scroll; ink and color on paper. Qing dynasty (1644-1911). Paintings

Scroll 1. Scene 4. 1500 - 1525. text. Illustrations. Spencer Collection

Su Shi Riding a Donkey early 15th century Bokudō Sojun This sparse painting of a man and a donkey in a windswept landscape illustrates an episode in the life of the Song-dynasty poet Su Shi (1037-1101). The aged Su, in exile, had been visiting a friend. As it began to rain when he took his leave, Su borrowed a wide-brimmed hat and clogs from a local farmer. The sight of a scholar-official from the city plodding through the rain dressed in the humble garb of a farmer is said to have startled the local women and children. The artist, Bokudō Sōjun, was a Zen monk from Tenryūji Temple in Kyoto. His use of gold outlines on Su Shis hat, headcloth, and the bridle bit, touches of brightness in an otherwise austere composition, may have been influenced by professional painters of the era who used gold highlighting in Buddhist paintings.. Su Shi Riding a Donkey. Bokudō Sojun (Japanese, 1373-1459). Japan. early 15th century. Hanging scroll; ink and gold on paper. Muromachi period (1392-1573). Pa

Doll Festival, 18th century, Unknown Japanese, 16 13/16 × 23 1/2 in. (42.7 × 59.69 cm) (image)51 1/2 × 29 5/8 in. (130.81 × 75.25 cm) (mount, without roller), Ink and color on paper, Japan, 18th century

Landscapes of the Four Seasons 1630s Kano Tan'y At far right, a stream fed by melting snow comes tumbling down out of the mountains, symbolizing the onset of spring. This foreground of waterfalls, bent trees, and rooftops suddenly gives way to an expanse of blank paper—a diagonal swath of mist that parts to reveal distant summer mountains. A flock of geese and the large moon are the only indications of autumn in the left screen (not exhibited), which is dominated by icy mountains and a snow-covered village. A grandson of the great Momoyama painter Kano Eitoku (1543-1590), Kano Tan’y had, by the time he was a teenager, already become official painter to the second Tokugawa shogun Hidetada (1579- 1632; reigned 1605-1623). This pair of screens is dated on stylistic grounds to the 1630s, when Tan’y was head of the Kano school’s Kajibashi atelier in Edo, which Tan’y himself had established in 1621.. Landscapes of the Four Seasons. Kano Tan'y (Japanese, 1602-1674). Japan. 1630s. Pair of

The Zen Eccentric Zhutou right of a pair of Zhutou and Xianzi, late 15th-early 16th century, Yōgetsu, Japanese, act. late 15th - early 16th c., 10 3/4 × 8 9/16 in. (27.31 × 21.75 cm) (image)47 3/4 × 14 3/8 in. (121.29 × 36.51 cm) (mount, without roller), Ink on paper, Japan, 15th-16th century, These paintings show two eccentric Chinese Zen priests, both of whom became famous for ignoring Zen restrictions on eating meat. Zhutou, at right, loved to eat boar meat and was known for carrying a boar head around town. His counterpart at left, Xianzi, was known to wander riverbanks eating clams, shrimp, and crayfish. Legend has it that Xianzi gained enlightenment while catching a shrimp, and this is the moment shown here. Despite their disregard for Zen monastic rules, such unruly priests were often held in high regard for following their own paths.

Bamboo. Artist: Unidentified Artist; After Guan Daosheng (1262-1319). Culture: China. Dimensions: 10 3/4 x 10 3/4 in. (27.3 x 27.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Landscape in Chinese style, Sasaya (workshop or), c. 1800 Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting

Bats and moon, Hiroshige (I), Utagawa (mentioned on object), Japan, 1835 - 1840, paper, colour woodcut, h 254 mm × w 127 mm

Memyō Bosatsu, 13th century, Unknown Japanese, 13 1/16 × 18 7/8 in. (33.18 × 47.94 cm) (image)43 7/8 × 24 5/8 in. (111.44 × 62.55 cm) (mount, without roller), Ink and light color on paper, Japan, 13th century

Red Cliff, second half 18th century, Kimura Kenkadō, Japanese, 1736 - 1802, 22 3/16 × 10 13/16 in. (56.36 × 27.46 cm) (image)52 7/8 × 16 in. (134.3 × 40.64 cm) (mount, without roller), Hanging scroll; ink on paper, Japan, 18th century, Kimura Kenkadō was a scholar-merchant and literati painter from Osaka, whose residence was a meeting point for painters and writers from all over town. In this work, he depicts the Red Cliff in a dramatic composition, hanging almost menacingly over the small boat below. Even more tension between foreground and background is created by placing smaller mountains in the distance. It is, however, a purely fictional depiction of the place, based on a sketch from the painting manual 'Eight Types of Picture Albums' (Hasshu gafu), as Kenkadō had never visited the Red Cliff.

