Eastern Mythical Landscapes

Artworks featuring serene and mythical landscapes from East Asia, rich in color and ink detailing, portraying nature, tranquility, and spiritual themes.

Totsuka, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.4 x 25.3 cm., Print shows travelers, including two carrying a litter with passenger, on the Tokaido Road at the Totsuka station.

Mythical realm late 18th century China This land of crystalline blue-green mountains, towering palaces, and auspicious cranes lies somewhere beyond the human realm. This mythical scene would have been appropriate to hang for a celebratory occasion, such as birthdays, as the pleasant visions of the immortal realms would have added to the festive atmosphere. Sections of the details were painted rather than woven, a labor- and cost-saving method often employed on tapestries from this period.. Mythical realm. China. late 18th century. Silk tapestry (kesi) with sections of hand-painted ink and color. Qing dynasty (1644-1911). Textiles-Tapestries

Thatched Hut by Water's Edge, c. 1500-1573. Japan, Muromachi period (1392-1573). Hanging scroll; ink on paper; image: 43.8 x 29.2 cm (17 1/4 x 11 1/2 in.); overall: 139.6 x 50.8 cm (54 15/16 x 20 in.).

A page from the Mustard Seed Garden Manual of Painting (Jieziyuan) In the Style of Guo Songzheng Chinese. A page from the Mustard Seed Garden Manual of Painting (Jieziyuan). In the Style of Guo Songzheng (Chinese). China. Circular fan-shaped woodblock print; ink and color on paper. Prints

Reverberations of Taiga, Volume 1 (leaf 22), 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.

Totsuka, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.4 x 25.3 cm., Print shows travelers, including two carrying a litter with passenger, on the Tokaido Road at the Totsuka station.

Meeting with a Friend on an Autumn Day 1822 Noro Kaiseki Japanese The artist's long inscription confirms that the precise representation of seasonal conditions was less important to him in this work than his feelings about the time of year and his relationship to the entire tradition of literati culture in China and Japan. The colophon, which was based on a poem by Shen Zhou (1427-1509), a noted Ming Chinese painter, also indicates that the work was created during the visit of a close friend named Nankai and was intended for Kōhō, a monk-painter from Echigo (now Niigata Prefecture).Noro Kaiseki, a nanga artist who trained under Ike Taiga (1723-1776), worked in the southern province of Wakayama and published a collection of writings entitled Gadan (Chats on Paintings). Listen to experts illuminate this artwork's story Listen Play or pause #7714. Meeting with a Friend on an Autumn Day Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available

Chinese Landscape, 1500s. Japan, Muromachi period (1392-1573). One of a pair of six-fold screens; ink and slight color on paper; image: 155.5 x 357.8 cm (61 1/4 x 140 7/8 in.); overall: 171.5 x 373.4 cm (67 1/2 x 147 in.); closed: 171.5 x 63.5 x 11 cm (67 1/2 x 25 x 4 5/16 in.). In a panorama of mountains and expanses of water, three gentlemen have assembled by moonlight to enjoy one anothers company away from a bustling village. An influx of ink paintings from China in both album and scroll formats beginning in the late 1200s inspired Japanese artists to create landscapes based upon Chinese prototypes. Later, Japanese painters adapted the imagery to the larger format of folding screens, which were used to define spaces in large rooms.

Mishima, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.4 x 25.3 cm., Print shows porters carrying three palanquins near thatched roof buildings at the Mishima station on the Tokaido Road; view of Mount Fuji in the background.

Taking Shelter from the Rain after 1709 Hanabusa Itch. Taking Shelter from the Rain. Hanabusa Itch (Japanese, 1652-1724). Japan. after 1709. Six-panel folding screen; ink and color on paper. Edo period (1615-1868). Screens

Bamboo.These four hanging scrolls are examples of Chinese bamboo painting. Central to this genre is mastery of the brush. The bamboo stem segments as well as the individual leaves are all rendered with just a single brushstroke. The artist worked fairly wet and, in addition to grey tints, made ample use of an undiluted deep black ink to create an atmosphere of lush and moist vegetation.

