Chinese Landscape Paintings

Traditional Chinese landscape artworks showcasing serene natural settings, detailed mountain views, and historical elements, all rendered in delicate ink and color.

Landscape, 16th-17th century, Zhang Zongcang; Maker: Dong Qichang, Chinese, 1555 - 1636, 9 1/2 x 21 5/16 in. (24.13 x 54.13 cm) (image, sheet), Ink on gold-flecked paper, China, 16th-17th century

Landscape, 16th-17th century, Zhang Zongcang; Maker: Dong Qichang, Chinese, 1555 - 1636, 9 1/2 x 21 5/16 in. (24.13 x 54.13 cm) (image, sheet), Ink on gold-flecked paper, China, 16th-17th century

Wind and Snow at Ba Bridge. Origin: China. Period: Ming dynasty. Date: 15th-16th century. Hanging scroll; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Building aCharacter. Artist: K?kei, ca. 1650-1700

The Deep Green of Summer Mountains” 1850s Hine Taizan ???? In a Chinese-style landscape, the Literati painter Hine Taizan has meticulously depicted various goings-on of scholars and recluses amid a setting the artist has evocatively entitled The Deep Green of Summer Mountains,” using the character sui ?, which connotes the blue-green of kingfisher feathers. In the foreground two scholars have brought books and a qin (zither) to tête-à-tête outdoors upon a rocky outcrop along a mountain stream. Further upstream, amid a sprawling covered walkway along the water’s edge a solitary figure seems to be awaiting friends to appear. Partly hidden in the mountain recesses is a temple complex—symbol of leaving behind the secular world—while in the background are faraway peaks, representing a metaphysical immersion into a spiritual or philosophical realm.Taizan was born in Hine village in Izumi province (present-day Izumi-sano City in Osaka), and arrived in Kyoto in 1837 at age 24, and remained a

Mountain River on the Kiso Road, 1857, 8th month, Utagawa Hiroshige; Publisher: Okazawaya Taheiji, Japanese, 1797 - 1858, 14 3/16 × 9 7/8 in. (36 × 25.1 cm) (image, vertical ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Yellow Chrysanthemums and Red Osmanthus in the Style of Wang Yuan, 1468. Shen Zhou (Chinese, 1427-1509). Hanging scroll, ink on paper; overall: 397.1 x 127.4 cm (156 5/16 x 50 3/16 in.); painting only: 288.5 x 106.3 cm (113 9/16 x 41 7/8 in.).

Procession of an Imperial Messenger to the Iwashimizu Shrine. Origin: Japan. Period: Edo period. Date: late 18th-19th century. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

View of Mount Hrai 19th century Kano Tansui Japanese The center panel depicts the mystical mountain of Hrai, the most popular of the auspicious symbols displayed on the New Year in Japan. Balanced on the back of a tortoise, a symbol of longevity, the isle supports other symbols of long life-a crane and pine tree-while plum flowers and the rising sun announce the coming of a new day in a new year.The two flanking panels depict imaginary Chinese landscapes that were inspired by the Chinese scenes in the Eight Views of Xiao and Xiang Rivers. To the right is a spring landscape and to the left, one of winter. The artist of these three panels, a Kano-trained artist, signed his age as sixty-seven. He had achieved the high position of Hokky (a Buddhist title granted to meritorious artists), yet his dates and life still remain unknown.. View of Mount Hrai. Kano Tansui (active 19th century). Japan. 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Landscape. China, Chinese, Yuan dynasty, 1260-1368. Paintings. Hanging scroll, ink on silk

Landscape with Waterfall 1841 Nakabayashi Chikutō Japanese Chikutō painted this large landscape in the spirit of the Plum Blossom Daoist, the name given to the acclaimed Yuan-dynasty literati painter Wu Zhen (1280-1354). Chikutōs diligent study of Chinese literati theory and technique, as expressed in printed treatises and manuals on painting, is evident here, particularly in his masterful rendering of the rocks using a combination of long, unaccented brushstrokes in pale, dry ink and staccato accents. Together with the darker horizontals of the distant pines and foliage, such brushwork derives from the visual vocabulary associated with Wu Zhen. Chikutō stated in a letter that this work would be his last large-scale landscape painting. Because of his advanced age (he was sixty-five at the time), the artist felt he could no longer continue to execute such large works, though he could still answer requests for plum and bamboo paintings, which required less complex details.. Landscape wi

Summer retreat in the eastern grove calligraphy datable to 1512 Wen Zhengming Chinese This poem, written in the running-script style of Huang Tingjian (1045-1105), is one of two poems by Wen appended to this painting. Both texts reveal Wen Zhengming's early study of the Northern Song master's large-scale calligraphy. Wen Zhengming devoted his life to the revival and creative reinterpretation of the expressive traditions of Song and Yuan painting and calligraphy. Wen particularly admired the writing style of Huang Tingjian, a passion he acquired from his mentor Shen Zhou (1427-1509). Wen's bold calligraphy stands in marked contrast to the officially sanctioned standard-script style practiced by court bureaucrats and reflects his independent nature.A final colophon by Wen explains the circumstances surrounding the poems' creation. Wen wrote the poems in 1512 for his friend Qian Tongai (1475-1549). The poems were subsequently acquired by Nanzhou, abbot of the Tianwang Temple. When Wen vis

