← Documents & Records

Chinese and Japanese Calligraphy

A collection of calligraphy artworks featuring poems by renowned artists. The dynamic brush strokes showcase traditional styles in ink on paper.

Mountain Cherries, mid 19th century, Kikuchi Gozan, Japanese, 1769 - 1849, 10 13/16 × 5 in. (27.46 × 12.7 cm), Ink on paper, Japan, 19th century

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/8 × 6 1/8 × 1 3/8 in. (23.8 × 15.6 × 3.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Calligraphy: Poem Unidentified artist. Calligraphy: Poem 51663

Acupuncture table: 'Opening of the points', Chinese woodcut

Chinese Materia medica, C17: Plant drugs, First page

Poem Written after Rain Ju Jie Chinese. Poem Written after Rain 48909

Letter from Ren Bishi to his parents when he was studying in Soviet Russia. The letter is full of infinite love and nostalgia for the motherland and hometown, and full of hope and confidence in the future.

Ink Bamboo dated 1749 Li Shan Chinese. Ink Bamboo 49241

Poetic Phrases 17th century a) Hiin Tsūyō Ōbaku Zen calligraphy is characterized by strong, boldly brushed characters in one or sometimes two columns. These scrolls, inscribed by Mokuan Shōtō and Sokuhi Nyoitsu (Chinese: Jifei Ruji), display the directness and bravura assurance that typifies the best Ōbaku calligraphic works. Both monks were disciples of Ingen (who brought Ōbaku to Japan) and emigrated from China to assist him in maintaining the uniquely Chinese traditions and monastic regulations of the sect. Their poetic phrases read:At sunrise, the sky rejoices. Mokuan; on the rightThrough the Fusang tree, the rising sun is pure red. Sokuhi; on the left —trans. John T. Carpenter. Poetic Phrases 78167

Two Poems from the Collection of Ancient and Modern Poems (Kokin wakash) 1734 Ike Taiga. Two Poems from the Collection of Ancient and Modern Poems (Kokin wakash). Ike Taiga (Japanese, 1723-1776). Japan. 1734. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Calligraphy dated 1803 Liu Yong Chinese. Calligraphy. Liu Yong (Chinese, 1719-1805). China. dated 1803. Hand scroll; ink on paper. Qing dynasty (1644-1911). Calligraphy

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 1/2 × 6 9/16 × 1 3/8 in. (24.1 × 16.7 × 3.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Yu Shinan was born during the rule of the Chen Dynasty. He learned the calligraphy of the monk Zhu Yong, a seventh-generation descendent of the calligrapher-sage Wang Hsi-Chih, and thus is considered to be in the direct lineage of Wang Hsi-Chih. His calligraphy displayed a humble, mild and peaceful manner. Yu lived through the short Sui Dynasty and then served Emperor Tang Taizong until he passed away aged 80 years old.

Heliopolis Obelisk, Egypt, engraving from Voyage d'Egypte et de Nubie (Journey to Egypt and Nubia), Volume I, Plate XXXIX, by Frederic-Louis Norden, 1795, Paris.

Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8 Korean. Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8, ca. 1582. Porcelain with underglaze, 9 5/8 × 7 1/16 in. (24.5 × 18 cm). Asian Art ca. 1582

San Shaki (Three Invocations) Enku (Japanese, 1628-1695). , 17th century. Calligraphy hanging scroll, ink on paper, Image: 31 3/4 x 7 in. (80.6 x 17.8 cm). Asian Art 17th century

Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11 Korean. Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11, ca. 1652. Porcelain with underglaze, 10 1/16 × 7 1/2 in. (25.5 × 19 cm). Asian Art ca. 1652

Poem, second half 18th century, Kan Tenjū, Japanese, 1727 - 1795, 9 × 19 3/8 in. (22.86 × 49.21 cm) (sheet, fan)14 1/16 × 22 in. (35.72 × 55.88 cm) (mount), Ink on mica paper, Japan, 18th century

Tablet, 1778. China, Qing dynasty (1644-1911), Qianlong reign (1735-1795). Jade; overall: 18.5 cm (7 5/16 in.).