High Mountains, Flowing Water: Yu Boya and Zhong Ziqi Okura Ryzan Japanese ca. 1840 This combination of landscape and figures, with a clearly Chinese theme, contains a vertical arrangement of narrow, block-like mountain forms and a grove of trees, bamboo, and banana plants. Within the grove sit two gentlemen, one of whom rests on an ornamental rock as he plays the qin (a zitherlike stringed instrument). The two are accompanied by a servant boy, who fans the fire in a small stove upon which tea is being prepared. The landscape elements were executed in the bluish green palette meant to evoke ancient Chinese landscape paintings.kura Ryzan, the son of a Yamato peasant, came to move in the same literary circles as the influential philosopher and poet Rai San'y (1780-1832) and several prominent Nanga school artists, including Nakabayashi Chikut (1776-1853). Both Ryzan and his wife, Shran, were students of Chikut, and Ryzans landscape paintings display a delicacy of color and brushwork remin

Reverberations of Taiga, Volume 2 (leaf 14), 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.

fine arts, Japan, graphic, ""Spring poem with two ladies at a stream"", album sheet with glimmer powder, woodcut, 13.2 x 18.2 cm, early 19th century, private collection,

Two Chinese men in a landscape; New converted sinesen, with great Moeyte designed and given in it, by P: Schenk Jun (...), first part. Links two Chinese men in a landscape. A river in the middle. On the right a building.

Clouds Visiting a Mountain Retreat, 1633. Tao Hong (Chinese, active c. 1610-1640). Hanging scroll, ink on silk; painting: 176.4 x 101 cm (69 7/16 x 39 3/4 in.); overall with knobs: 290 x 121.3 cm (114 3/16 x 47 3/4 in.).

Twelve Views of Tiger Hill, Suzhou: The Fool's Spring, after 1490. Shen Zhou (Chinese, 1427-1509). Album leaf, ink on paper or ink and slight color on paper; image: 31.7 x 41.1 cm (12 1/2 x 16 3/16 in.); overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.).

Two travelers in the rain. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Hermitage in Mount Lu. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: Image: 37 5/16 x 19 11/16 in. (94.8 x 50 cm)Overall with mounting: 76 1/4 x 26 in. (193.7 x 66 cm)Overall with knobs: 76 1/4 x 29 1/2 in. (193.7 x 74.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

Landscape in the Style of Ancient Masters: after Fang Congyi (active c. 1340-80). 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.

Scroll Painting, Zhengxing (nickname Wuzhai), 1600 - 1800

Pushing a boat on Lake Biwa, Matsukawa Hanzan, 1826 Men push a boat forward on the Biwa lake, with mountains in the background. With Japanese text. Japan paper color woodcut Men push a boat forward on the Biwa lake, with mountains in the background. With Japanese text. Japan paper color woodcut

Playing the Qin in a Secluded Valley, 1548. Imitator of Wen Zhengming (Chinese, 1470-1559). Hanging scroll, ink and light color on paper; overall: 132 x 50.5 cm (51 15/16 x 19 7/8 in.). The poem inscribed in this painting reads: "Ten thousand layered lofty mountains are presented to the cultivated eye, A thousand feet of cascading falls cleanse the dusty heart. May the harmonies of my red-stringed tune Be the humble answer to the pine wind's ancient song." Different versions of this painting exist. Scholars have suggested that the solid renderings of the rock masses and the volumetric mountain configurations as seen here appear more characteristic of Lu Zhi (1496-1576), Wen Zhengming's pupil.