Mountain Market, Clear with Rising Mist, early 1500s. Korea, Joseon dynasty (1392-1910). Hanging scroll, ink on silk; painting: 115.3 x 60 cm (45 3/8 x 23 5/8 in.); overall: 179 x 70.7 cm (70 1/2 x 27 13/16 in.); overall with knobs and cord: 181.8 x 77 cm (71 9/16 x 30 5/16 in.). This painting depicts several vignettes of the scholar-hermits various activities. In the the lower left corner, the scholar-hermit is portrayed welcoming his guest in the courtyard. In the middle section on the lower bottom, the scholar and his guest are shown encountering another traveler on the bridge and exchanging their greetings. After crossing the bridge, the scholar visits a friend who lives in a compound of multiple buildings. The two friends decide to take a short walk. Both appear in a terraced cliff, enjoying a mountain vista and the fragrance of an old pine tree carried by the gentle wind. The scholar continues his journey with his two servants. They are portrayed crossing a winding wooden bridg

Album of Landscape Paintings Illustrating Old Poems: A Man Sits on a Water Buffalo, 1700s. Hua Yan (Chinese, 1682-about 1765). Album leaf, ink and light color on paper; image: 11.2 x 13.1 cm (4 7/16 x 5 3/16 in.); album, closed: 15 x 18.5 cm (5 7/8 x 7 5/16 in.).

Birds and Flowers in a Landscape of the Four Seasons, second half of the 1500s. Follower of Sesshū Tōyō (Japanese, 1420-1506). Six-panel folding screen, ink and color on paper; image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); panel: 62.8 cm (24 3/4 in.); including mounting: 174.6 x 281 cm (68 3/4 x 110 5/8 in.). The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting p

Fish. Ma Yuanyu (China, 1669-1722). China, Qing dynasty, dated 1690. Paintings. Thirteen-leaf album, ink and color on silk

Cabbage and Insects. Artist: Attributed to Xü Daoguang (Chinese, 13th century). Culture: China. Dimensions: 7 x 11 5/8 in. (17.8 x 29.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Winter landscape: ox-carts on the road. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Scholar in a Boat, 16th-17th century, Wei Zhihuang, Chinese, 1568-about 1645, 9 5/8 x 21 in. (24.45 x 53.34 cm) (image, sheet), Ink on gold-flecked paper, China, 16th-17th century

Landscapes and Poems 17th century, probably after 1625 Dong Qichang Chinese Miffed that his tutor ranked him below his cousin because of inferior calligraphy, Dong Qichang at the age of sixteen dedicated himself to a study of the great calligraphers of the past. By the end of the century, he had become the most influential calligrapher of his age. Although Dong championed the aesthetic of monochromatic ink styles, he indulged in decorative effects in this album, using gold flecked paper with occasional mineral colors for the paintings and choosing a satin ground for his sleek cursive script. Each of the eight leaves, except number seven, is an homage to a past master paired with excerpts from Tang-dynasty landscape poetry. Despite the broad range of styles Dong imitated, the landscapes are remarkably similar to one another and reflect Dong's own intellectual approach to painting most of all.. Landscapes and Poems 41480

Japan, Tsutaya Kichizo, Sugakudo, Nakayama, Ikiutsutsu yojuhachiban, Forty-eight sketches, Tsugumi endo nanohana, Young thrush, flowering pea and rapeseed, print, prints, Japan (collection), height 368 mm, width 255 mm, Japanese, print maker, printmaker, 1860 - 1860, third quarter 19th century, paper, colour woodcut, colour woodblock, Publication (Event), Publication, publisher

Meeting Along the River, c. 1492-1518, Zhu Duan, Chinese, late 15th-early 16th century, 8 7/8 × 9 in. (22.54 × 22.86 cm) (image)41 5/8 × 11 13/16 in. (105.73 × 30 cm) (mount), Ink and color on silk, China, 15th-16th century, This paintings focus on a towering rock outcropping gives it a monumental quality, although the work itself is quite small. Created in the late 1400s, it represents the continuation of an enduring tradition in landscape painting initiated during Chinas Northern Song dynasty (960-1127). The tall pines and primary reliance on gradient tones of ink to define rock and mountain forms are also hallmarks of the era.

