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. Artist: Unidentified Artist. Culture: China. Dimensions: Image: 68 1/2 × 35 1/2 in. (174 × 90.2 cm)Overall with mounting: 9 ft. 1 7/8 in. × 42 5/8 in. (279.1 × 108.3 cm)Overall with knobs: 9 ft. 1 7/8 in. × 46 1/4 in. (279.1 × 117.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Niagara jump decor, Ruggieri Garden, 16-18 rue Saint-Lazare, 9th arrondissement. Jean-Jacques Huve (Father) (1742-1808), French architect. Niagara jump decor, Ruggieri Garden, 16-18 rue Saint-Lazare. Watercolor. Paris (ixth arr.), Between 1770 and 1790.

One Hundred Birds, possibly 1600s. Japan, Edo period (1615-1868). Hanging scroll; ink and slight color on paper; overall: 200 x 79.4 cm (78 3/4 x 31 1/4 in.); painting only: 101.8 x 57.1 cm (40 1/16 x 22 1/2 in.).

Dragon, Clouds and Waves Dragon, Clouds and Waves, 16th-17th century. Ink on hemp cloth, 11 3/4 x 13 1/2 in. (29.8 x 34.3 cm). Asian Art 16th-17th century

Painting

Design for a room piece: two pages each with two representations of images with women and children. Draughtsman: Dionys van Nijmegen. Dating: 1715 - 1798. Measurements: h 160 mm; w 208 mm × h 161 mm. Museum: Rijksmuseum, Amsterdam.

Hibiscus Tawaraya Sotatsu (Japanese, active 1600-1643). Hibiscus, 17th century. Hanging scroll, ink on paper, Image: 33 1/2 x 17 5/8 in. (85.1 x 44.8 cm). Asian Art 17th century

Two figures seated back to back on a mound of pulled grass. A large tree in the background. Ink framing line. Date: 1820-1857. Pen and gray ink, brush and brown wash on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Akashi Strand, TSUCHIYA KITSU, After 1957 Pine on the edge of a lake with sailing ships at full moon. print maker: Japanpublisher: Tokyo paper color woodcut Pine on the edge of a lake with sailing ships at full moon. print maker: Japanpublisher: Tokyo paper color woodcut

Mountain Landscape in the Style of Guo Xi School of Li Yin. Mountain Landscape in the Style of Guo Xi, 18th century. Ink and light color on silk, overall: 108 1/8 x 27 15/16 in., 32 5/8 in. with rollers. Asian Art 18th century

Landscape with Waterfall. Artist: Tani Buncho (Japanese, 1763-1840). Culture: Japan. Dimensions: Image: 49 13/16 × 23 1/4 in. (126.5 × 59.1 cm)Overall with mounting: 88 3/16 × 29 1/8 in. (224 × 74 cm)Overall with knobs: 88 3/16 × 31 13/16 in. (224 × 80.8 cm). Date: 1828. Museum: Metropolitan Museum of Art, New York, USA.

Scholar in the Wind ca. 1880 Ren Xun Chinese Ren Xun first studied painting with his elder brother, Ren Xiong (1820-1857), but his brother's death, when Xun was twenty-two, cut short the apprenticeship. Three years later he found patrons in Suzhou, and by the 1870s his fame had spread throughout the Yangzi River delta region and he had attracted a number of disciples. He maintained an active career until 1887, when deterioratiing eyesight forced him to curtail painting.In executing figures, Ren often followed Zhejiang artists' regional preference for the style of Ming dynasty professional painters of the so-called Zhe School: dashing virtuoso brushwork and large-scale figures drawn in animated outline strokes set within sketchy inkwash landscapes. Ren employed that style here to suggest a wintry gale pulling at the bare tree branches and whipping through the heavy robes of an intrepid stroller. The figure may be Ren's dramatic evocation of the plight of the traditional gentleman in the

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

Album of the New Year early 19th century, before 1829 Tani Bunchō Japanese. Album of the New Year. Tani Bunchō (Japanese, 1763-1840). Japan. early 19th century, before 1829. Woodblock printed book (orihon, accordion-style; bound); ink, color, and metallic pigments on paper. Edo period (1615-1868). Illustrated Books