Haeinsa is a head temple of the Jogye Order of Korean Seon Buddhism in Gayasan National Park, South Korea. Haeinsa is notable for being the home of the Tripitaka Koreana, the whole of the Buddhist Scriptures carved onto 81,350 wooden printing blocks, which it has housed since 1398. Haeinsa was constructed in the early 9th century, either as a show of gratitude to Suneung and Ijeong, who cured the king's wife of illness, or following Suneung's enlightenment. It has functioned continuously as an active temple of Korean Seon Buddhism since its founding. From Unified Silla (668 - 935).

Growing Old, late 18th - early 19th century, Kameda Bōsai, Japanese, 1752 - 1826, 53 11/16 × 12 11/16 in. (136.37 × 32.23 cm) (image)78 3/16 × 17 13/16 in. (198.6 × 45.24 cm) (mount, without roller), Ink on paper, Japan, 18th-19th century

Seitei's Birds and Flowers Painting Manual (Seitei kacho gafu). Artist: Watanabe Seitei (Japanese, 1851-1918). Culture: Japan. Dimensions: 9 5/8 × 6 11/16 in. (24.5 × 17 cm). Date: 1891.Watanabe Seitei is Meiji painter, print artist and book illustrator famous for his naturalistic pictures of fauna and flora in the Nihonga style. We earlier acquired a copy of this book through the bequest of Lincoln Kirstein, though this example is in better condition, so it would be good to upgrade so that we have a displayable version. Museum: Metropolitan Museum of Art, New York, USA.

Two pages from 'Chi dien phu' handwritten in Han-Nom. Probably 19th century. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.

Poem on Growing Old Wang Ao Chinese. Poem on Growing Old. Wang Ao (Chinese, 1450-1524). China. Folding fan mounted as an album leaf; ink on gold-patterned paper. Ming dynasty (1368-1644). Calligraphy

Tongue morphology, Chinese woodcut

Bring the Qin, first half 17th century, Nakae Tōjū, Japanese, 1608 - 1648, 51 1/8 × 21 1/16 in. (129.86 × 53.5 cm) (image), Ink on paper, Japan, Seal script (tensho), 'Bring the Qin' 琴, written by Nakai with a relatively dry brush, refers to the final line of a poem by the Tang dynasty literatus Li Bai (701-762). The qin is a seven string instrument that is plucked. Li Bai’s poem, entitled 'Drinking with a Hermit in the Mountains,' reads

Five Poems. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: 6 7/8 x 17 1/2 in. (17.5 x 44.5 cm).Shitao's versatility as a painter is matched by his broad command of ancient script types and individual earlier masters' writing styles. Unlike most of his contemporaries, who wrote in only one or two scripts, Shitao freely varied the script type, style, and scale of his writing to suit format and content.In this fan Shitao emulates the archaic regular script of Zhong You (151-230) in the first part of his text (right half) and Zhong's follower, the fourteenth-century recluse-artist Ni Zan (1306-1374) in the second part (left half). The unmodulated brushstrokes and rectilinear forms convey an air of simplicity and purity well suited to Shitao's poems, which describe his lifelong devotion to poetry, painting, and calligraphy inspite of often straitened circumstances. Museum: Metropolitan Museum of Art, New York, USA.