Snowscape, from Album for Zhou Lianggong Undated Yun Xiang This painting and its accompanying inscription belonged to an album made for the noted Nanjing collector and high official Zhou Lianggong (1612-1672). A leading patron of contemporary artists, Zhou assembled a number of these albums during the last twenty-five years of his life, when his career required him to travel extensively. Such collaborative works have long been a means for a group of artists to commemorate special occasions, but Zhous albums, which sometimes encompassed hundreds of contributions, fulfilled a different function: they included works by professionals and scholar-amateurs, Ming loyalists and Qing officials, traditionalist orthodox painters and innovative individualists. By inviting a wide spectrum of artists to both view and contribute to these albums, Zhou created a unique forum for artists to learn from and appraise one anothers productions.. Snowscape, from Album for Zhou Lianggong 65624

Landscape, 1644-1911. China, Qing dynasty (1644-1911). Ink and color on silk panel; overall: 177.5 x 105.4 cm (69 7/8 x 41 1/2 in.).

Pavilion by Lake Shore 17th century or later Unidentified artist. Pavilion by Lake Shore 48884

Mount Horai. Kano Isen'in; Japanese, 1775-1828. Date: 1802-1816. Dimensions: 27.3 x 251.4 cm. Pair of handscrolls; ink and colors on silk. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Landscape in the Style of Huang Gongwang. Artist: Unidentified Artist; After Lan Ying (Chinese, 1585-1664). Culture: China. Dimensions: 6 5/8 x 20 1/2 in. (16.8 x 52.1 cm). Date: 17th century or later, spurious date of 1633. Museum: Metropolitan Museum of Art, New York, USA.

Landscapes of the Four Seasons. Artist: Kano Tan'yu (Japanese, 1602-1674). Culture: Japan. Dimensions: Image (each): 60 3/8 in. × 11 ft. 6 7/8 in. (153.4 × 352.7 cm). Date: 1630s.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'yu 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'yu was head of the Kano school's Kajibashi atelier in Edo, whic

Landscape with Figure ca. 1678 Shitao (Zhu Ruoji) Chinese. Landscape with Figure 49171

Landscape, Cheng Men, 1850 - 1900 Album magazine with a landscape. Signed by Cheng Men, known as porcelain painter in Jingdezhen. Shexian ink. paper Album magazine with a landscape. Signed by Cheng Men, known as porcelain painter in Jingdezhen. Shexian ink. paper

Views of the Xiao and Xiang Rivers left of a pair, 1807, Kushiro Unzen, Japanese, 1759 - 1811, 51 13/16 × 130 7/8 in. (131.6 × 332.42 cm) (image)59 5/8 × 136 1/4 × 1/2 in. (151.45 × 346.08 × 1.27 cm) (outer frame), Ink and light color on paper, Japan, 19th century, In addition to emulating Chinese ink brushwork, Japanese artists of the Nanga school also adopted Chinese subject matter. For these screens, Kushiro Unzen depicted the confluence of the Hsiao and Hsiang rivers in Hunan province, even though governmental restrictions prevented him from traveling to China. In fact, the subject had been a stock theme for Chinese artists since the tenth century. Traveling monks probably introduced it to Japan during the fifteenth century, and so by Unzens time it was a well-established subject.

Section of Jin'o-ji Engi Emaki (Konin Shonin E-den). Culture: Japan. Dimensions: Image: 13 1/8 × 30 1/4 in. (33.3 × 76.8 cm). Date: early 14th century. Museum: Metropolitan Museum of Art, New York, USA.

Snowy Landscape 1824 Takahashi Shei This work by the Nanga painter Takahashi Shei shows a solitary fisherman casting his pole near a snowy embankment lined with budding plum trees. The image is accompanied by a quatrain: The tattered bamboo hat is all covered with snow.In a lone boat is an old fisherman.Gazing at the empty woods at sunset,he seems tied down in the frozen stream.(translated by Miyeko Murase and Shi-yee Liu)According to Shei's signature, it was executed in 1824 at the residence of Tanomura Chikuden (1777-1835), a leading literati painter and fellow native of Bungo Province (modern-day Oita Prefecture) on the far western island of Kysh who was Shei's first painting teacher, making this an especially early work by the artist.Shei first encountered Chikuden in 1822 when the master visited Shei's hometown of Kitsuki from Kyoto. Soon thereafter, Shei took Chikuden as a teacher and returned with him to Kyoto, where he was quickly recognized as one of Chikuden's most p

A Page from the Jie Zi Yuan Original painted by Hu Changbo Chinese. A Page from the Jie Zi Yuan 63212

Windblown bamboo Xia Chang Chinese ca. 1460 Bamboo, which bends without breaking, has long been a symbol of integrity and strength. It was also a favorite subject of Ming and Qing scholar-painters. Xia Chang, a native of the Suzhou region, enjoyed a successful official career that led to his appointment as minister of the Court of Imperial Sacrifices in 1457. He expanded Wang Fu's (1362-1416) style of bamboo painting to become the leading bamboo painter of his time, famous even in Korea, Japan, and Southeast Asia.Applying calligraphic techniques to painting according to the precepts established by Zhao Mengfu (1254-1322), Xia Chang executed his bamboo stalks in the archaic seal-script style and his bamboo twigs in the "grass," or cursive-script, style. Xia Chang's calligraphic mode of bamboo painting was followed by many later Ming and Qing painters. View more Listen to experts illuminate this artwork's story #7387. Bamboo in Wind 0:00 RWSkip backwards ten seconds. FWSkip forwards ten