Snowy Landscape. Artist: Sakaki Hyakusen (1697-1752). Culture: Japan. Dimensions: 47 3/4 × 19 3/4 in. (121.3 × 50.2 cm)76 9/16 × 27 3/16 in. (194.5 × 69 cm)Overall with knobs: 76 9/16 × 27 3/8 in. (194.5 × 69.5 cm). Date: 1744. Museum: Metropolitan Museum of Art, New York, USA.

Spring Cleaning late 18th-early 19th century Yokoi Kinkoku As spring returns to the mountains, men sweep the gardens and repair the thatched roofs of a creekside residence in this painting by the Nanga artist Yokoi Kinkoku. Much of what we know about Kinkoku's life and career can be gleaned from his autobiography, the Kinkoku Djin go-ichidai ki. Born in tsu, a town near Kyoto on the shores of Lake Biwa in mi Province, Kinkoku became a Buddhist monk as a young man and in adulthood practiced extreme austerities as a follower of the syncretic Shugend sect. Traveling widely and never tied to a single teacher, Kinkoku drew from a variety of sources for his painting but is most closely associated with the great Yosa Buson (1716-1783), whose influence is apparent throughout Kinkoku's body of work. Although he never actually studied directly with Buson, so close to Buson's style was Kinkoku's that he gained the nickname "Buson of mi Province" (mi Buson). This work by Kinkoku is in fact a

Kultura w sieci Kultura+ unknown

Ptak fenghuang unknown

Various Scenes. Date: ca. 1810-1820. Origin: Japan. Period: Edo period. Ink and color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

CABALLOS BEBIENDO - 59x54. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Roukaku Sansui Zu (Landscape with tower) Right of a pair of six-section folding screens by Ike no Taiga (1723-1776)/ Tokyo National Museum/ c. 1750/ Japan/ Watercolour and ink on paper/ The Oriental Arts/ 168,7x745/ Landscape

Japanese Pickle & Plums, Japanese Prints

Five Treasure Balls (Hju) and Five “Longevity” Characters. Artist, attributed to: Katsushika Hokusai, Japanese, 1760-1849

Parody of a Beautiful Woman as Rin Nasei (Ch. Lin Hejing) with Crane, mid 18th century, Kawamata Tsunemasa, Japanese, act. 1720s-1740s, 35 × 10 3/4 in. (88.9 × 27.31 cm) (image), Ink, color, and gold on paper, Japan, 18th century, In this parody of the ancient Chinese poet Lin Hejing (also Lin Bu; 967-1028), a fashionable courtesan poses with a crane beneath the delicate blossoms of a plum tree in the cold of early spring. Lin Hejing is said to have lived alone on an islandGushan, or 'Solitary Hill'in the middle of Hangzhou’s fabled West Lake. The poet’s only acquaintances were pet cranes and his beloved plum trees.

Landscape in the Style of Yan Wengui. Artist: Unidentified Artist; After Wang Hui (Chinese, 1632-1717). Culture: China. Dimensions: 6 1/2 x 19 1/4 in. (16.5 x 48.9 cm). Date: 18th century or later, spurious date of 1707. Museum: Metropolitan Museum of Art, New York, USA.

Fans, mori ippô, 1857 print Three fans, one in black with a golden print, are left over each other. Shijô style Surimono with several poems. paper color woodcut fan

Zhou Dunyi Gazing Out Over Lotus, c. 1500, Liu Jun, active c. 1475 - c. 1505, 98 11/16 x 48 3/8 in. (250.67 x 122.87 cm) (image), Ink and color on paper, China, 15th-16th century, Paintings by Liu Jun, a court painter and a figural specialist, are noted for their capacity to create arresting visual narratives that are often imbued with complex symbolic meanings. This large riverside scene is a rare landscape by this artist, but the true subject of the painting is the famous Song philosopher Zhou Dunyi (1017-1073). Liu depicts him staring out the open window of his waterside retreat across a bed of lotus, his concentration broken by the melancholy flute playing of a solitary fisherman. The lotus is a visual reference to his best-known text, 'On the Love of the Lotus,' in which he observed that the lotus emerges from the mud but is not defiled by it, embodying ideals of noble purity and unflinching courage.

