Decorative Japanese Art

Elaborate woodblock prints portraying intricate designs related to New Year celebrations and traditional symbols, merging art with cultural significance.

Twenty-four Japanese examples of branch piety for the Honchôren (series title), The farmer Tanshô Kôkitsu walking through the rice fields. The 'True story of three generations' mentioned in the title is a 50-part historiography about the years 858-887 and was compiled in 901. It is considered one of the Six National Historiographies of Japan. The poem on the print emphasizes childish obedience, by equating it with the importance of 'holy ropes strung across rice fields', sawahs, rice paddies, Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 202 mm × w 183 mm

Decorated Fan for the New Year 19th century Ryūryūkyo Shinsai Japanese. Decorated Fan for the New Year 54098

History of Kamakura. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/4 x 7 1/4 in. (21 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Matano Gorô and Oshidori Rei with the poem of Shun'e Hôshi, No. 85 from the series "Imitation of the collection from Ogura - one poem from a hundred poets" (Ogura Nazora Hyakunin Isshu)

Standing Screen of New Year's Pine Saplings in Clouds with Sweets Hodai Satô (Japanese, active 1830s-1860s). , ca. 1860. Woodblock print; horizontal Chûban yoko-e format, 7 1/16 x 9 7/8 in. (17.9 x 25.1 cm). Asian Art ca. 1860

Fan and inro, Partially opened fan, decorated with a landscape with pine trees by a lake. In addition, a medicine box (inro) on which a crane and bamboo is depicted. In addition, a bead (ojime) of gemstone and a belt knot (netsuke) of ivory in the shape of a turtle. A long-haired turtle is a symbol of a long life, because of the belief that it gets a tail of seaweed at the age of 10 000. The crane and pine trees are also lucky symbols. With three poems, fan, Totoya Hokkei (mentioned on object), Japan, c. 1822, paper, colour woodcut, h 181 mm × w 162 mm

The three lucky dreams for the NewYear

Shoki Banner 1864 Japan. In this print, a portrait of the demon slayer Shoki appears on a fluttering banner. Raising a sword in his right hand, he wards off attackers with his outstretched left hand. Banners featuring Shoki traditionally appeared at the Boysí Day festival, partly to celebrate the boys in a family and partly to guard against disease. Both Shoki and the color red were believed to be effective barriers against common and often deadly diseases like smallpox.In addition to illustrating many books, Hanzan also created surimono prints for poetry groups active in the Osaka and Kyoto areas. He signed this work with the term oju, indicating that it was made in return for a friendly request, perhaps from Kiitsu, the leader of this poetry gathering.. Color woodblock print; surimono . Matsukawa Hanzan

Three Cartouches: Footman, Courtesan and Rising Sun 19th century Kubo Shunman Japanese. Three Cartouches: Footman, Courtesan and Rising Sun 54016

Twenty-four Japanese examples of branch piety for the Honchôren (series title), The farmer Tanshô Kôkitsu walking through the rice fields. The 'True story of three generations' mentioned in the title is a 50-part historiography about the years 858-887 and was compiled in 901. It is considered one of the Six National Historiographies of Japan. The poem on the print emphasizes childish obedience, by equating it with the importance of 'holy ropes strung across rice fields', sawahs, rice paddies, Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 202 mm × w 183 mm

SCHIP MET GIFTEN, MATSUKAWA HANZAN, C. 1815-1882 print According to tradition, this ship enters the port on New Year's morning. On the treasure ship (Takarabune) the attributes of Daikoku, including a bale of rice. With Japanese text. paper color woodcut ships (in general). cereal, grain, corn (grass with grains, grown for food, e.g.: wheat, rice, rye, oats, maize, buckwheat, millet)

Kochi Fish with Eggplant, from the series Uozukushi (Every Variety of Fish) 1830s Utagawa Hiroshige Japanese. Kochi Fish with Eggplant, from the series Uozukushi (Every Variety of Fish) 55897

Poult ball playing man and woman. Man and woman both with slice shelf in hand, in the snow; Snowy pine branches in the background. Links a poem.