Autumn Landscape. Artist: Yosa Buson (Japanese, 1716-1783). Culture: Japan. Dimensions: 14 1/4 in. × 10 in. (36.2 × 25.4 cm)Overall with mounting: 47 3/4 × 15 in. (121.3 × 38.1 cm)Overall with knobs: 47 3/4 × 17 1/8 in. (121.3 × 43.5 cm). Date: ca. 1780.With its soft tones of ink and color against luminous satin and the kinetic quality of the brushwork in the desolate mountain, this late painting by Buson exhibits a lyrical, personal expression. One of the most renowned haiku poets of his day, Buson made his livelihood as a painter. Along with Ike Taiga he is considered to be one of the major figures in the Nanga movement, which adapted the painting of Ming and Qing China to Japanese sensibilities. Museum: Metropolitan Museum of Art, New York, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Flowers. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Chidori-gai, itaya-gai, awabi, utsuse-gai, asari-gai, and monoara-gai, from the illustrated book Gifts from the Ebb Tide (Shiohi no tsuto) 1789 Japan. Color woodblock print; double-page illustration from book . Kitagawa Utamaro

Green Peaks 1826 Noro Kaiseki. Green Peaks. Noro Kaiseki (Japanese, 1747-1828). Japan. 1826. Handscroll section mounted as a hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Water Pavilion by Twin Pines 1279-1368 China. This landscape was attributed to the Northern Song court painter Guo Xi (c. 1001-c. 1090) by the authors of early 20th-century colophons that accompany the painting. The depiction of figures gazing out from two water pavilions at the foot of a rocky outcropóas well as a dramatic clusters of old pine-trees and billowing, restless forms of mountain-ridges that rise from valleys into the high distanceóare all features associated with Guo Xiís iconic landscapes. The relatively looser composition and hybrid brushwork, however, point to a Yuan re-interpretation of this Northern Song style. A seal on the painting that may be associated with a Yuan scholar named Wu Fang supports this fourteenth-century date.. Hanging scroll; ink and light colors on paper . Guo Xi

Anthology of Persian Poetry (Safina). Calligrapher: 'Abd al-'Azim al-Yahya. Dimensions: 7 1/2 x 3 1/8 in. (19.1 x 7.9 cm). Date: A.H. 1092 and 1096/ A.D 1681 and 1685.Long, narrow books bound on the short edge are known as 'safina', a word meaning 'boat'. They were a popular form for collections of works by different poets. This 'safina', dated 1681 and 1685, contains poems by several Safavid poets, including 'Urfi, Tahir, and Kalim, written on extremely thin, gold-sprinkled paper and three tinted drawings in a late 16th-century style. Here a falconer is seated in a flowering tree while a mythical bird, the simurgh swoops overhead. The image serves an an analogue to the poetry, which is mostly of a mystical nature, rather than an illustration of a narrative. Museum: Metropolitan Museum of Art, New York, USA.

Scenes from the Tokaido, 19th century, possibly Hokei, 6 13/16 × 6 3/8 in. (17.3 × 16.19 cm) (image)7 11/16 × 7 1/8 in. (19.53 × 18.1 cm) (mount), Ink and color on silk, Japan, 19th century

Panel with Landscape late 18th century China The scenes on these two panels depict magnificent gardens within green hills overlooking bodies of water. Although we cannot accurately identify them, the buildings and scenery are comparable to those found in eighteenth-century woodblock illustrations of the Old Summer Palace in Beijing and the Mountain Resort in Chengde. It seems likely that these two pieces were once part of a series representing imperial retreats.. Panel with Landscape. China. late 18th century. Silk and metallic thread tapestry (kesi) with ink and color. Qing dynasty (1644-1911), Qianlong period (1736-95). Textiles-Tapestries

Joy of Life 1824-1896 China. Hanging scroll; ink and colors on paper . Xugu

Spring Festival on the River. Date: 18th century. Origin: China. Period: Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Birds and Flowers, late 1500s. Attributed to Kano Mitsunobu (Japanese, 1565-1608). One of a pair of six-panel folding screens; ink, color, and gold on paper; image: 155.9 x 339.4 cm (61 3/8 x 133 5/8 in.); overall: 168.5 x 352.2 cm (66 5/16 x 138 11/16 in.); closed: 172.5 x 61 x 11.3 cm (67 15/16 x 24 x 4 7/16 in.); panel: 168.5 x 58.7 cm (66 5/16 x 23 1/8 in.); with frame: 171.7 x 355.4 cm (67 5/8 x 139 15/16 in.). Unhurried contemplation of these screens reveals that their appearance differs slightly. Notice the shapes of the rocks and pine trunks. The actual ink lines defining their contours and the many brushstrokes providing textual definition to forms and surfaces show two distinct hands at work in the late 16th-century Kyoto. Both Kano Shei and Kano Mitsunobu were well known throughout the country for their skills. As masters of the Kano academic painting style, they naturally favored Chinese-inspired subject matter, such as birds and flowers, rendered in emphatic ink tonaliti