Old Tree, Bamboo, and Rock by Su Shi (1037-1101), as interpreted by Xu Wei (1521-1593), from the Mustard Seed Garden Manual of Painting First edition, 1679 Designed by Wang Gai In 1679, the author Li Yu published a primer for aspiring landscape painters called the Mustard Seed Garden Manual of Painting, and he commissioned the versatile painter Wang Gai to provide designs for the illustrations. The first edition features volumes on the components of landscape paintingtrees, rocks, and human figureswith instructions on how to draw different types of each. It also includes two volumes of landscapes in the styles of old masters, which show readers how to transform what they have learned into their own historically minded compositions.The manual transmitted the fashion for studying old masters' styles beyond the rarified elite circles that had given rise to the practice, and it went on to become the most widely used introduction to painting not only in China, but in Korea and Japan as we

Cypresses. Artist: Ikeda Koson (Japanese, 1803-1868). Culture: Japan. Dimensions: Image: 59 5/16 x 63 1/16 in. (150.6 x 160.2 cm)Overall with mounting: 67 1/2 x 70 1/2 in. (171.5 x 179.1 cm). Date: mid-19th century.In this dramatic close-up of a single landscape element, Ikeda Koson renders a timeless moment in a grove of hinoki cypresses. He depicts an atmosphere of misty space and shifting light by skillfully varying ink tones from black to gray in the leaves of frond-like branchlets. Texture and form result from the application of wet ink over pale washes on the tree trunks. Koson, a pupil of the Rinpa revivalist Sakai Hoitsu (1761-1828), brought a fresh vitality to standard themes in the Rinpa repertoire through his virtuoso brushwork and ability to convey naturalistic forms without sacrificing the bold decorative impact of his predecessors. Museum: Metropolitan Museum of Art, New York, USA.

Scene 3b. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

Hof lady with clock, Kubota Shunman, 1799 Hof lady with fan in the left hand, standing on a landing. The eyebrows painted high on the forehead indicate that here is a lady from the Heian period (794-1185). A clock hangs behind her. This print is a calendar sheet (Egoyomi) for the year 1799. The long months for that year are indicated on the clock. With one poem. Japan paper color woodcut Hof lady with fan in the left hand, standing on a landing. The eyebrows painted high on the forehead indicate that here is a lady from the Heian period (794-1185). A clock hangs behind her. This print is a calendar sheet (Egoyomi) for the year 1799. The long months for that year are indicated on the clock. With one poem. Japan paper color woodcut

Six panelscreen. Artist: Kan? Tsunenobu, Japanese, 1636-1713

Landscape with Ox Carts on a Road. Artist: Li Xiying. Culture: China. Dimensions: 5 x 6 3/4 in. (12.7 x 17.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Women Crossing the Ōi River. Utagawa Toyokuni I (Japan, 1769-1825). circa 1800. Prints; woodblocks. Color woodblock print triptych

Famous Products of Ryūkō 1834 Japan. Famous Products of Ryūkō. Japan. 1834. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Dam in Amsterdam at Maanlicht, George Hendrik Breitner, c. 1886 - c. 1903 In the front figures. Page 49 and Page 50 from a sketchbook with 41 sheets. Amsterdam chalk square, place, circus, etc. (+ city(-scape) with figures, staffage). civic architecture; edifices; dwellings. moonlight Dam

Otsuka, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.2 x 25.5 cm., Print shows porters carrying goods and palanquins near the Otsuka station of the Tokaido Road.

Two Scholars and Boy with Goose 19th century Sun Rong. Two Scholars and Boy with Goose. Sun Rong. China. 19th century. Fan mounted as an album leaf; ink and color on silk. Qing dynasty (1644-1911). Paintings

Scene from The Kōrin Picture Book (Volume 1), 1800s. Nakamura Hōchū (Japanese, d. 1819). Color woodblock printed book; Ogata Korin (1658-1716) was one of the most admired artists of Rimpa, or "decorative school painting." These books by the charming later-generation Rimpa artist Hochu record Korin's inventive designs.