Earthworm (Mimizu); Cricket (Korogi), from the Picture Book of Crawling Creatures (Ehon mushi erami). Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 10 1/2 x 7 7/32 in. (26.7 x 18.4 cm). Date: 1788.Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Juzaburo , 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 kyoka poets of the day were invited to contribute. Museum: Metropolitan Museum of Art, New York, USA.

Taketori stories. Still life with beautifully edited standard, textiles and a luxurious bound book on which Taketori Monogatari (the stories of Takatori) is. With one poem.

Votief Met Een Portret Van Bandô Mitsugorô III, HIROSHIGE (I), Utagawa, 1821 A votive (EMA) containing a portrait of actor Bandô Mitsugorô III (1775-1832) in the role of Sasaki Takatsuna in the play Cow Hikeya Takatsuna. At the bottom is information about the fortunate and less good days of the year. With one poem: Takatsuna is like a spring breeze from Fukiya street, causing a fog that reaches to the mountains. Japan paper color woodcut actor (on the stage). plants; vegetation (+ flowers, blossom, blossoming)

The Actor Sawamura Sojuro II (formerly Utagawa Shirogoro) as Matsuomaru and Azumo Tozo I as Sakuramaru in the play Sugawara Denju Tenarai Kagami, performed at the Morita Theater, 1750 1750 Japan. Color woodblock print; oban, benizuri-e . Ishikawa Toyonobu

Kanzan and Jittoku. Sengai Gibon (Japan, 1751-1837). Japan, Edo period (1615-1868), late 18th to mid-19th century. Paintings; scrolls. Hanging scroll; ink on paper

Egoyomi for the year of the snake, 1797 print Figure with the head of a tie, sitting at food bowl, in interior; The fog banks indicate the long and short months. Comic reference to the so -called kibiyoshi booklets. paper color woodcut beasts of prey, predatory animals: badger. interior of the house

Large Lacquer Sake Cup Reading "Full House". Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 5 3/8 x 6 1/2 in. (13.7 x 16.5 cm). Date: 1794, year of the tiger. Museum: Metropolitan Museum of Art, New York, USA.

Brush Box and Maple Branch with Poem. Japan, circa 1850. Prints; woodblocks. Page from a woodblock printed book

Picture Book: Camellia (Ehon Himetsubaki) 1745() Nishikawa Sukenobu Japanese This book features illustrations of exemplary women. According to the text in the upper section of these pages, a beautiful plum tree owned by a poor woman was to be transferred to the garden of Emperor Goichijō's palace by imperial order, but the emperor, moved by the lady's poem expressing sympathy for the warblers that would lose their nest, decided not to take the tree.The brushwork of the plum tree reveals Sukenobu's training in the Kano idiom.. Picture Book: Camellia (Ehon Himetsubaki). Nishikawa Sukenobu (Japanese, 1671-1750). Japan. 1745(). Bound book of monochrome woodblock prints; ink on paper. Edo period (1615-1868). Illustrated Books

Poem by Onakatomi Yoshinobu with Underpainting of Hollyhocks early 17th century Calligraphy by Shōkadō Shōjō Japanese The honorific Three Brushes of the Kan’ei Era” was given to Shōkadō Shōjō, Hon’ami Kōetsu (1558-1637), and Konoe Nobutada (1565-1614), all of whom were active in the Kyoto area. Both Shōjō, a Shingon monk, and Kōetsu, who worked as a ceramist and lacquer designer, turned to the painter Tawaraya Sōtatsu and his studio to create underpaintings for their calligraphic work. Here, Shōjō transcribed an ancient poem exalting the emperor by Ōnakatomi no Yoshinobu (921-991). The choice of poem and Shōjō’s fluid kana calligraphy reflect the renewed interest in classical literature that blossomed around the early 1600s.Chitose made kagireru matsu mo kyō yori wa kimi hikarete yorozuyo ya hemu Though pine trees maylive a thousand years,the pine shoot pluckedby His Majesty, however,will flourish forever.-Trans. John T. Carpenter. Poem by Onakatomi Yoshinobu with Underpainting of Hol