Untitled Drawing, for the series English Title (Hizakurige kimama dôchû) Japan. Ink and red pigment on paper . Utagawa Hiroshige

Ise monogatari = The Tales of Ise, 1608, Yoshida, Soan, -1632, Kyoto

Court Ladies in the Imperial Palace, 1271-1368. China, Yuan dynasty (1271-1368). Hanging scroll, color on silk; overall: 211.1 x 101.3 cm (83 1/8 x 39 7/8 in.).

Second half of Ten Thousand Li of the Yangzi River late 15th century Unidentified artist This is the second half of a handscroll that was separated into two piecesfor the first, see 13.220.1. The work follows the style of the thirteenth-century painter Xia Gui, whose sharp, angular brushwork and evocative mist-enshrouded scenes were much admired in the fifteenth century, especially at the Ming-dynasty court. The composition is based in part on Xia’s Pure and Remote View of Streams and Mountains (National Palace Museum, Taiwan). The survival of other oversize copies of Pure and Remote View from this periodincluding one in the Freer Gallery of Art in Washington, D.C.attest to the painting’s popularity among fifteenth-century patrons.. Second half of Ten Thousand Li of the Yangzi River. Unidentified artist. China. late 15th century. Handscroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Honbo, from the series "Scenes of Flower-viewing at Ueno (Ueno hanami no tei)". Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 25.9 x 35.5 cm. Woodblock print; oban, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Green Mountains as the Rain Ceases Urakami (Uragami) Gyokud Japanese early 19th century Characteristic of Urakami (Uragami) Gyokud's later works, from his sixties and early seventies, the brushwork at first glance seems uncontrolled. On closer inspection, however, this work reveals a careful structure of lighter and drier ink tonalities: the mountains, hills, and rocks roughly laid out in light washes of ink, which are animated by short darker strokes applied in clear, repetitive and rhythmic movements that impart life and vitality to the forms.A solitary figure—representing the artist or his alter ego we may assume—in a dilapidated hut is dwarfed by the grandeur of the majestic mountain landscape. Mountains, in Gyokud’s vision, have an animistic, virile quality—sometimes even having a quasi-phallic representation, as here. The hut, lattice fence and its surroundings is rendered by a diverse array of crumbling dry strokes. The title of the work, Green Mountains as the Rain Ceas

Piece 18th-19th century Japan. Piece 66737

Reverberations of Taiga, Volume 1 (leaf 27), 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.

Pavilion by the Lake late 18th century Samoje Korean Samoje (literally, Studio of Three-Five) is the style name of a Joseon-period artist, probably a professional painter from the jungin (middle people) class. His given name and biography have not yet been determined, for a lack of documentation makes it difficult to confirm the identities of many Joseon painters, even those whose signatures or seals are known. These two works may have been conceived as a pair of hanging scrolls. The compositions were likely adapted from popular Ming-dynasty (1368-1644) painting manuals imported from China, the most famous of which was the Mustard Seed Garden Manual of Painting. The style of the two pieces reflects the influence of "Southern School" literati painting, whose conceptual framework had been formalized by the Chinese artist Dong Qichang (1555-1636). This style of landscape painting became popular in Korea from the end of the seventeenth through the early nineteenth century and was freely ad

Chikudo Picture Album (Chikudo gafu). Artist: Ki Chikudo (Japanese, died 1825). Culture: Japan. Dimensions: 10 13/16 × 6 15/16 in. (27.5 × 17.7 cm). Date: 1815. Museum: Metropolitan Museum of Art, New York, USA.

Seated Scholar under a Cliff Side Pavilion, 16th century, Qian Gu, Chinese, 1508 - about 1578, 9 3/8 x 19 in. (23.81 x 48.26 cm) (image, sheet), Ink and color on gold-flecked paper, China, 16th century

Dream of the Red Chamber, 19th century, 62 3/4 x 19 1/2in. (159.4 x 49.5cm), Silk, embroidery, China, 19th century

The Sumida River at the first sunrise of the new year. A face on the Sumida River with the upcoming sun in the background. In the river flat boats and in the foreground the roofs of houses. With five poems.