Mount Emei under Heavy Snow. Date: 17th century. Origin: China. Period: Ming or Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Bagworm (Minomushi); Horned Scarab Beetle (Kabutomushi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 1788 Kitagawa Utamaro Japanese Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Jūzaburō , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyōka poets of the day were invited to contribute.. Bagworm (Minomushi); Horned Scarab Beetle (Kabutomushi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 37293

Conversation in a cave 13th century Unidentified Although this painting bears the spurious signature of Xia Gui, the undisputed master of landscape painting in the Song Imperial Painting Academy, its motifs, brushwork, and palette relate it to the work of Ma Yuan, Xia's contemporary and the other leadingSong Academy master. Images of caves and grottoes have rich associations involving their role as possible access points to Daoist paradises. The use of such imagery here may imply an escapist wish to leave behind the cares of the mundane world.. Conversation in a cave 36052

Langoustine en Kleine Vissen, Utagawa Kuniyoshi, 1828-1832 print Langoustine and four small fish with a fishing wire on a bob. paper nishiki-e / color woodcut fishes. crustaceans: lobster

Mountains and Rivers on the Kiso Road (Kisoji no yamakawa), from an untitled series of triptychs. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1857. Dimensions: Each sheet: 36 x 25 cm (14 1/8 x 9 7/8 in.). Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, USA.

Egrets and Cotton Roses mid- to late 17th century Tosa Mitsuoki Japanese Artists of the Tosa school are known for refined and colorful yamato-e paintings depicting quintessentially Japanese themes such as scenes from The Tale of Genji and other literary classics. Tosa Mitsuoki is, however, also renowned for his works showing quails with flowers or grasses, reflecting an indebtedness to Chinese painting of the Southern Song dynasty. A bird-and-flower painting by Mitsuoki that does not depict quails, such as this rendering of two egrets with cotton roses, is therefore quite rare.This hanging scroll shows the artist painting in a different, somewhat looser style, observable in the flowers, leaves, rocks, and egrets. The birds are painted in the boneless” method, with minimal outlines, showing the influence of contemporaneous Rinpa artists. The painting demonstrates Mitsuoki’s subtle but definite interest in incorporating stylistic features of the Kano school, especially in the way he exe

Flowers and Grasses of Autumn 1843, 8th month Yamamoto Baiitsu . Flowers and Grasses of Autumn. Yamamoto Baiitsu (Japanese, 1783-1856). Japan. 1843, 8th month. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Sir Robert Smirke the younger, 1781-1867, British, Tivoli, 1802-1804. Gray wash and graphite on moderately thick, moderately textured, beige, wove paper.

Landscape in the manner of Dong Yuan 1591/1651 Lu Kezheng Chinese This evocative vignette is signed by a certain Lu Kezheng, an obscure artist who has gone unrecorded in histories of Chinese painting. Centering the composition on the lower half of the fan, Lu left the top shrouded in mist, creating a feeling of suspense by withholding a view into the far distance. The painting is dated according to the sixty-year cycle of the premodern Chinese calendar, so it is not possible to know whether it was made in 1591 or sixty years later in 1651, although the latter seems more likely based on its style.. Landscape in the manner of Dong Yuan 35977

Lake and Mountains. Artist: Hashimoto Gaho (Japanese, 1835-1908). Culture: Japan. Dimensions: Image: 14 1/4 × 10 3/8 in. (36.2 × 26.4 cm)Mat: 22 7/8 × 15 1/2 in. (58.1 × 39.4 cm). Date: ca. 1885-89. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with Fishermen on a Boat, 17th century, Qin Shi, Chinese, 9 x 20 1/8 in. (22.86 x 51.12 cm) (image, sheet), Ink and color on gold-flecked paper, China, 17th century

Trees. Ruszczyc, Ferdynand (1870-1936), draughtsman, cartoonist

Portraits and Poems of the Thirty-six Poetic Immortals 1674-92 Sumiyoshi Gukei This album contains the imaginary portraits of thirty-six of revered masters of poetry from the Nara (710-794) and Heian (794-1185) periods, each accompanied by one of his or her verses on the facing page. Selections of the greatest poets were made by connoisseurs of the late Heian period, with Kakinomoto no Hitomaro (active 686-705), long regarded as the pre-eminent poet of Japan, given first place. The Sumiyoshi school of painting was founded by Jokei (1599-1670), a former member of the Tosa school who established his own atelier in Edo. It specialized in depictions of the “poetic immortals,” and used fine detail and elements drawn from yamato-e—native “Japanese style” painting. Jokei’s son Gukei (also known as Hirozumi) served the Tokugawa shogunate as a painter of both classical subjects and genre scenes.. Portraits and Poems of the Thirty-six Poetic Immortals. Sumiyoshi Gukei (Japanese, 1631-1705). Jap