Chinese Poems and Calligraphy 1779 Mitsui Shinna Mitsui Shinna—a celebrated late-eighteenth century Japanese calligrapher and master of seal-carving (tenkoku)—brushed this dynamic array of Chinese characters in various scripts on individual sheets that were then pasted across the expanse of a six-panel folding screen. Most arresting are the pairs of oversized characters in archaic seal script (tensho) on the right, in standard script (kaisho) in the middle, and in a variant form of seal script rendered in a mottled form, as if characters from an ink rubbing, on the left. Each pair of large characters comprises the beginning of a couplet of Chinese Tang-dynasty verse. The remaining eight characters of each couplet are inscribed in expert cursive script (ssho) on the adjacent panel. The first couplet is from a poem by Du Fu (712-770); the second and third couplets are from poems by Li Bai (701-762). Both poets have been highly esteemed in Japan from the Heian period (794-1185) thro

In November, Renbishi published 3 articles: "Lenin and the October Revolution", "Soviet Union's Economic and Political Situation", and "Soviet Union and the Youth" on "Chinese Youth". In the articles, he introduced Lenin's strategy of organizing the October Revolution, Soviet Union's economic and political success after implementing the New Economic Policy, and the youths' gaining of political and educational rights.

Emperor Taizong of Tang (January 23, 599 - July 10, 649), personal name Li Shimin, was the second emperor of the Tang Dynasty of China, ruling from 626 to 649. He is ceremonially regarded as a co-founder of the dynasty along with Emperor Gaozu. He is typically considered one of the greatest, if not the greatest, emperors in Chinese history. Throughout the rest of Chinese history, Emperor Taizong's reign was regarded as the exemplary model against which all other emperors were measured, and his era was considered a golden age of Chinese history and required study for future crown princes. During his reign, Tang China flourished economically and militarily. For more than a century after his death, Tang China enjoyed peace and prosperity. During Taizong's reign, Tang was the largest and the strongest nation in the world. It covered most of the territory of present-day China, Vietnam, Mongolia and much of Central Asia as far as eastern Kazakhstan. It laid the foundation for Xuanzong's reig

Tablet, 1778. China, Qing dynasty (1644-1911), Qianlong reign (1735-1795). Jade; overall: 18.5 cm (7 5/16 in.).

Calligraphy in Small Seal Script (Xiao Zhuanshu), with an excerpt from A Commentary to the Classic ofWaterways. Artist: Qian Dian, Chinese, 1741-1808

After Three Rubbings dated 1680 Yun Shouping Chinese Yun Shouping's normal writing style derives from the Tang master Chu Suiliang (596-658). In this fan, however, Yun copied texts by three other early masters preserved in stone rubbings. From right to left the texts are: Classic of the Yellow Court, attributed to Wang Xizhi (303-361); Xuanjing bei by Zhang Sizhi (dates unknown); and the Zhengzuo tie by Yan Zhenqing (709-785). In each case, Yun's graceful hand softens the distinguishing marks of the originals; the writing is naturally his own.. After Three Rubbings 49163

Letter to Yamagishi Hanzan dated 1685 (Jky 2) Matsuo Bash Matsuo Bash, the renowned peripatetic poet of seventeenth-century Japan, did more than any other to elevate the esteem and spread the popularity of the seventeen-syllable seasonal verse form haikai—now called haiku. The opening verse of a string of linked verses (renga), was originally called a hokku, comprising three lines with five-seven-five syllables respectively. This poetic form, practiced by Bash and his many pupils and an infinite number of followers of later generations, injected wit and humor into Japanese versifying and encouraged anyone with a literary disposition to try their hand at composing a verse when the opportunity arose. This letter was brushed by Bash and sent to Yamagishi Hanzan (1654-1726), the master’s nephew who also became a close disciple. Hanzan, whose given name was Jzaemon , was born of samurai stock in Iga, Ueno (present Mie prefecture), where the master himself was born. Hanz

Calligraphy , 19th century. Hanging scroll, ink on paper, 48 1/2 x 19 1/4 in. (123.2 x 48.9 cm). Asian Art 19th century

The nine ancient acupuncture needles, 17th Chinese (detail)

Title page from a Han-Nom edition of 'Luu Binh dien ca', woodblock printed in Hanoi, 1917. The work is a classical drama telling the story of two close friends, Luu Binh and Duong Le. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.

Poem Written after Rain. Artist: Ju Jie (Chinese, active ca. 1531-1585). Culture: China. Dimensions: 6 1/4 x 18 13/16 in. (15.9 x 47.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

A congratulatory message from the remembrance meeting. The meeting was in memory of the martyrs of Kunming who opposed a civil war.