Judgments on the Erotic Charms of Women by Miyagi Gengyo ca. 1852 Utagawa Kunimori II A Fraudulent Murasakis Rustic Genji was a best seller of its day and engendered a boom in the popularity of woodblock prints on the subject. Less well known is that Rustic Genji also triggered a flood of erotic illustrated books (shunpon). Shown here is one of the most outrageous erotic versions of The Tale of Genji by Utagawa Kunisadas pupil Utagawa Kunimori, with text by author and print artist Miyagi Gengyo (1817-1880), who signs himself Inraku Sanjin 婬楽山人, “Gentleman of Bawdy Pleasures.” The punning title refers to the “judgments on women” (shina sadame) episode in Chapter 2, “Broom Cypress,” of the original Genji. The phrase enshoku suggests that not only are their personal virtues being judged but so too are their sensual qualities.. Judgments on the Erotic Charms of Women by Miyagi Gengyo. Utagawa Kunimori II (Japanese, active 1830-1861). Japan. ca. 1852. Set of three woodblock-printed books

Lover's Visit, 1680-1730. Tamura Suio (Japanese). Hanging scroll, ink and color on silk; image: 50.4 x 82.2 cm (19 13/16 x 32 3/8 in.); overall: 155.2 x 97.7 cm (61 1/8 x 38 7/16 in.); with knobs: 155.2 x 104.7 cm (61 1/8 x 41 1/4 in.). This celebrated work by Tamura Suio was acquired from Osaka in 1976, donated to the museum in 1985, and was included in the 1998 exhibition Highlights of Asian Paintings at the Nara National Museum and the Suntory Museum of Art in Japan. It depicts four women of fashion at leisure who are interrupted by the arrival of a young man, the lover of one of the women. Former director Sherman Lee remarked on the pictorial design of such paintings of beautiful women, explaining that "the placement of the figures and their interrelations, psychological and aesthetic, show a calculation and subtlety worthy of the great decorative masters."

Painting, Baign, 1800 - 1900

Eagle in a Tree. Artist: Watanabe Seitei (Japanese, 1851-1918). Culture: Japan. Dimensions: 14 x 10 3/4 in. (35.6 x 27.3 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Amaranthus and Mynah Bird Kakutei (Kaigan Jk ) Kaigan Jk spent his early years as a priest at Shfukuji , an baku Zen temple in his native Nagasaki, where he also studied painting under Kumashiro Yhi (1712-1773), the most prominent Japanese student of the Chinese émigré painter Shen Quan (Shen Nanpin; 1682-1760), who had spent several years in Nagasaki in the early 1730s. Yhi nurtured numerous students in Nagasaki, giving rise to a network of painters that would come to be known as the Nanpin school or Nagasaki school. Yhi’s two top disciples, Kaigan Jk (better known by his sobriquet Kakutei) and S Shiseki (1715-1786) are credited with transmitting the school’s colorful, naturalistic style of bird-and-flower painting to the cities of Kyoto and Edo, respectively. In this picture, Kakutei depicts a mynah bird flying above a rock and large pink-colored amaranthus, the characters of whose Chinese-origin Japanese name, ganraik, literally means “crimson of the

Immortal Poet. Artist: Kano Shoun (1637-1702). Culture: Japan. Dimensions: 7 1/4 × 6 1/2 in. (18.4 × 16.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Orchids and Bamboo right of a pair, 1852, Tsubaki Chinzan, Japanese, 1801 - 1854, 41 3/8 x 103 1/2 x 5/8 in. (105.09 x 262.89 x 1.59 cm) (panel), Ink on gold leaf on paper, Japan, 19th century, These screens use richly symbolic natural motifsorchid and bambooto praise the character of scholar-officials like the artist Tsubaki Chinzan himself. The right screen illustrates a grotto of wild epidendrum orchidssmall, unassuming plants that grow even in harsh conditions and send forth a marvelous fragrance, just as studious scholars succeed no matter the condition in which they might find themselves. The left screen pictures a grove of bamboo, admired for its strength in strong winds, just as a scholar is resolute in the face of ignorance.