Landscape with Birds. Artist: Unidentified Artist. Culture: China. Dimensions: 10 3/8 x 10 3/8 in. (26.4 x 26.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Ochanomizu in the Mist. Artist: Utagawa Kunisada (Japanese, 1786-1865). Culture: Japan. Dimensions: H. 9 3/4 in. (24.8 cm); W. 14 1/2 in. (36.8 cm). Date: mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Winter Scene with Plum Trees and Pheasants (Birds Left), early 1600s. Kano Naonobu (Japanese, 1607-1650). Pair of six-fold screens, mineral pigments and gold leaf on paper; overall: 170.2 x 369.4 cm (67 x 145 7/16 in.); painting only: 155 x 353 cm (61 x 139 in.).

Scene 2a. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

China: The Map of Cooper Peak. Hanging scroll painting by Li Shan (c. 1686-1762), 18th century. Li Shan (c. 1686-1762) was a Chinese painter from Jiangsu active during the Qing Dynasty. Already a noteworthy painter by the time he turned 16, Li Shan was inspired by Ming Dynasty painter Shitao and developed a style known for an unrestricted quality. He became known as the one of the Eight Eccentrics of Yangzhou, and also served as a magistrate for a county in Shandong.

Fukusa (Gift Cover) Made 1868-1883 Japan. Woven in one piece (hikikaeshi); Mon side silk, twill weave self-patterned by areas of plain interlacing; dye extracted through stenciled chemical dye stripper (bassen), stenciled with dyes and gold leaf (y˚zenzome;suri y˚zenzome), painted with India ink (sumi) and dye details; embroidered with silk and gold-leaf-over-lacquered-paper-strip wrapped cotton, couching; Patterned side silk, plain weave (shioze); stenciled (y˚zenzome suri y˚zenzome and otoshizome) and painted India ink (sumi) and gold; embroidered with silk and gold-leaf-on-lacquered-paper-strip wrapped silk in straight stitches; laidwork and couching; silk, running controlling stitches along edges; corners silk and cotton, wrapped and knotted re-piled fringe tassels .

Dandelions and clovers beneath cherry tree. Katsushika Hokusai ; Japanese, 1760-1849. Date: 1802-1812. Dimensions: 37.9 x 41.2 cm. Color woodblock print; surimono. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

A Chinese boating race. Brush drawing by Chinese artist, ca. 1850.

Landscape in the Style of Ancient Masters: Artist's commentary. Lan Ying; Chinese, 1585-c. 1664. Date: 1637-1647. Dimensions: 31 × 40.7 cm (12 × 16 in.). Album leaf; ink and colors on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Quail and Millet late 17th century Kiyohara Yukinobu Japanese Tranquility pervades this delicate rendition of a traditional subject. Yukinobu, one of the few known female painters of the Edo period, was the daughter of Kusumi Morikage (ca. 1620-1690), a distinguished painter. Like her father, she reworked conventional themes from Muromachi ink painting in a personal manner. Here, the asymmetrical composition and realism recall twelfth-century Chinese academic prototypes of the subject, but Yukinobus treatment is distinctive for its delicate hint of domestic harmony in the disposition of the quail and the gently swaying stalks of grain.. Quail and Millet 45734

Kinpaen (Bunpō) Picture Album 1820 Kawamura Bunpō Japanese. Kinpaen (Bunpō) Picture Album. Kawamura Bunpō (Japanese, 1779-1821). Japan. 1820. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Children climbing tree and fighting, from 100 Children At Play scroll, Ming Period, 16th - 17th century, China, detail

Letter Enclosing Flowers 1831 Okada Hankō Japanese Okada Hankō devoted himself to Confucian studies and painting in the style of Chinese Ming and Qing masters, as had his father, Okada Beisanjin (1744-1820). This letter to a friend, written when the artist was forty-nine, offers a gift of flowers arranged in a Chinese style, a practice cultivated by Japanese literati. The amusing twist: the gift was not actual flowers but flower sketches, executed in a charmingly free manner that reflects the spontaneous, personal quality espoused by Nanga (literati) painters in emulation of Chinese scholar-artists.. Letter Enclosing Flowers. Okada Hankō (Japanese, 1782-1846). Japan. 1831. Handscroll; ink and color on paper. Edo period (1615-1868). Paintings

Transmitting the Spirit and Revealing the Form of Things: Hokusai's Sketchbooks, vol. 4, 1816, 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

Scenes from the Tokaido, 19th century, possibly Hokei, 6 13/16 × 6 3/8 in. (17.3 × 16.19 cm) (image)7 11/16 × 7 1/8 in. (19.53 × 18.1 cm) (mount), Ink and color on silk, Japan, 19th century