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

Eagle Attacking a Mountain Lion. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: Image: 65 1/2 x 33 in. (166.4 x 83.8 cm)Overall with mounting: 111 1/2 x 43 1/2 in. (283.2 x 110.5 cm)Overall with knobs: 111 1/2 x 47 1/2 in. (283.2 x 120.7 cm). Date: 1885.In this set of four large paintings (14.76.64a-d), depicting the fierce spirit of eagles hunting or protecting their young, the artist Kyosai distilled the soul of the Japanese nation, which was at the onset of westernization and exerting itself as an international power. In addition to their regal presence, these raptors represented unhesitating, even ruthless action, a necessary quality during this turbulent period. Determined to break the mold of traditional East Asian ink painting, Kyosai exaggerated the vigor of his subjects with coarse bravado, varying long and short brushstrokes and contrasts of light and dark. Kyosai sought a degree of realism, even brutal naturalism, that indicates his final aband

Oiso, board 9. From the series: Fedey three stages of the Tokido / Tokido Gojusan Zugi no uchi road HIROSHIGE, UTAGAWA (1797 1858)

Boating beneath Echo Hill datable to 1673 Mei Qing Chinese Mei Qing was born into a prominent family in Xuancheng, Anhui Province. Following the family tradition of scholarship, Mei passed the provincial (jüren) civil-service examination in 1654 and traveled to the capital to sit for the capital (jinshi) examination, which he took and failed four times, before giving up in 1667. Mei returned home and became involved in local scholarly pursuits and participated in a poetry and painting society to which the painter Shitao (1642-1707) also belonged.This painting commemorates an outing that Mei and family members and friends made to Echo Hill (Xiangshan). Mei and some of the participants inscribed poems on the painting to further celebrate the occasion. Although the name of the recipient has been effaced, two seals belonging to Zheng Min (1633-1683), a noted painter from the Yellow Mountain region of Anhui, suggest that it may have been intended for him.Throughout his career, Mei drew insp

River Scene with Bridge in Foreground ca. 1810 Katsushika Hokusai Japanese. River Scene with Bridge in Foreground 54349

Camellia Flower and Yokan (a sort of bean jelly) Wrapped in Bamboo Skin. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 4 1/6 x 7 7/16 in. (10.6 x 18.9 cm). Date: 1811. Museum: Metropolitan Museum of Art, New York, USA.

Making Ceramics first half of the19th century Eiraku Hozen Hozen, the eleventh-generation master of the Nishimura family, learned pottery techniques in Kyoto and produced tea utensils prized by the Sen family of tea masters. After 1827, he sealed his works as Eiraku.” He produced a variety of fine-quality wares, most of them special orders, including blue-and-white porcelain, copies of Chinese porcelain, and Cochin-style (K?chi ware) works with polychrome glazes. One of his signature techniques was the delicate application of overglaze gold patterns (kinrande) on red ground. Furthermore, Hozen made numerous copies of Ninsei ware. He was one of the most influential ceramists in Kyoto in the nineteenth century. An amateur painter, he created this series of six hanging scrolls (18.77.2-.7) depicting the process of ceramic production.Smoke billows from the fired kiln and more wood is fed into the firebox. An assistant approaches carrying a board with bowls ready for firing. In the backgro

A Party of Merrymakers in a House in the Yoshiwara on a Moonlight Night 1789 Kitagawa Utamaro Japanese. A Party of Merrymakers in a House in the Yoshiwara on a Moonlight Night 37272

Asia, China, Shanghai, Shanghai Museum, paintings collection

Landscape with Waterfall. Artist: Kameda Bosai (Japanese, 1752-1826). Culture: Japan. Dimensions: Image: 41 7/8 × 19 1/8 in. (106.4 × 48.6 cm)Overall with mounting: 71 5/8 × 23 3/4 in. (182 × 60.4 cm)Overall with knobs: 71 5/8 × 26 in. (182 × 66 cm). Date: ca. 1817. Museum: Metropolitan Museum of Art, New York, USA.