Table Valance with Winter Garden 18th century China Among the winter plants in this table frontals main decorative area are camellias, nandina berries, and a blossoming tree, perhaps a wax plum (lamei), all woven largely with metallic thread. The impressive rock on the left suggests that the scene is a close-up of a carefully cultivated garden. Like its autumnal counterpart, also exhibited here, this valance features an overhanging top register with the attributes of the Eight Daoist Immortals.. Table Valance with Winter Garden 51845

Painting

Horse and Groom under a Willow. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

EverlastingContentment. Artist: Xu Yang, Chinese, ca. 1751-1776

Illustration for lyrics du Fu; 1959-1962 (1959-00-00-1962-00-00);

Chiryu, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.5 x 25.6 cm., Print shows travelers, some with horses, and vendor stands at the Chiryu station on the Tokaido Road.

Roosters, Hen, and Chicks right of a pair, 1795, Itō Jakuchū, Japanese, 1716 - 1800, 62 1/4 × 39 9/16 in. (158.12 × 100.49 cm) (image)107 5/16 × 40 5/8 in. (272.57 × 103.19 cm) (mount, without roller), Ink on paper, Japan, 18th century

Kaishien gaden = The mustard seed garden painting manual.. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

Duck in Flight, mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Fan painting mounted as hanging scroll; ink and gold on paper; painting: 25 x 50.2 cm (9 13/16 x 19 3/4 in.); mounted: 99.8 x 65.2 cm (39 5/16 x 25 11/16 in.). These three fan-shaped paintings, now mounted as individual hanging scrolls, were once part of a set of 20 mounted on a folding screen. They portray the Chinese subjects, from left to right, of the scholar-official Pan Lang, Hanshan reciting his poetry to Shide, and a duck in flight above reeds. Pan Lang grew so fond of the mountain in his place of exile that when he was ordered back to the capital, he rode backward on his donkey so he could see it until it receded into the distance. Hanshan and Shide worked in the kitchen of a Zen monastery, but were actually reincarnations of the bodhisattvas Manjushri and Samantabhadra. The combination of a mandarin duck and reeds may have signified a level of attainment in Chinese civil service exams. All three painti

Landscapes dated 1668 Xiao Yuncong Chinese Xiao Yuncong was born into a gentry family in the town of Wuhu, Anhui Province, but for most of his career he resided in Nanjing, only fifty-five miles downriver. Between 1636 and 1642 Xiao and his two younger brothers prepared for the provincial-level civil-service examinations in Nanjing, where they also became political activists, joining the Fushe Revival Society,” which sought to revive antique moral standards as a remedy for government factionalism and corruption. The fall of the Ming dynasty in 1644 ended Xiao’s government ambitions. Unwilling to serve under the Manchus, Xiao supported himself as a painter. The present album, executed when Xiao was seventy-two, exemplifies his painterly abilities at their peak. Xiao expertly applied delicate colored washes and monochrome texturing to model landscape forms and suggest the veiling effects of atmosphere. Although Xiao’s images allude to antique models of the Song and Yuan dynasties, these

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

Piece 18th-19th century Japan. Piece 66115

Geese, Reeds, and Water, 1800s. Yamamoto Baiitsu (Japanese, 1783-1856). Pair of four-panel folding screens; ink, color, and cut gold foil on paper; overall: 169 x 350.5 cm (66 9/16 x 138 in.). This bybu composition differs from most in that it comprises two four-panel screens, rather than two six-panel units. Since the current mounting is modern, it is impossible to determine whether its present configuration represents its original design. Some panels may have been removed to help the screens better fit into a modern interior space. Baiitsu worked almost exclusively in monochromatic ink tones and favored classical Chinese painting themes.

Falcon on a Pine Tree with the Rising Sun 1830-1840 Japan. Color woodblock print, otanzaku . Utagawa Hiroshige

Fragment (China); silk

Chinese gentleman on a scaffolding on the water; New inconvested sinesen with great Moeyte complicated and given in it, by P. Schenk Jun (...), second part. A Chinese gentleman stands on a jetty for a pavilion on the water. On the right arrives a boat with canopy. Print is part of an album.