Travels through Mountains and Fields ca. 1765 Yosa Buson Despite the grand scale of a landscape dominated by mountains, lakes, and mist, the eye is drawn to the figures in this pair of folding screens. In the lower right corner of the right screen, an old scholar and his servant make their way toward a small village, where a friend awaits. Leaving the village, they follow a path through rice fields and alongside willows, crossing a bridge leading to the left screen. Although the season has changed, familiar figures appear: a scholar on a path and two others chatting in a thatched hut.Along with Ike Taiga (1723-1776), Yosa Buson is one of the most celebrated Nanga artists. He was a renowned poetespecially of haikuand a prolific painter. Essentially self-taught, he studied Chinese painting manuals and works of Chinese painters of the past, and developed his own style based on lyrical abstraction and the application of atmospheric ink and light color washes.. Travels through Mountains a

History of Kamakura: Enoshima Island 19th century Totoya Hokkei Japanese. History of Kamakura: Enoshima Island 54816

Minamoto no Nakakuni Visits Lady Kogō, late 1600s. Kiyohara Yukinobu (Japanese, 1643-1682). Triptych of hanging scrolls; ink and color on silk; overall: 180 x 59.4 cm (70 7/8 x 23 3/8 in.). An aristocrat rides up a path to a residence where a woman plays a koto, a stringed instrument. The central composition is flanked on the right by a day-lit spring scene, and on the left by a nocturnal autumnal scene. The triptych presents an episode from The Tale of the Heike in which Minamoto no Nakakuni is sent by the emperor to look for Lady Kog.

Design for a Stage Set at the Opéra, Paris 1828-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris 358699

Fusuma: Tigers and Dragon. Date/Period: 1813-1838 (Edo). Fusuma; screens (furniture). Ink, gold leaf on paper, lacquered wood ink, gold leaf on paper, lacquered wood. Height: 172.72 mm (6.80 in); Width: 76.20 mm (3 in). Author: Kishi Ganku.

Design for a Stage Set 1830-90 Eugène Cicéri French. Design for a Stage Set 387357

Fujikawa; Sanchu Yamanaka no Sato Miyajiyama Utagawa Hiroshige Japanese 7th month Hare year 1855

SIXTY NINE STAGES OF THE KISO ROAD /KISOKUJUKYU TSUGI NO UCHI Eisen, Keisai (1790 1848), HIROSHIGE, Ichiryusai (1797 1858)

Pine and Brook. Date: 16th century. Origin: China. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

China in 30 roller paintings - Last part, 1920 book Part two (of two); Cover with image of mountain landscape and Scheepjes on the river, title in gold on the back; deck and bract, image of four people on horseback; one magazine, title page; one magazine, table of contents; other pages, landscape prints and reproductions of a total of 15 roller paintings made by various artists; 34 sheets, numbered, text; last page, colophon; deck and bract, camels in mountain landscape. paper letterpress printing / collotype / color woodcut

Pavilion with Study Room. Fragment of a painting representing a pavilion with study of a scholar.

Landscape after Dong Yuan, Juran, Ma Yuan, and Xia Gui. Artist: Li Zai (Chinese, active 17th century) . Culture: China. Dimensions: Image: 11 x 126 in. (27.9 x 320 cm)Overall with mounting: 13 1/2 x 365 5/8 in. (34.3 x 928.7 cm). Date: dated yiwei , 1655.This landscape of swirling, fantastic mountains has puzzled scholars. The painting is signed "Li Zai of Putian," a painter who lived during the fifteenth century, but its style clearly places it in the seventeenth century or later. Also, the artist's inscription mentions the sixteenth-century collector Xiang Yuanbian, so it was obviously not intended to be a forgery of the fifteenth-century Li Zai, but the possibility of another painter by that name from the same hometown is unlikely. Whoever this Li Zai was, he was daring: as he states in the inscription, this painting is an attempt to combine the disparate styles of several old masters--Dong Yuan and Juran of the tenth century and Ma Yuan and Xia Gui of the thirteenth--and the

Reminiscence of JianRiver. Artist: Dong Qichang, Chinese, 1555-1636

A Scholar Contemplating a Waterfall, c. 1525, Zhang Lu, Chinese, c. 1464 - c. 1538, 65 1/2 x 40 1/2 in. (166.37 x 102.87 cm), Ink and light colors on silk, China, 16th century, A scholar pauses to contemplate a waterfall as it cascades down the mountain, attended to by a servant boy, who carries his books. This traditional theme in Chinese painting relates to the eremitic genre, in which nature and solitude are celebrated as aims of an elevated, scholarly life. It also has religious evocations. The flowing water represents the essence of the otherworldly or immortal and embodies Daoist philosophy, which posits that the meaning of life can be sensed, but not fully understood or translated into language. The painter Zhang Lu adopted and developed the so-called ax-cut-like broad-brushstroke idiom, seen here in the depiction of the rocks, outlined with bold dark lines and washed with broad strokes of lighter ink.