Mother and daughter, A woman bites off pieces of paper from a long letter, from which her daughter folds cranes. In the background a kimono hangs over a rack. With one poem about a young woman who folds cranes with her child, shore-birds and wading-birds: crane, Joren Hokutei (mentioned on object), Japan, c. 1823, paper, colour woodcut, h 201 mm × w 184 mm

Violets, Primroses and Other Spring Flowers. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/8 x 7 3/8 in. (20.6 x 18.7 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Japan: 'Pine Tree and Calligraphy'. Album leaf mounted as hanging scroll painting by Ike no Taiga (1723-1776), with calligraphy by Minagawa Kien (1734-1807), late 18th century. Ike no Taiga (1723-1776) was a Japanese calligrapher and painter from Kyoto. He had a great passion for classical Chinese culture and painting styles, perfecting the Nanga ('Southern')/Bunjinga ('literati') school of painting that was heavily influenced by traditional Chinese artists. He was married to fellow artist Ike Gyorukan.

Horse Pattern (Koma shobu), from the series Horses. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 8 1/4 x 7 3/8 in. (21 x 18.7 cm). Date: 1822.This surimono is one of thirty-three prints in a set that was commissioned for the year of the horse in 1822. However, the images are not of horses but are conjured up from words associated with the animal. The print illustrates a fan and a tobacco pouch above a tissue case. The tobacco pouch is made of deerskin dyed with a pattern of horses and dandelions in a technique known as shobukawa.Hokusai's intentionally paradoxical signature reads Fusenkyo Iitsu hitsu ("painted by Iitsu in his Nonpainting Studio"). Museum: Metropolitan Museum of Art, New York, USA.

On a Rustic Bridge, Carrying a Zither 1814 Uragami Gyokud An elderly man with a servant carrying a zither (Chinese: qin; Japanese: koto) on his back traverses a bridge toward an awaiting acquaintance. Characteristic of Uragami Gyokud’s later works, from his sixties and early seventies, the painting at first glance seems uncontrolled; short twigs explode from trees like firecrackers and dry willow leaves burst forth in scratchy lines. On closer inspection, however, this work reveals a careful structure: the mountains, hills, and rocks roughly laid out in light washes of ink, which are animated by darker strokes applied in clear, rhythmic movements that impart life and vitality to the forms. Gyokud was a retainer for the Ikeda daimyo clan in Okayama in his early career. At age forty-nine he retired to pursue the life of a literatus, focusing on performing and composing for the seven-stringed zither (shichigenkin) as well as painting expressive ink landscapes.. On a Rustic Bridge, Carr

The Courtesan Takao Leaving Against a Window Okumura Masanobu Japanese. The Courtesan Takao Leaving Against a Window 55600

Announcement of performance of Kanjincho by Ichikawa Danjuro VIII to celebrate 200 years of Ichikawa family history 1852 Japan. Color woodblock print . Torii Kiyomitsu II (Kiyomine)

Vase and Kitchen Knife. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 5 3/8 x 7 5/16 in. (13.7 x 18.6 cm). Date: 1816. Museum: Metropolitan Museum of Art, New York, USA.

Prince Genji with a court lady, 1819 - 1820 print Prince Genji and a court lady get inspiration, sitting on a porch and overlooking a garden in the spring. From the complete series of three Surimonos with one of the 'three gentlemen of Japanese literature' each in the presence of a lady. Scene from The Tale of Genji from Murasaki Shikibu. paper. pigment color woodcut male literary charactoers (with NAME). (scenes from) specific works of literature (with AUTHOR, Title)

Twenty-four Japanese examples of filial piety for the Honors (series title), A boy reads a document while an older man in the background listens to him. With two poems. This print refers to the story of a man giving land back to the destitute son of the deceased man from whom he had bought the land. The Sand and Pebble Collection (Shasekishû) is an anthology of 134 humorous Buddhist stories compiled between 1279 and 1283 by the monk Mujû (1226-1312)., Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 202 mm × w 183 mm

Miniature Album with Figures and Landscape (Man and Woman), 1822. Zeng Yandong (Chinese, c. 1751-1827). Album leaf, ink and color on paper; overall: 6.1 x 7.7 cm (2 3/8 x 3 1/16 in.).