Ehon Azuma Kagami, Vol. I Kitao Masayoshi (Japanese, 1764-1824). Ehon Azuma Kagami, Vol. I, 1810. Paper, 8 7/8 x 6 1/8 in. (22.5 x 15.6 cm). Asian Art 1810

Kanyōsai Picture Album 1762 Kan'yōsai Japanese. Kanyōsai Picture Album. Kan'yōsai (Japanese, 1719-1774). Japan. 1762. Set of five woodblock printed books; ink on paper. Edo period (1615-1868). Illustrated Books

Rice-Drying Frame Shibata Zeshin Japanese. Rice-Drying Frame 57218

Viewing Distant Peaks from a Mountain Pavilion. Origin: China. Date: 15th century. Period: Ming dynasty. Hanging scroll mounted on panel; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Ukie momotaro mukashibanashi no zu, Perspective print of an old tale: Momotaro., Utagawa, Toyokuni, 1769-1825, artist, between 1789 and 1792, 1 print : woodcut, color ; 18.9 x 25.1 cm., Print showing a procession of men wearing animal masks and hats with horns, carrying a warrior on a litter along the shore of a lake, with a temple in the background.

Flowers of a Hundred Worlds (Momoyogusa): Farming Village in Spring (Harudenka), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This print from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

Dragon and Clouds ca. 1600 Attributed to Sadiqi Beg As the dragon emerges from the natural landscape, the sinuous line of its silhouette mimics those of its surroundings. In the late sixteenth century, the production of singlepage, finished drawings destined for albums increased; numerous pictures of dragons, either alone or in combat with men or other animals, were executed. This work is attributed to Sadiqi Beg, who, along with Rizayi 'Abbasi, was one of the pioneers of the calligraphic style of drawing in Iran.. Dragon and Clouds 457056

Bunpō Landscape Picture Album 1824 Kawamura Bunpō Japanese. Bunpō Landscape Picture Album. Kawamura Bunpō (Japanese, 1779-1821). Japan. 1824. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Picture Book of Amusements of the Eastern Capital (Ehon Azuma asobi) 1790, first month Kitagawa Utamaro Japanese One of Utamaro's many printed books, this collection of leisure activities in the "eastern capital" is especially lively. The scene is of a fair at the downtown Kojimachi Bishamon Temple. Picture Book of Amusements of the Eastern Capital (Ehon Azuma asobi). Kitagawa Utamaro (Japanese, ca. 1754-1806). Japan. 1790, first month. Woodblock printed book; ink on paper. Edo period (1615-1868). Illustrated Books

Forest -rich landscape with birds and vistas to a river landscape, Alexander Baert, c. 1700 - c. 1730 Wall carpet, room wallpaper. Italianizing landscape expensive with pheasants and turkeys. Amsterdam Ketting: Wool. Entry: Wool. Entry: Silk tapestry Wall carpet, room wallpaper. Italianizing landscape expensive with pheasants and turkeys. Amsterdam Ketting: Wool. Entry: Wool. Entry: Silk tapestry

Kaishien gaden = The mustard seed garden painting manual.. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

Round medallion with double frame line with two flying cranes above clouds. .

Folded Hills and Layered Peaks, 1847. Tsubaki Chinzan (Japanese, 1801-1854). Album leaf; ink and color on silk; each leaf: 41 x 31.5 cm (16 1/8 x 12 3/8 in.). Japanese painters were frequently influenced by paintings from China and Korea that they saw in private and temple collections throughout the country. Japan has a long history of interest in its continental neighbors.

Fragment, Medium: silk Technique: printed then painted, Fragment of blue-green silk, showing portion of painted design; large scale group of grapes, leaves, and peony painted in shades of red, vermillion, yellow, violet. At lower left appears tail of a bird, one leg and claw clutched to stem. Bird's back is green, breast white and rose, leg vermillion., China, ca. 1764, printed, dyed & painted textiles, Fragment

Meeting in the countryside, detail on screen with eight panels depicting moments of everyday life signed by Kim Hong-do (1745-1814), ink and colours on silk. Korean civilization, Choson period (18th-19th century).