Singing Bird on a Branch. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 7/8 in. (36.2 x 27.6 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with Waterfall. Artist: Friedrich Wilhelm Gmelin (German, Badenweiler (Breisgau) 1745-1821 Rome). Dimensions: sheet: 11 5/8 x 16 3/4 in. (29.5 x 42.5 cm). Date: 18th-early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

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

Neptune and Triton. Unknown Nuremberg artist; German, late 16th century. Date: 1500-1599. Dimensions: 365 x 205 mm. Black crayon on tan laid paper, tipped onto buff wood-pulp laminate board. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

The Moving Brush in "Rough" Painting 1749 Tachibana Morikuni Japanese. The Moving Brush in "Rough" Painting. Tachibana Morikuni (Japanese, 1679-1748). Japan. 1749. Set of three woodblock printed books; ink on paper. Edo period (1615-1868). Illustrated Books

Nunobiki Waterfall, Mount Yoshino, and Tatsuta River. Artist: Kano Tsunenobu (Japanese, 1636-1713). Culture: Japan. Dimensions: Image (a): 58 9/16 × 31 1/2 in. (148.7 × 80 cm)Overall with mounting (a): 9 ft. 8 9/16 in. × 40 9/16 in. (296 × 103 cm)Overall with knobs (a): 9 ft. 8 9/16 in. × 43 1/2 in. (296 × 110.5 cm)Image (b): 58 9/16 × 31 1/2 in. (148.7 × 80 cm)Overall with mounting (b): 9 ft. 7 15/16 in. × 40 9/16 in. (294.5 × 103 cm)Overall with knobs (b): 9 ft. 7 15/16 in. × 43 9/16 in. (294.5 × 110.7 cm)Image (c): 58 3/4 × 31 1/2 in. (149.3 × 80 cm)Overall with mounting (c): 9 ft. 8 9/16 in. × 40 9/16 in. (296 × 103 cm)Overall with knobs (c): 9 ft. 8 9/16 in. × 43 5/8 in. (296 × 110.8 cm). Date: after 1709.The paintings form a triptych depicting three of Japan's most celebrated "famous sites" (meisho), each illustrating an episode made famous in the tenth-century Tales of Ise (Ise monogatari).The painting corpus of Tsunenobu, a nephew and pupil of Kano Tan'yu (1602-1674),

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

Landscape 18th-19th century Kushiro Unsen Japanese Unzen, a Nanga artist, trained in Nagasaki with Chinese painters who were passing through the port city. Known as an eccentric and solitary figure, he traveled widely in pursuit of artistic influences and was purportedly fond of drink. In this sketchy autumn landscape, a single figure boats up a river overlooked by half-hidden mountain cottages.. Landscape 44895

Landscape for Zhanting dated 1710 Wang Yuanqi Chinese A talented landscape painter and theorist, Wang Yuanqi inherited the mantle of orthodoxy from his grandfather, Wang Shimin (1592-1680). A high government official, he also played an important role in establishing the orthodox style as the standard for court painting under the Kangxi emperor (r. 1662-1722). Wang derived his basic composition for this painting from the Yuan master Huang Gongwang (1269-1354), but he reduced the earlier artist's landscape forms to geometric shapes arrayed in twisting and turning echelons that set the entire mountainscape in motion. Contrasting colors and shifting ground planes further animate the composition.Wang's inscription suggests that he took particular pleasure in completing this painting: The way of brush and ink is such that if it is notthe product of lofty and profound ideas and a happy and relaxed mood, when the artist adds dots and washes, his mind and hand will not respond to one another.

Reverberations of Taiga, Volume 2 (leaf 3), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Drawing Collection of Kanō Tan'yū's Screen Paintings, 18th-19th century, after Kano Tan'yū, Japanese, 1602 - 1674, 5/16 x 7 1/16 x 10 1/16 in. (0.8 x 18 x 25.5 cm), Woodblock printed book; ink on paper, Japan, 18th-19th century

Swallow's Song in Spring Breeze, 1852, 3rd lunar month, Tsubaki Chinzan, Japanese, 1801 - 1854, 38 1/2 × 11 3/8 in. (97.79 × 28.89 cm) (image)72 1/2 × 17 1/4 in. (184.15 × 43.82 cm) (mount, without roller), Ink and color on silk, Japan, 19th century, Tsubaki Chinzan overcame tremendous adversity to become one of the leading Chinese-style painters in Japan in the 1800s. His father died when he was only seven, leaving him and his mother destitute. Perhaps because of their sordid living conditions, he suffered from a pulmonary disease from a young age. Nevertheless, he eventually earned the minor military rank of spear bearer and was highly skilled in martial arts. Only after the low wages of this official rank forced him to seek additional income did he become a professional artist. He studied with the renowned painter Watanabe Kazan (1793-1841), who integrated elements of Western realism into his work. Here, Chinzans close attention to natural detail probably reflects that influence. T

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