Landscapes in the styles of old masters 1667 Gao Cen Chinese Gao Cen was among the most accomplished of the so-called Eight Masters of Nanjing. He specialized in small-scale gemlike paintings executed in an intricate, descriptive style that highlighted the scenery of the city. Perpetuating a tradition of topographic painting practiced during the late Ming, Gao produced works to supply the growing demand for mementos of Nanjing's fabled sights, including places with nostalgic links to the city's glory days under the Ming. A sensitive recorder of the familiar, Gao was also an innovative experimenter with light, atmosphere, and color whose art reflects a creative response to Western influences introduced by Jesuits such as Matteo Ricci (1552-1610). Gao's wistful, atmospheric landscapes are noteworthy for seamlessly fusing descriptive realism and poetic feeling to achieve exquisite evocations of place and mood. Gao's works are rare today and this album, which captures aspects of Nanjing's

Dragon, 19th century, Katsushika Hokusai, Japanese, 1760 - 1849, 15 3/8 × 24 1/8 in. (39.05 × 61.28 cm) (image)15 5/8 × 25 1/2 in. (39.69 × 64.77 cm) (sheet)20 7/8 × 30 3/4 × 3/4 in. (53.02 × 78.11 × 1.91 cm) (outer frame), Ink on paper, Japan, 19th century

Phoenixes and Paulownia right of a pair, early 18th century, Kano Tanshin, Japanese, 1653 - 1718, 140 1/4 x 63 1/2 in. (356.24 x 161.29 cm) (image)147 3/4 x 70 3/4 in. (375.29 x 179.71 cm) (overall), Ink, color, and gold on silk, Japan, 18th century, In 1674, Kano Tanshin succeeded his father, Tan'yū, to become head of the famous and powerful Kano House of painters in the capital of Edo, where the studio catered to the military rulers of Japan. The subject of this pair of screens suggests that it may have been commissioned to convey a political message. According to ancient Chinese and Japanese beliefs, phoenixes only descend from the heavens when earthly kingdoms are under just and compassionate leadership. There they raise their young in the boughs of paulownia trees, the nectar of which provides nourishment. Thus, these screens would have served as more than just a beautiful backdrop in a palatial hall; they would have suggested that their owner was an admirable governor.

Pines, first half 19th century, Yamamoto Baiitsu, Japanese, 1783 - 1856, 7 15/16 × 18 in. (20.16 × 45.72 cm) (image)44 1/8 × 26 9/16 in. (112.08 × 67.47 cm) (mount, without roller), Ink and color on mica paper, Japan, 19th century

Japan: 'Geese and Reeds'. Hanging scroll painting by an unidentified artist in the style of Tesshu Tokusai (-1366), late 14th century. Tesshu Tokusai (-1366) was a Japanese artist living during the Nanbokucho Period. Tokusai was a Zen monk and an accomplished poet as well as a painter, and took extended trips to the Chinese mainland in the 1330s where he would become highly influenced by the ink paintings of Yuan Dynasty Chinese painters. He took these influences back to Japan and introduced them to other Zen monks.

Japan, Shinegobu, Yanagawa, Monkey with Overturned Lacquer Stand, A monkey has overturned a lacquer stand and the sweets are now on the ground. The numbers 1, 3, 4, 6, 8, 12 are inscribed in the foot. These are the short months from the monkey year 1812. With one anonymous haiku poem., print, prent, surimono, egoyomi (calendar page), prints, pictures, Japan (collection), height 137 mm, width 185 mm, Japanese, 1787 - 1833, print maker, printmaker, 1812 - 1812, second quarter 19th century, paper, colour woodcut, blind printing

Chintz fragment, Medium: cotton Technique: mordants for 2 reds and 2 purples applied by brush; madder dyed; blue applied over resist; yellow over blue for green; chintz on plain weave, Irregular fragment of a large scale design with tree trunk, flowers and large leaves., India, 18th century, printed, dyed & painted textiles, Chintz fragment

Porcelain plaque with prunus signed by Tian Hexian. Dated 20th Century

Blauwe Nachtegaal, Ohara Koson, 1900 - 1930 print Bird on bamboo construction with water, serving as a scarecrow; Between grass and shrubs. paper color woodcut scarecrow

Chinese Figures in a Landscape, from a set of three, late 16th-early 17th century, Traditionally attributed to Kano Eitoku, Japanese, 1543 - 1590, 46 1/8 x 18 3/4 in. (117.16 x 47.63 cm), Ink and color on paper, Japan, 16th-17th century, This trio of paintings shows Chinese gentlemen and several younger attendants in a mountain setting. They may once have been part of a larger set of paintings depicting figures engaged in the so-called Four Accomplishments--music, chess, calligraphy, and painting. Given their large scale and cropped compositions, it is possible that they were originally mounted on sliding doors. They may have been damaged and remounted as hanging scrolls in order to salvage the remaining fragments. The facile brushwork delineating the sages' costumes and facial features suggests that they were created by or in the circle of Kanō Eitoku, the renowned leader of the seminal Kanō studio during the late 1500s. The red seals reading 'Eitoku' in the lower corners of the paint