Sketches by Ichirō 1823 Yajima Ichiro. Sketches by Ichirō. Yajima Ichiro. Japan. 1823. Ink on paper. Edo period (1615-1868). Illustrated Books

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

Hundred Views of Fuji 1834-35 Katsushika Hokusai Japanese. Hundred Views of Fuji. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1834-35. Ink on paper. Edo period (1615-1868). Illustrated Books

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Krekel and spider on corn on the cob, Cicada and spider on corn, Pages 9b and 10a in volume one of Utamaro's Insect Book., page, prints, Japan (collection), height 250 mm, width 180 mm, Japanese, 1753 - 1806, print maker, printmaker, 1788 - 1788, fourth quarter 18th century, paper, colour woodcut, colour woodblock, blind stamping, Publication (Event), Publication, publisher

Phoenixes and Paulownia, late 1500s. Attributed to Tosa Mitsuyoshi (Japanese, 1539-1613). One of a pair of six-panel screens; ink, color, and gold on gilded paper; image: 160.5 x 362 cm (63 3/16 x 142 1/2 in.). The immense heraldic birds on display in these byøbu reflect the Momoyama era's spirit of newly gained self-confidence and an affinity for grand expressive statements in painting, architecture, the textile and ceramic arts, as well as garden design. While that period preceded the arrival of prosperity, it clearly marked an extra---ordinary moment in Japanese cultural history, one frequently compared with the twelfth century of the Heian period. Through the extensive use of gold-foil backgrounds rather than the somber palette of carefully orchestrated ink tones evident in Muromachi byøbu, patrons colla-borated with artists as well as craftsmen in fostering a decidedly new look in much of Japanese painting. Here for instance there is no imaginary vista suggesting China's vast wat

. One of twelve landscapes, finger painting with inscription by the painter Gao Qipei (1662 - 1731 ()). Note: See inv. Nr. AK-MAK-290.

Design for a Silk Brocade, Graphite, brush and gouache, brush and oxidized white on paper, One repeat is shown consisting of two bunches of flowers which are intended to alternate in vertical rows and to alternate in horizontal rows with a bunch of flowers and ears of grain which is loosely connected with a flower bough., France, 1775-1790, Drawing, Drawing

Drawing, Cartoon for Cotton Printing: Don Quichotte Don Quixote; Attributed to Jean-Jacques Lagrenée the Younger (1739 - 1821); Manufactured by Oberkampf & Cie. (France); France; pen and black ink, gray wash, black chalk, squared for transfer on beige laid paper (six sheets joined); 1898-21-17-a

China: 'Landscapes in the Styles of Old Masters'. Album of ten paintings by Wang Jian (1598-1677), 1668. Wang Jian (1598-1677), style name Xuanzhao and pseudonyms Xiangbi and Ranxiang Anzhu, was a Chinese painter born in Taicang. He lived during the end of the Ming Dynasty and the first decades of the Qing Dynasty. His style of painting was influenced by that of notorious painter Dong Yuan, and he would become famous enough himself to be considered one of the Four Wangs and Six Masters of the early Qing period.

Designs for Foliate Ornament. Artist: Anonymous, British, 19th century. Dimensions: sheet: 15 5/8 x 11 9/16 in. (39.7 x 29.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Irises, 1700s. Watanabe Shikō (Japanese, 1683-1755). Pair of six-panel folding screens, ink and color on gilded paper; overall: 154 x 334.3 cm (60 5/8 x 131 5/8 in.). The subject of this painting comes from a 10th-century text. It tells of a young noblemans journey into the lonely countryside, far from the capital city of Heian-ky? (Kyoto). There he came upon a small stream, the banks of which were covered with blooming irises, on which the artist has chosen to focus our attention. While viewing the beautiful flowers the nobleman composed a poem:I have a beloved wife, Familiar as the skirt of a well-worn robe, And so this distant journeying Fills my heart with grief.