"Ko," from the series "Tales of Ise in Fashionable Brocade Pictures (Furyu nishiki-e Ise monogatari)". Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1767-1778. Dimensions: 8 7/8 x 6 1/4 in. Color woodblock print; koban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Returning home through the snow ca. 1455 Dai Jin Chinese A solitary figure, too humbly dressed for the cold buffeting wind, draws a protective sleeve to his face as he quickly makes his way to the comfort of the dwelling nestled among bare trees and snow-laden bambooperhaps Dai's own Bamboo Snow Studio. Dai Jin was one of the last major masters to embody the artistic traditions of the Southern Song Imperial Painting Academy, but he was also a very versatile painter who drew inspiration from diverse sources. In this painting, the manner of outlining forms with a gentle sinuous line, the large and powerful deciduous trees, and the scale of the figure in relationship to the setting recall the works of the Yuan artist Sheng Mou (act. ca. 1310-60).The tendency toward swift, sketchy, cursive brushwork here is a hallmark of Dai Jin's later work. Dai sometimes painted precariously close to the edge of control, creating a distinctively kinesthetic, movement-filled style that was fresh and new

The Thirty-sixth Stage, from Zenzai Dōjis Fifty-five Pilgrimages, also known as Zenzai Dōji emaki, 14th century, Unknown Japanese, 13 × 14 9/16 in. (33.02 × 36.99 cm) (image)44 1/2 × 18 7/8 in. (113.03 × 47.94 cm) (mount, without roller), Handscroll fragment, mounted as hanging scroll; ink and light color on paper, Japan, 14th century

Evening Snow on Mt. Hira (Hira no bosetsu), No. 6 from the series "Eight Views of Omi". Nishimura Shigenaga; Japanese, 1697 ()-1756. Date: 1711-1741. Dimensions: 13 1/2 x 6 1/4 in. Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Lake Palaces Unidentified artist. Lake Palaces 51656

Fuji TohoThe Top of Mount Fuji. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: H. 10 1/8 in. (25.7 cm); W. 15 1/4 in. (38.7 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Utagawa Hiroshige; Fujiokaya Hikotarô / 'A View of Mimeguri (Mimeguri no kei)', 1838-1840, Japanese School, Paper, 235 mm x 345 mm, G05661. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Servant throwing bundles of branches into waterfall. Katsushika Hokusai ; Japanese, 1760-1849. Date: 1805-1815. Dimensions: 7 3/4 x 21 in. Color woodblock print; ebangire, surimono. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Cloudy Mountains by Gao Kegong (1248-1310) in the manner of Mi Fu (1051-1107), from the Mustard Seed Garden Manual of Painting First edition, 1679 Designed by Wang Gai In 1679, the author Li Yu published a primer for aspiring landscape painters called the Mustard Seed Garden Manual of Painting, and he commissioned the versatile painter Wang Gai to provide designs for the illustrations. The first edition features volumes on the components of landscape paintingtrees, rocks, and human figureswith instructions on how to draw different types of each. It also includes two volumes of landscapes in the styles of old masters, which show readers how to transform what they have learned into their own historically minded compositions.The manual transmitted the fashion for studying old masters' styles beyond the rarified elite circles that had given rise to the practice, and it went on to become the most widely used introduction to painting not only in China, but in Korea and Japan as well. Subse

Eight-Platform Bridge (Yatsuhashi), from the "Tale of Ise (Ise Monogatari)". Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1759-1770. Dimensions: 31.2 x 13.9 cm (12 1/4 x 5 1/2 in.). Color woodblock print; hosoban, mizu-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Juichidanme - act eleven of the Chushingura - searching the grounds, between 1800 and 1850, 1 drawing : color., Print shows a scene during the attack on Kira Yoshinaka's home by the 47 ronin, with the samurai searching the grounds for Kira.