Making Straw Rope Ainu. , 19th century. Hanging scroll, ink and color on paper.   , 24 13/16 x 47 13/16 in. (63 x 121.5 cm). Asian Art 19th century

Piece 18th-19th century Japan. Piece 66125

Plovers, Rocks, and Waves, first half 19th century, Suzuki Kiitsu, Japanese, 1796 - 1858, 48 9/16 × 19 1/2 in. (123.35 × 49.53 cm) (image)74 15/16 × 20 13/16 in. (190.34 × 52.86 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

Untitled, 1625. China, Ming dynasty (1368-1644). Color woodblock print; overall: 28.3 x 30.8 cm (11 1/8 x 12 1/8 in.).

Turtle, 18th century, Itō Jakuchū, Japanese, 1716 - 1800, 38 3/8 × 16 in. (97.47 × 40.64 cm) (image)67 1/4 × 21 in. (170.82 × 53.34 cm) (mount, without roller), Ink on paper, Japan, 18th century

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

One half of a pairthe other screen being called ‘Winter’this tender springtime scene features birds and blooming camellias and green willows. The unknown artistwho is clearly from the school of Unkoku Togan (1547-1618)has used watercolor and gilded paper pulled across a wooden frame to create the screen. Adopted from the Chinese in the 7th and 8th centuries CE, screens such as this are used in Japan to separate space within a house and are an integral part of Japanese décor.

Fragment (China); silk

Goldfish in a bowl, Octogonal print in album with 39 prints., Ayaoka Yûshin (mentioned on object), Japan, 1880 - 1890, paper, colour woodcut, h 223 mm × w 287 mm

NIGHT SHINING WHITE, by Han Gan, 743-756, Chinese, Tang dynasty, painting, ink on paper. The animated horse of 8th century Emperor Xuanzong is portrayed with flaring nostrils and raised hoofs. This is the most famous work by Han Gan, the leading horse painter of his time. The seals and inscriptions added by later owners are a custom of Chinese connoisseurship (BSLOC_2017_16_6)

RaVen with a kogarasu maru Sword /kogarasu maru Katsushika, hokusai (1760 1849)

Reading at the Secluded Pine Studio (Song yinan). Artist: Wang Fang, 1799-1877

Battle between knights and tigers at night YOSHIKAZU, UTAGAWA (FL. 1850 1870)

Rolling painting with a representation of a egret and a lotus. In wooden box.

Masks of Oni (Demon) and Uzume (Goddess of Good Fortune) Katsushika Hokusai Japanese probably 1807 View more. Masks of Oni (Demon) and Uzume (Goddess of Good Fortune). Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. probably 1807. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Lacquer Paintings of Various Subjects: Drum for Gagaku Dance. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 7 1/2 x 6 1/2 in. (19.1 x 16.5 cm). Date: 1882.The strong color effect seen in this album is achieved by using lacquer as a painting medium. Painting with lacquer on paper was one of the techniques Zeshin developed into his own style. Despite the heavy material, Zeshin's skillful brushwork and his technical inventions with the material made it possible to create various textures as with ink painting. In addition, some lacquer techniques, like mother-of-pearl inlays and the creation of rough surfaces, are also used. Up until the middle of the Meiji period, lacquer was limited to roughly five colors--black, brown, vermillion, green, and yellow--which determined the color palette of Zeshin's lacquer paintings. Museum: Metropolitan Museum of Art, New York, USA.

Group of Figures near a Brook, 1760-1849. Katsushika Hokusai (Japanese, 1760-1849). Color woodblock print; sheet: 9.6 x 23.2 cm (3 3/4 x 9 1/8 in.).