A treasure ship. A treasure ship (Takarabune) made from bamboo filled with New Year's waves, among other things. Above the ship a kite with an image of a crane. A calendar blade for the year 1799. The long months are depicted in one of the ranges. With three poems.

Bamboo Flute (Shakuhachi), from the series Catalogue of the Arts (Shogeizukushi). Artist: H?tei Gosei, Japanese, 1765?-1835

Thirty-Six Immortal Poetesses, 17th century, Unknown Japanese, 9 9/16 x 6 1/4 x 1 1/4 in. (24.29 x 15.88 x 3.18 cm), Ink, color and gold on silk, Japan, 17th century, When the courtier Fujiwara Kintō (996-1075) designated thirty-six writers from Japan's past as 'Immortal Poets,' there were only a few women included in the group. Later compilations, however, sometimes featured only women, as is the case with this exquisite album. An unknown artist rendered imaginary portraits of the women, and their poems, within small fan shapes. The women are painted in surprising detail given their miniature scale. A poem by Izumi Shikibu, a 10th century noblewoman, is on the right, and one by Lady Nijō-in no Sanuki (1141'-1217) is on the left

Sour, from the series FiveTastes. Artist: Teisai Hokuba, Japanese, 1771-1844

Pictures with Letters 17th century Attributed to Iwasa Matabei. Pictures with Letters. Attributed to Iwasa Matabei (Japanese, 1578-1650). Japan. 17th century. Fourteen figures on seven folded sheets; ink on paper. Edo period (1615-1868). Calligraphy

Reverberations of Taiga, Volume 2 (leaf 7), 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.

Miniature landscapes datable to 1751-54 Zhang Zongcang Chinese This tiny album was made for inclusion in a treasure box,” one of the elaborate containers of precious objects that were favorites of the Qianlong Emperor (r. 1736-95) of the Qing dynasty (1644-1911). Albums were particularly well-suited to satisfying Qianlong’s love of miniatures, but court painters like Zhang Zongcang were also required to produce tiny handscrolls for treasure boxes.. Miniature landscapes. Zhang Zongcang (Chinese, 1686-1756). China. datable to 1751-54. Album of eight leaves; ink and color on paper. Qing dynasty (1644-1911). Paintings

Signboard with message. A signboard between the blooming trees with a printed message underneath. The text on the signboard reads 'made in the year of the dog, the 23rd year in the 60-year cycle'. The paper message contains a poem in Chinese and two in Japanese.

A Chinese Sage Tachibana Morikuni (1670-1748). A Chinese Sage, 17th century. Woodblock print on paper, 10 1/8 x 6 9/16 in. (25.7 x 16.7 cm). Asian Art 17th century

Seated Scholar Seated Scholar, late 19th century. Brush sketch, ink on paper, Image: 11 3/8 x 10 3/8 in. (28.9 x 26.4 cm). Asian Art late 19th century

Two Turtles, first half 19th century, Hosokawa Rinkoku, Japanese, 1779 - 1843, 9 1/16 × 5 3/4 in. (23.02 × 14.61 cm) (image)41 9/16 × 9 in. (105.57 × 22.86 cm) (mount, without roller), Ink and color on paper, Japan, 19th century

Cotton processor with saddle; Watakuri Uma; A series with horses; Umazukushi. A saddle with a cotton processor, a plum blossom branch and a tobacco set. With three poems.

Basket of Peonies, 1810 or 1814. Katsushika Hokusai (Japanese, 1760-1849). Color woodblock print; surimono; sheet: 52.1 x 38.3 cm (20 1/2 x 15 1/16 in.). A surimono is a privately commissioned print used to announce or commemorate a special event. This picture celebrates an event in the life of the actor Ichikawa Danjuro VII, whose emblem was the peony. According to Japanese tradition, the peony-one of the flowers of the four seasons-is the flower of summer.

The Dôguya antiquarian bookshop (title on object) Famous products from Edo (series title) Edo meibutsu (series title on object), Two scroll paintings on a Chinese lacquer display tray. Both paintings have identical mounts with an ivy leaf pattern. The partially unrolled painting shows a mountain landscape with a waterfall. With two poems., Kubota Shunman, Japan, c. 1810 - c. 1815, paper, colour woodcut, h 136 mm × w 184 mm

Reverberations of Taiga, Volume 2 (leaf 18), 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.