Chinese woodcut:

Two pages from the Vietnamese literary classic 'Kim Van Kieu' (The Tale of Kim' handwritten in Han-Nom. Probably 19th century. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.

Chinese C19 woodcut: Throat conditions, tonsillitis

After Wang Xianzhi's (344-385) Foxglove Broth Letter dated 1567 Wen Peng Chinese. After Wang Xianzhi's (344-385) Foxglove Broth Letter 48875

Illustrated book 1893 Japan. Illustrated book. Japan. 1893. Ink on paper. Meiji period (1868-1912). Illustrated Books

Brush pens and old books

Kaishien gaden (The Mustard Seed Garden Painting Manual), 1753, by Wang Gai, active 1677-1705, Kyoto. Woodcuts

Distant Autumn Colors, 1783, Ryū Kōbi, Japanese, 1715 - 1792, 54 × 21 11/16 in. (137.16 × 55.09 cm) (image)74 × 25 5/8 in. (187.96 × 65.09 cm) (without roller), Ink on paper, Japan, 18th century

Excerpt from Bai Juyi's "Biography of a Master of Drunken Poetry Recitation" (Suigin sensei den). Artist: Fujiwara no Yukinari (Kozei) (Japanese, 972-1027). Culture: Japan. Dimensions: Image: 10 13/16 × 3 3/8 in. (27.5 × 8.6 cm)Overall with mounting: 53 1/8 × 11 1/16 in. (134.9 × 28.1 cm)Overall with knobs: 53 1/8 × 12 7/8 in. (134.9 × 32.7 cm). Date: early 11th century.Comprising just four columns of Chinese calligraphy removed from a long handscroll, this precious fragment of early eleventh-century calligraphy has been mounted as a hanging scroll. It was brushed by the celebrated courtier-calligrapher Fujiwara no Yukinari, who earned a reputation as the consolidator of the Japanese (wayo) style. He mastered Chinese models associated with Wang Xizhi (ca. 303-361), but imbued characters with a slightly gentler, more rounded feel that harmonized with Japanese kana writing. The text is a section from Bai Juyi's autobiography, written when he was sixty-seven. The title derives from one

Landscape and Poem Kim Myong-kuk (Korean, active first half of the 17th century). Landscape and Poem, ca. 1643. Ink on gold leaf on paper, image: 8 1/2 x 11 in. (21.6 x 27.9 cm). Asian Art ca. 1643

Chinese woodcut:

Title page from a Han-Nom edition of 'Kim Van Kieu' (The Tale of Kim'), woodblock printed in Hanoi, 1932. Chu Nom is an obsolete writing system of the Vietnamese language. It makes use of Chinese characters (known as Han Tu in Vietnamese), and characters coined following the Chinese model. The earliest known example of Chu Nom dates to the 13th century. It was used almost exclusively by the Vietnamese elite, mostly for recording Vietnamese literature (formal writings were, in most cases, not done in Vietnamese, but in classical Chinese). It has almost been completely replaced by Quoc Ngu, a script based on the Latin alphabet.

C14 Chinese tongue diagnosis chart

Holy Mother 20th century China. Holy Mother. China. 20th century. Ink on paper. Rubbing

Scroll of Calligraphy Ike-No Taiga (Japanese, 1723-1776). , 18th century. Ink on paper, Image: 52 1/2 x 20 3/8 in. (133.4 x 51.8 cm). Asian Art 18th century

Stele of the Xuanmi Pagoda 20th century China In 841, a stupa was constructed at the Anguo Monastery, in the Tang dynasty capital of Changan, to preserve the ashes of the great Buddhist monk Duan Fu (d. 807). A massive stone stele was erected on site to commemorate the creation of the stupa and to celebrate Duans accomplishments. The prominent official and calligrapher Liu Gongquan inscribed the text. Lius strongly angular, stately characters are well-suited to the sacred task of commemoration. The stele is considered a key example of the aesthetic superiority of Tang calligraphy, and it is still widely copied by calligraphy students today.. Stele of the Xuanmi Pagoda. China. 20th century. Twentieth-century rubbing of a stele carved in 841; ink on paper. Rubbing