Textile fragment, embroidery and print of two boats and plants on damask background., anonymous, Japan, 1751 - 1764, Horeki period, silk, height 15 cm × width 28.8 cm

Screen with sea eagle along the coast, Ganryo, c. 1830 - c. 1850 Right part of a few six-stroke of room screens, with an image of a sea eagle on a rock in the surf. Japan Painting: Paper. Painting: Ink. Mounting: Silk. Frame: Wood (Plant Material) painting Right part of a few six-stroke of room screens, with an image of a sea eagle on a rock in the surf. Japan Painting: Paper. Painting: Ink. Mounting: Silk. Frame: Wood (Plant Material) painting

Paintings after Ancient Masters: Portrait of Zhongqing in a Landscape, 1598-1652. Chen Hongshou (Chinese, 1598/99-1652). Album leaf, ink and color on silk; overall: 30.2 x 26.7 cm (11 7/8 x 10 1/2 in.).

Transmitting the Spirit and Revealing the Form of Things: Hokusai's Sketchbooks, vol. 14, c. 1849-1878, Katsushika Hokusai; Publisher: Eirakuya Tōshirō, Japanese, 1760 - 1849, 9 1/4 x 6 7/16 x 1/2 in. (23.5 x 16.3 x 1.2 cm), Woodblock printed book; ink and color on paper, Japan, 19th century

Preliminary study for cartoon for printed cotton: The History of Henry the IV L'Histoire de Henri IV, Hartmann et Fils, (Munster, France), Graphite on cream colored paper (mounted), Six islands show scenes from Voltaire's epic 'Henriade': upper left: Henry IV before his tent on the field of battle, outside the walls of Paris , counseling the Chevalier d'Aumale before his duel with Henry, Viscount of Tourenne (Canto X, lines 48-49); upper right, Henry IV, seated in a landscape near the port of Dieppe, with his friend Duplessis-Mornay, converses with a holy hermit (Canto I, lines 229-232); center, the entrance of Henry IV into Paris, approaching on horseback the Cathedral of Notre Dame, as his subjects kneel before him (Canto X, lines 512-514); lower right, Henry IV taking leave of his mistress, Gabrielle d'Estrees, before the Temple of Love, and returning with Mornay to the army (Canto IX, lines 344-348); lower center, Pavillon Henry IV of the Louvre; lower right, Henry IV in the Batt

Scarecrow. Nakahara Nantenbō (Japan, 1839-1925). Japan, no date. Paintings; scrolls. Hanging scroll; ink on paper

Landscapes in Summer and Winter 18th century Ike Taiga These paired images function as contrasting emblems of winter and summer. Fiat horizontal lines suggest quiet, dormant winter and the forlorn boat elicits a shiver of sympathy from the viewer. Summer, on the other hand, is filled with color and cheer; the forms of rocks and foliage seem to tumble over one another, giving the whole mountain a sense of growth and energy. This diptych represents two activities that personified the ideal literati life. The winter scene depicts fishing from a boat, a pastime appreciated in the literati tradition as a humble means of experiencing nature, a Taoist ideal of daily life. The summer scene depicts the visit of a friend. Taiga enlivens both of these scenes with a strong narrative feel. Particularly in the summer scene, he engages our attention by suggesting, for example, that the friends might climb up the mountain to the viewing deck to enjoy the scenery. To highlight such narrative moments, h

Textile fragment with repeating pattern of scattered vignettes of human figures 18th-19th century Japan. Textile fragment with repeating pattern of scattered vignettes of human figures 65884

Samurai crossing the river (at Akasaka Mitsuke) in a boat on the way to the Yoshiwara pleasure quarters. Woodblock print by Masanobu Okumura (1686-1764) from Fuzoku Emakimono, Picture Scroll of the Water Trade, Tokyo, reprint circa 1880.

Whose Sleeves. Date: 18th century. Origin: Japan. Period: Edo period. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Single-line Calligraphy, first half 19th century, Ōkubo Shibutsu, Japanese, 1767 - 1837, 35 1/8 × 11 1/2 in. (89.22 × 29.21 cm) (image)55 1/4 × 15 1/16 in. (140.34 × 38.26 cm) (mount, without roller), Ink on paper, Japan, 19th century

Water plants with blue flowers. Origin: Japan. Period: Edo period. Date: 1615-1868. Color, ink, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Momoyogusa = Flowers of a Hundred Generations.. Kamisaka, Sekka, 1866-1942. Prints, Illustrations. 1909 - 1910. Spencer Collection. Japan , Social life and customs

Mariko, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.4 x 25.3 cm., Print shows the snow-covered village of Mariko during winter on the Tokaido Road.

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