Camellia and Bullfinch ca. 1833 Utagawa Hiroshige Japanese. Camellia and Bullfinch 36739

The Thirty-Six Poetic Immortals 1824 Sakai Hōitsu The Thirty-Six Poetic Immortals are famous poets, including five women, featured in an anthology compiled by Fujiwara no Kintō (966-1041) in the early eleventh century. Throughout medieval times these celebrated figureswhose periods of activity ranged from the seventh century to Kintō’s daywere often depicted in hand-scroll format. Imaginary portraits of the poets were accompanied by one or more of their most famous poems, generally the ones originally selected by Kintō. The painter and calligrapher Sakai Hōitsu notes in the colophon that this work was a tracing copy of a handscroll believed to have been illustrated and transcribed by celebrated medieval monk-poet Saigyō (1118-1190). Hōitsu did his best to emulate the precious poetry scroll, going so far as to mimic wormholes and other damage to the original.. The Thirty-Six Poetic Immortals 670923

Eight Landscape Scenes and Calligraphy 19th century Unidentified artist. Eight Landscape Scenes and Calligraphy 53594

Japanese flower arrangement with leaves and flowers, vase and tray. Handcoloured woodblock engraving hanga from a book of the Shinshintei school of Ikebana, 1835.

Turtle Island and Fujiyama. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 1/2 x 7 1/8 in. (14 x 18.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Kanmuri ni hiogi, Courtier's cap and folding fan., Kubo, Shunman, 1757-1820, artist, between 1801 and 1810, 1 print : woodcut, color ; 14 x 19 cm.

Sôgen with a poem by Sangie Hitoshi, No. 39 from the series "Imacja of the collection from Ogura - one poem from a hundred poets" (Ogura Nazorae hyakunin ISSHU)Dembiński, Stanisław (1891-1940)-collection, decorative boards according to the anthology of a hundred poets, cycle, gift (provenance), Japanese (culture), Japanese art, ukiyo-e

Shôgi stones Shogikoma (title on object) A series with horses (series title on object) Umazukushi (series title on object), Pot with spring anemones and dwarf plum blossom standing on a game board of a Japanese variant of chess, shogi. The stones in this game are also called 'horses', hence this design in this series, published for the new year of the horse in 1822. With two poems., Katsushika Hokusai (mentioned on object), Japan, 1822, paper, colour woodcut, h 206 mm × w 184 mm

Courtier and Lady with a Young Woman Poling a Boat. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 5 5/8 x 11 in. (14.3 x 27.9 cm). Date: 1796.This scene calls to mind a scene from the "Ukifune" ("Drifting Boat") chapter of the The Tale of Genji. Museum: Metropolitan Museum of Art, New York, USA.

Left, a man (the poet Gonchūnagon Atsutada) is seated on a verandah; centre, a willow tree; right, a mad woman with unbound hair and disevelled dress is dancing, mocked by three children. Woodcut by Keigi, 1822.

Equine Parting Gift, from All ThingsHorse. Artist: Katsushika Hokusai, Japanese, 1760-1849

Preparations for the New Year, from Spring Rain Surimono Album (Harusame surimono-jō, vol. 1) 1817 Totoya Hokkei Japanese Surimono are privately published woodblock prints, usually commissioned by poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.This album belongs to a set of three compiled by Hayashi Tadamasa, the great Parisian dealer of Japanese art. Hayashi arranged the more than four hundred prints in the set on facing leaves according to themes, or in a way that created an attractive arrangement of designs, complementary in both color and shape. The pigments, printing techniques, and paper used for surimono often were of the highest quality

Kino Tomonori reading a poem, ink drawing after the work by Yosai from the album Zenken kojitsu" (?). unknown, draughtsman, cartoonist