Panel, Medium: silk Technique: painted on patterned (open) weave., Landscape and water scenes with people and animals painted in color on an open weave foundation., China, 19th century, printed, dyed & painted textiles, Panel

Scenic America, Jean-Julien Deltil, 1791 - 1863, Block-printed, canvas mount, At far left, background, is seen part of the Natural Bridge, Virginia. To the right, a horse-drawn railway carriage with passengers. Strips 25 and 26 from a set of 32., Rixheim, Alsace, France, 1834-36, Wallcoverings, Scenic panel, Scenic panel

Folding screen depicting battle between Taira and Minamoto clans

Camellia japonica, first half 19th century, Nonoyama Kōzan, Japanese, 1780 - 1847, 7 9/16 × 6 1/4 in. (19.21 × 15.88 cm) (image)42 9/16 × 12 5/16 in. (108.11 × 31.27 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

Lighting a Hanging Lantern for the Obon Festival. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 9 1/8 x 6 3/8 in. (23.2 x 16.2 cm). Date: 1860. Museum: Metropolitan Museum of Art, New York, USA.

Chinese representation, sheet from the episode "Picturae Sinicae". Chinese representation with Chinese characters in octagonal frame, sheet 8 from the episode "Picturae Sinicae AC Surattae, Vasis Tabellisque Exhibitae, Admiranda; Colligent Petro Schenkio Cum Privil. Amstelaed: 1702.

Eight Views of the Xiao and Xiang Rivers. Yamaguchi Sekkei; Japanese, 1644-1732. Date: 1644-1732. Dimensions: Each: 170.2 x 381 cm. Pair of six-panel screens; ink and gold on paper. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Hokusai Manga, Vol. IX Katsushika Hokusai (Japanese, 1760-1849). Hokusai Manga, Vol. IX, 1817. Paper, 9 x 6 1/4 in. (22.9 x 15.9 cm). Asian Art 1817

Bird After Kenk Shkei. Bird. After Kenk Shkei (Japanese, active ca. 1478-ca. 1523). Japan. Paint on paper. Muromachi period (1392-1573). Paintings

Barth Erwin (1880-1933), Bergischer Garden in Bergisch-Gladbach (1907-1907): Perspective view with a view of the trellis wall with wall fountain in the business garden, signet with a stylized landscape presentation. Tusche watercolor on the box, 44.1 x 24.6 cm (including scan edges) Barth Erwin (1880-1933): Bergischer Garten, Bergisch Gladbach

Fancy Port, Japanese Prints

Ferry Kishi Renzan (Japanese, 1805-1859). , 19th century. Hanging scroll painting; ink and light color on silk, 13 1/4 x 20 1/8 in. (33.7 x 51.1 cm). Asian Art 19th century

Crewel Embroidery. Dated: c. 1936. Dimensions: overall: 41.8 x 55.9 cm (16 7/16 x 22 in.) Original IAD Object: 16" high; 21 1/2" wide. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Phyllis Dorr.

Japan, Utaba, Haikai, Fukoyoshi, Chishundô, Bikarô, Tatsumi no Sato, Hokusai, Katsushika, Genroku kasen kaiawase, A comparison of Genroku poems and shells, Hanagai, Flower shell, passe-partout, lower left - printed, Three vases, a porcelain water jug, scissors, and flowers and branches for making flower arrangements (ikebana). With three poems. The shell to which the title refers is depicted in the fan-shaped cartouche., surimono, prints, engravings, Japan (collection), verso - stamped, height 203 mm, width 177 mm, 1760-10-12 - 1849-05-10, print maker, printmaker, 1821 - 1821, first quarter 19th century, Japanese paper (handmade paper), Japanese paper, colour woodcut, Japanese, poet, 1753 - 1829

Hokusai Manga, Vol. IX Katsushika Hokusai (Japanese, 1760-1849). Hokusai Manga, Vol. IX, 1817. Paper, 9 x 6 1/4 in. (22.9 x 15.9 cm). Asian Art 1817

Crow and the Moon. 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.

Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).

Summer Flowers Katsushika Isai Japanese Although bearing neither a signature nor a seal, this painted fan can be attributed to the ukiyo-e painter and printmaker Katsushika Isai. In this delicate depiction of the flora and fauna of summer, Isai displays not only his dexterity in handling different subjects but also his familiarity with the paintings and elaborately decorated ceramics of Qing China, which must have inspired him.. Summer Flowers 61942

Painting of a landscape on a paper wall, Shoji, Kennin-ji, Kenninji Temple, Komatsucho, Kyoto, Japan, Asia

Ramakien mural in Phra Rabieng, gallery, Wat Phra Kaeo, Krung Thep, Bangkok, Thailand, Asia

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