Ren Bishi was very angry at the behaviour of warlords and bureaucrats who disregarded the safety of the country and the lives of the people, but squandered their property arbitrarily. In the essay titled "Frugality", he wrote: "Politicians today have private interests, embrace wives and concubines all the time, spend time and money leisurely, accompanying the governor of a certain province, sending each other to greet him, it costs money and is incalculable."

Withdrawal of the Chinese People's liberation Army, from North Korea after the Korean War. On their journey to China, they were passed by a crowd in Jinhua County, North Korea. 1958.

Chinese ancient book over 150 years old about secrets of geomancy. Chinese ancient book of secret geomancy

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

Six rows with designs for chain links; Livre des Ouvrages d'Orfevrerie. Leaf 8 from series of 8 sheets.

Calligraphy Fan in Xiao Kai Shu Script, 1585, Du Dazhong, Chinese, late 16th century, 9 1/2 x 21 3/8 in. (24.13 x 54.29 cm)13 13/16 x 24 13/16 in. (35.08 x 63.02 cm) (mount), Ink on gold paper, China, 16th century, Du Dazhong, a Ming official, was a noted Suzhou calligrapher and a member of the Wu school group of writers associated with Wang Zhiteng (1535-1612). This calligraphy fan, carefully written in Xiao Kai Shu (small regular script), is the recreation of an extraordinarily dense prose poem composed by the Tang poet Yang Jiong (650-c. 694) titled 'Prose Poem While Leaning on the Study Desk,' which the poet wrote on a paper fan in a moment of inspiration after gazing upon mountain peaks shrouded in mist and rain. The verse recounts the serious rigor of true scholarship.

C14 Chinese tongue diagnosis chart

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 1/2 × 6 × 1 1/4 in. (24.1 × 15.2 × 3.2 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Kaishien gaden = The mustard seed garden painting manual., 1753, by Wang, Gai, active 1677-1705, Kyoto. Woodcuts

PP1-222-4 Emperor of China Description: From Emperor of China: address to Queen Victoria on her Golden Jubilee. Written on paper; wrapped in yellow silk; translation enclosed. Date: 1897 jubilee, queenvictoria, pp1, loyaladdress

Tale of the Wisteria Robe Tale of the Wisteria Robe, 15th century. Ink on mica-flecked paper, 6 5/8 x 405 1/4 in. (16.8 x 1029.3 cm). Asian Art 15th century

C19 Chinese MS moxibustion point chart: Chengshan

Nagoya, Eirakuya Tôshirô, Masayoshi, Kitao, Keisai soga, Sketches by Keisai, first page - stamped, Volume one (of five); orange cover, title strip at top left; cover page, advertisements; 23 leaves: first page, preface; 21 leaves, illustrations of people, animals and still lifes; last page, advertisements; cover page, colophon., book, prints, engravings, Japan (collection), height 227 mm, width 156 mm, 1764 - 1824, print maker, printmaker, 1815 - 1815, paper, colour woodcut, Publication (Event), Publication, Japanese, publisher

Calligraphy 18th century or later Unidentified artist. Calligraphy 35976

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

On April 7th, Amau Eiji, chief of the Intelligence Bureau (1933) of Japan's Ministry of Foreign Affairs, issued a statement publicly calling for the occupation of China.