Buddha Preaching, a section from the Illustrated Sutra of Past and Present Karma (Kako genzai inga kyo emaki). Artist: Unidentified Artist Japanese, mid-8th century. Culture: Japan. Dimensions: Image: 10 1/8 × 10 3/4 in. (25.7 × 27.3 cm)Overall with mounting: 49 3/16 × 16 3/4 in. (125 × 42.6 cm)Overall with knobs: 49 3/16 × 17 13/16 in. (125 × 45.3 cm). Date: mid-8th century.Depicting the Buddha preaching in a grove of trees beside a rocky outcrop, this section of a longer scroll is a succinct summary of the early development of East Asian figural and landscape traditions. A circle of figures framed by trees and tufts of grass creates a shallow foreground space. Spatial relationships are further defined by pivoted bodies, turned heads, and the tentative overlapping of forms. The rock is similarly primitive in its evocation of three-dimensionality--suggested through a succession of receding contour lines and alternating light and dark passages of color. Equally schematic renderings of l

Hanging Abalone Out to Dry, illustration for Abalone (Awabi), from the series A Matching Game with Genroku-period Poem Shells (Genroku kasen kai awase) 1814-1824 Japan. Color woodblock print with metallic pigments; surimono shikishiban . Katsushika Hokusai

Danser, takashima chiharu, 1823 print A dancer in a NOH play, performs a classic Hofdans (Gagaku) with vast arms. In the foreground a spear. This Surimono contains three poems. Japan paper color woodcut one person dancing alone

Bamboo and Poem, mid 18th century, Miyazaki Impo, Japanese, 1717 - 1774, 17 1/16 × 22 13/16 in. (43.34 × 57.94 cm) (image)51 × 23 13/16 in. (129.54 × 60.48 cm) (mount, without roller), Ink on paper, Japan, 18th century

Colored woodcut by Yashima Gakutei depicting a New Year's sheet designed for a desk, showing decorative motifs and seasonal elements.

Fujiwara Clan: the pearls of Eb and Vloed and the Fujiwara Zeis, Katsushika Hokusai, c. 1890 - c. 1900 print The pearls of ebb and flood with the scythe of the Fujiwara Clan on a silk cloth decorated with plum blossom, draped over a three -legged table. With two poems. The print is a copy, the original print was made in 1822. paper color woodcut scallop, shell ~ ornament

Warbler and Camellia ca. 1815-20 Totoya Hokkei Japanese Bird-and-flower, or "kachō," subjects were prevalent in Japanese painting and other arts for hundreds of years, though surimono were the first single-sheet woodblock prints to incorporate fully this traditional motif. In this print by Hokkei, the stylized gold cloud design is drawn from classical painting styles. The heaviness of the right side of this composition is delightfully balanced by the precariously perched warbler.. Warbler and Camellia 54399

Two dolls and a brocade bag, from the series Clothing, Food, and Shelter (Ishokuju no uchi) 1818 Japan. Color woodblock print; shikishiban, surimono . Totoya Hokkei

Picture Book: Thousand-Year Mountain (Ehon Chitose-yama) 1740 Nishikawa Sukenobu Japanese Nishikawa Sukenobu was one of Kyoto's most productive ukiyo-e artists. He studied under the painter Kano Einō (1631-1697), then Tosa Mitsusuke (1675-1710), and finally turned to ukiyo-e. His illustrated books were well received by elite readers and artists in Edo.The three-volume book Ehon Chitose-yama illustrates contemporary genre scenes with a short educational text and a poem over each double-page spread; the final volume is shown here.. Picture Book: Thousand-Year Mountain (Ehon Chitose-yama). Nishikawa Sukenobu (Japanese, 1671-1750). Japan. 1740. Woodblock print; ink on paper. Edo period (1615-1868). Illustrated Books

Lady Fujitsubo (Fujitsubo no nyôgo) from the series Two Beauties from the Tale of Genji (Gengo nikajin), created between 1823 and 1825, featuring woodcuts as part of the surimono format

Albumblad, Huang Shu, 1600 - 1650 Album magazine with a foggy landscape, mounted against calligraphy. China paper. ink Album magazine with a foggy landscape, mounted against calligraphy. China paper. ink

Various Fish Shûtei Tanaka (Japanese, 1810-1858). , Spring, 1855. Woodblock print; Chûban yoko-e format, 7 1/8 x 9 in. (18.1 x 24.8 cm). Asian Art Spring, 1855

Improvised shadow - pine tree; panel from the series Sokkyo kageboshi zukushi" (Improvised Silhouettes). Utagawa, Hiroshige I (1797-1858), graphic artist

Scenes from Essays in Idleness, late 1700s-early 1800s. Matsumura Goshun (Japanese, 1752-1811). One of a pair of six-panel folding screens; ink and color on paper; image: 146.5 x 330.7 cm (57 11/16 x 130 3/16 in.); overall: 170.2 x 375.8 cm (67 x 147 15/16 in.).