Piece 18th-19th century Japan. Piece 66742

China: Qingming Shang Tu or 'Along the River During the Qingming Festival' (detail), Zhang Zeduan (1085-1145) original scroll painting dating from the Northern Song Dynasty (960-1127)

Five Sparrows on Bamboo, 16th century, Traditionally attributed to Sesson Shūkei, Japanese, 1504 - 1589, 37 1/2 × 16 1/8 in. (95.25 × 40.96 cm) (image)71 5/8 × 21 5/8 in. (181.93 × 54.93 cm) (mount), Hanging scroll; ink on paper, Japan, 16th century, In the 1500s and 1600s Japanese painters created works inspired by the Chinese Zen monk-painter Muqi Fachang (active c. 1210-after 1269). Sometimes they painted in his style, and other times they painted subjects associated specifically with him. This painting does both: the subject matter and the painting style hearken back to Muqi. Japans military rulers owned a painting of sparrows on bamboo by Muqi. This painting became well known because it was copied and distributed widely. Japanese people came to associate this subject with Muqi.

View of Shiba Shinmei Shrine, from an untitled series of Famous Places in Edo Kitao Shigemasa (Japanese, 1739-1820). View of Shiba Shinmei Shrine, from an untitled series of Famous Places in Edo, ca. 1770. Color woodblock print on paper, 8 1/2 x 6 1/8 in. (21.6 x 15.5 cm). Asian Art ca. 1770

Immortals Beneath the Pine Tree, 1653, Yu Ling, Chinese, active late 17th century, 60-15/16 x 36-3/4 in. (154.8 x 93.3 cm), Ink and color on silk, China, 17th century, In a mountainous setting dominated by a venerable pine, five old men gather around a painting of Shoulao, the god of immortality. The inscription on the painting provides the reason for this choice of subject matter. It reads: During the eighth lunar month of the year, 1653, painted to wish old Kui prosperity and longevity on his fiftieth birthday. Xicun (West Village), Yu Ling.

Seimei shoka zukan = The River Festival. Kanō, Tanyū, 1602-1674. 1665. Scrolls (Visual works). Spencer Collection. Scrolls, Japanese,Edo period, 1600-1868

Garden scene. Artist: Wu Tao (Chinese, 1840-1895). Culture: China. Dimensions: Image: 13 × 11 in. (33 × 27.9 cm)Sheet: 20 15/16 × 20 15/16 in. (53.2 × 53.2 cm). Date: 1867.Wu Tao was one of the leading literati landscape painters of the late nineteenth century. He followed the prevailing practice of building upon the styles of previous masters, focusing on an expanded and personalized canon that included painters of the Orthodox School and painters who followed their own paths, such as Shitao (1642-1707). In this album leaf, Wu applies his feeling for landscape to the curated world of the garden, using saturated washes of light indigo and sienna to depict an elegant scholar's retreat. Museum: Metropolitan Museum of Art, New York, USA.

The Xuehong Pavilion in a Scholar's Garden. Qian Du (1763-1844 ); Chinese. Date: 1831. Dimensions: 7 7/8 × 32 3/8 in. Handscroll; ink and colors on gold-spattered paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA. Author: Qian Shumei.

Fire-Holder and Flower-Pot. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 5/8 x 7 1/2 in. (14.3 x 19.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Print, Trial Proof for Cotton Printing: "Pastoral Scene with Peacocks and Poultry"; Designed by Unknown; copper engraving in brown gum paste on eight sheets of laid paper with deckle edges, framed in two parts; 43 1/8 X 37 5/8 in. (109.5 X 95.5 cm)

Design for wallpaper painting with hilly landscape. Draughtsman: Jurriaan Andriessen. Dating: c. 1752 - c. 1819. Measurements: h 265 mm × w 112 mm. Museum: Rijksmuseum, Amsterdam.