Calligraphy in Cursive script (Caoshu). Artist, attributed to: Huang Shen, Chinese, 1687-1773

Obeliscvs Mahvtaevs. Interprete Athanas. Kirch., 1652 - 1654, Romae, Publisher, Ex typographia V. Mascardi, Egypt, Religion, Egyptian language, Writing, Hieroglyphic, Obelisks, Italy, Rome, Engravings, 41 x 28 cm

Four Waka Poems, mid 19th century, Fujimoto Tesseki, Japanese, 1817 - 1863, 43 1/4 × 11 9/16 in. (109.86 × 29.37 cm) (image)75 × 16 5/16 in. (190.5 × 41.43 cm) (mount, without roller), Ink on paper, Japan, 19th century

Couplet in Clerical Script Luo Ping. Couplet in Clerical Script, mid 18th century. Ink on paper, overall: 57 1/8 x 11 1/2 in. each. Asian Art mid 18th century

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8 Korean. Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8, ca. 1582. Porcelain with underglaze, 9 5/8 × 7 1/16 in. (24.5 × 18 cm). Asian Art ca. 1582

A newspaper article reporting on Zhang Hong, a Datong Academy student, and his bloodletter. Datong Academy is a special educational institution set up by the puppet regime of the puppet Manchukuo to train senior officials in the colonies. The bloodletter mainly discusses Zhang's patriotism and his cry for anti-foreign invaders during the May Fourth Movement. The May Fourth Movement was a Chinese anti-imperialist, cultural, and political movement that grew out of student protests in Beijing on May 4, 1919.

18th century, Korean, celestial star chart. (Kujang ch'onsang yolch'a punya chido), dated 1777. Copied from a stone stele of 1395 (Joseon dynasty)

Plakalmanak or calendar, approx. 1600; That old Romane and gerneformed kerckelicke calender. Old Plakalmanak or Calendar, approx. 1600. Annual calendar from an almanac with classification in columns according to old Catholic and Reformed use.

British propaganda poster intended for Chinese Muslim audience, 1918.

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

Thailand, Chiang Mai, Yao Priests Books Used In Taoist Religious Ceremonies

The Central Committee of the Communist Party of China issued the "Resolution on Japanese Imperialism Seizing Manchuria"

Letter dated 1597 Xue Mingyi Chinese. Letter 48928

Chinese woodcut: Medical instrument -- bamboo pipe

Leaflets were distributed by Beijing students during the May Fourth Movement. The May Fourth Movement was a Chinese anti-imperialist, cultural, and political movement that grew out of student protests in Beijing on May 4, 1919.

Mawangdui (Chinese: (马)王堆; pinyin: Mǎwángduī; literally: 'King Ma's Mound') is an archaeological site located in Changsha, China. The site consists of two saddle-shaped hills and contained the tombs of three people from the Western Han dynasty (206 BCE - 9 CE): Marquis Li Cang, his wife, and a male believed to have been their son. The site was excavated from 1972 to 1974. The Mawangdui silk, a 'textbook' of types of comet and the various disasters associated with them, was compiled sometime around 300 BCE, but the knowledge it encompasses is believed to date as far back as 1500 BCE.

The first daily newspaper "Bloodshed Daily" sponsored by the Chinese Communist Party was edited and published by Huo Qiuba to strengthen the May Thirtieth Movement's anti-imperialist promotion. The May Thirtieth Movement was a major labour and patriotic movement against imperialist powers led by the Chinese Communist Party.

Hunminjeongeum (The Correct/Proper Sounds for the Instruction of the People) is a document describing an entirely new and native script for the Korean language. It was created so that the common people illiterate in hanja could accurately and easily read and write the Korean language.

On March 3rd, professors from 14 universities in Shanghai formed a professors' association at Fudan University and issued a declaration calling on all walks of life to help poor professors.

The Mawangdui silk, a Chinese textbook of cometary forms and the various disasters associated with them, was compiled sometime around 300 B.C.

In February, student representatives from more than 60 universities and middle schools in the city formed the Shanghai Student Aid Federation to carry out the student aid charity sale. This was a notice published by the Student Aid Federation in the Ta Kung Pao at that time, helping 4,000 students solve the problem of tuition fees. Ta Kung Pao is the oldest active Chinese language newspaper in China founded in 1902.

of 2