Dance of the Matsu-Kaze (or shio kumi), 1814, Woodcuts, Surimono

Climbing a mountain in Liuzhou, from the series "Picture Book of Chinese Poems (Toshi gafu no uchi)". Totoya Hokkei; Japanese, 1780-1850. Date: 1825-1849. Dimensions: . Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Three parts (out of six) with views of famous gardens in Kyoto, Famous landscape gardens in Kyoto Miyako princes meisho zue, print maker: Sakuma Soen Akira, (mentioned on object), print maker: Oku Bunmei Minamoto Sadaaki, (mentioned on object), print maker: Nishimura Chuwa, (mentioned on object), Kyoto, 1799, paper, h 257 mm × w 177 mm

Mishima, from the series "Fifty-three Pairings for the Tokaido Road (Tokaido gojusan tsui)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1840-1851. Dimensions: 11.9 x 16.2 cm. Color woodblock print; section of oban sheet. Origin: Japan. Museum: The Chicago Art Institute, 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

The Courtesan Kasugano Writing a Letter ca. 1765 Suzuki Harunobu Japanese. The Courtesan Kasugano Writing a Letter 45091

Japan, Kitsuneen, Hokkei, Totoya, Vegetables in straw wrapping, verso - stamped, A woven basket in the shape of a cob is filled with probably radishes. With one poem., print, prent, prints, surimono, Japan (collection), height 96 mm, width 132 mm, Japanese, 1790 - 1850, print maker, printmaker, 1818 - 1818, first quarter 19th century, paper, colour woodcut, poet

Three sake bowls. Three lacquered rice wine (sake) saucers on crepe paper. One bowl is upside down, on the other two are a carp and a dragon depicted against a waterfall. This refers to the belief that carps who could swim against a certain river eventually changed in dragons. With three poems.

Piece 18th-19th century Japan. Piece 66439

Spring Rain Collection (Harusame shu), vol. 3: Mountain Dove and Peach Flowers. Artist: Teisai Hokuba (Japanese, 1771-1844). Culture: Japan. Dimensions: 8 1/4 x 7 7/16 in. (21 x 18.9 cm). Date: ca. 1820.Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Year's greeting card. The poems, most commonly kyoka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.All four compositions on these leaves (JP2362-2365) come from the same set of prints, Six Bird-and-flower Prints for Utsunomiya in Shimotsuke Province (Kacho rokuban no uchi, Shimotsuke Utsunomiya). The series was commissioned by a branch of the Asakusa kyoka poetry group based in the city of Utsunomiya, north of

Designs of Fans for Dance. Artist: Ishikawa Kazan (Japanese, active 1810-1823). Culture: Japan. Dimensions: 8 1/8 x 7 1/4 in. (20.6 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Okazaki, section of sheet no 10 from the series Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze) 1852 Japan. Color woodblock print; section of harimaze sheet (uncut sheet 1939.1296) . Utagawa Hiroshige

Still-life of a scholars quarter with two sutra stones taken out of the box, a cabinet painted with Mount Fuji, a bird in a cage, and tokonoma (alcove) with a hanging scroll of bamboo. Artist: Ry?ry?kyo Shinsai, Japanese, 1764-1820

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

Top-Shell and Various Shells 19th century Totoya Hokkei Japanese. Top-Shell and Various Shells 54975

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

A range and three watermelon disks, with an lying text at the 'tanned impeller'.

Muskietennet, anonymous, 1850 - 1860 print A mosquito net hung on a ring, with a lurking text with the 'amorous fan'. paper color woodcut mosquito netting, screens. oriental ideographic script (Chinese, Korean, Japanese)

Minamoto no Muneyuki, from the Fujifusa Version” of Thirty-six Poetic Immortals (Fujifusa-bon Sanj?rokkasen emaki) early 15th century Unidentified Minamoto no Muneyuki (died ca. 939), a poet and courtier of the Heian period (794-1185), is counted among the Thirty-Six Poetic Immortals, a list of celebrated poets devised during the eleventh century. Court artists created imaginary portraits of the venerated poets, accompanied by representative verses for each. In painted handscrolls, the poets were often paired off and depicted as though participating in an actual poetry competition. Muneyuki wears the stiff, black, wide-sleeved outer robe (kariginu) of a courtier, with patterned trousers. He also wears the standard black courtier’s cap (kanmuri), with its tail” (ei) of black gauze hanging down from the back. His waka (thirty-one syllable verse) poem, inscribed in three vertical lines, is written almost entirely in kana syllabic characters, with the poet’s name and biographical note in

Shells under Water 1790 Kitagawa Utamaro Japanese. Shells under Water 37301

Tobacco Pouch and Pipe 1813 Kubo Shunman Japanese The traditional Japanese smoking ensemblepipe, tobacco pouch, and netsukeis the subject of this embossed commemorative print by Kubo Shunman, dated 1813. The poems inscribed in the top portion of the print link the fires of Kasuga Temple at Nara with the smoke emitted from the smoking set of a guard who fills his pipe and indulges in this practice.. Tobacco Pouch and Pipe 54523 Artist: Kubo Shunman, Japanese, 1757?1820, Tobacco Pouch and Pipe, 1813, Polychrome woodblock print (surimono); ink and color on paper, 7 7/8 x 7 1/8 in. (20 x 18.1 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP1954)

Lucky shaft with red ribbon. .

Plum blossom from Osaka Naniwa ume (title on object) A series for the Hanazono poetry association (series title) Hanazono bantsuzuki (series title on object), A still life of various sake (rice wine) cups. On the left a small cup of thin porcelain, floating in water in a silver bowl in a holder of black lacquerware. Next to it a cup made of a white shell, decorated inside with plum blossom. On the right a large, partly wrapped in cloth, sake cup of red lacquerware, decorated with the image of a shôjô, a mythological creature who would live on the coast and spend his days drinking sake. To the right plum blossom under a poem. Naniwa is the traditional name of the city of Osaka, known for the plum blossoms and sake. With two poems, plants, vegetation (flowers, blossom, blossoming), Totoya Hokkei (mentioned on object), Japan, 1823, paper, colour woodcut, h 205 mm × w 184 mm

Bird on a Branch. Artist: Unkei Eii (Japanese, active first half of the 16th century); Inscribed by Daiko Shokaku (Japanese, died 1535). Culture: Japan. Dimensions: Image: 9 5/16 × 10 13/16 in. (23.7 × 27.5 cm)Overall with mounting: 45 7/16 × 16 1/8 in. (115.4 × 41 cm)Overall with knobs: 45 7/16 × 17 15/16 in. (115.4 × 45.5 cm). Date: early 16th century.This small painting perfectly encapsulates both the spirit and style of Zen ink compositions of the late medieval period in the style of Sesshu Toyo (1420-1506). Monochrome and effectively utilizing blank space, the work features dry and spontaneous brushwork that captures the moment a small bird (a titmouse) has alighted on a wizened branch. The brusquely brushed calligraphy by Daitokuji temple prelate Daiko Shokaku cites a verse by the well-known Zen monk-poet Son'an (Kisei Reigen, 1402-1488). It reads: In the forest, when evening comes birds retire and nest together.Coupled birds remain in flight, their joined wings letting th

Bamboo 1854 Japan. This surimono, a depiction of a bamboo stem with bamboo leaves, print takes makes full use of the vertical format of the print by stressing the verticality of the large stem. The elements of the bamboo plants are done drawn within an elegant imitation of a painting brush; indeed, the design appears to have been painted and notrather than printed with woodblocks prints. The seal at the bottom of the print is also a reference to the painting tradition.. Color woodblock print; surimono . Yagi Oshuku

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