People of Yamato (Japan) Picture Album, Second Series 1804 Yamaguchi Soken Japanese. People of Yamato (Japan) Picture Album, Second Series. Yamaguchi Soken (Japanese, 1759-1818). Japan. 1804. Woodblock printed book; ink on paper. Edo period (1615-1868). Illustrated Books

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

White Lotus Society Unidentified artist. White Lotus Society. Unidentified artist. China. Handscroll; ink on paper. Ming (1368-1644)-Qing (1644-1911) dynasty. Paintings

Cranes, Pines, and Bamboo early 18th century Ogata Krin Japanese Such propitious symbols of longevity as cranes, pines, and bamboo, shown here beneath a crescent moon, evoke the auspicious realm of the immortals. The pair subtly suggests spring and autumn through such floral motifs as azaleas, chrysanthemums, morning glories, and eulalias. The screens’ most striking feature is the disposition of the stream. Flowing toward the viewer, the stream both separates and unites the two segments of land. Such a bold composition is an early demonstration of Krin’s genius for pictorial design, in which natural elements are formalized.Certain unfinished areas suggest the preparatory nature of this work: the smudged-in upper portion of the tree trunk, the faint green of the branches in the right screen, and the notation “very pale green” written on the lower part of the left screen. Thought to have been part of the collection of sketches and drawings formerly owned by the Konishi family, descenda

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

Autumn Excursion from Album of Illustrations for the Tale of Genji, 1600s. Japan, Edo period (1615-1868). Accordion album; ink, light color, and gold on paper; each leaf: 26.3 x 22 cm (10 3/8 x 8 11/16 in.); painting only: 17 x 20.6 cm (6 11/16 x 8 1/8 in.). This album contains illustrations for the classic literary work the Tale of Genji, authored in the 1000s by Murasaki Shikibu, an aristocrat of the Heian period (794-1185) court. The scenes are painted in the white drawing” (hakuby?) mode, in which a fine ink line is used to depict figures and spaces with great subtlety, punctuated only occasionally by traces of red pigment for a character’s lips, a detail of a garment, or a decorative element. These two scenes illustrate episodes from the chapters Thin Veil of Cloud” (Usugumo) and Barrier Gate” (Sekiya).

Two Figures, Album Leaf Painting Two Figures, Album Leaf Painting, early 19th century. Ink and color on paper, Image: 10 5/8 x 15 in. (27 x 38.1 cm). Asian Art early 19th century

First half of Ten Thousand Li of the Yangzi River late 15th century Unidentified artist This handscroll was split into two pieces; this is the first half, for the second, see 13.220.18. Once attributed to the Southern Song court painter Xia Gui, these paintings in fact reflect a later interpretation of the artists style. Xias subtle brushwork has been magnified in both size and intensity to create a bold, high-contrast work of art. Ten Thousand Li of the Yangzi River exemplifies a type of fifteenth-century painting in which earlier styles—especially those of the Southern Song—were intensified to cater to the aesthetic of court and urban patrons.. First half of Ten Thousand Li of the Yangzi River. Unidentified artist. China. late 15th century. Handscroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Random Sketches by Hokusai, Volumes 1 to 11 Katsushika Hokusai Japanese The series Hokusai manga had fifteen volumes. The first volume was published in 1814 and the tenth, which was supposed to be the final volume, in 1819. The series was so popular that the publishers added several more books, finally ending with volume 15 in 1878, long after Hokusai's death in1849. These drawings demonstrate Hokusai's remarkable ability to capture the essence of the body in motion. His signature reads Hokusai aratame Katsushika Taito ("Hokusai changed to Katsushika Taito").. Random Sketches by Hokusai, Volumes 1 to 11. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. Eleven volumes of woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Chinese landscape with figures and a pavilion, c. 1715 - c. 1725 print Chinese landscape with a building with a man on the stairs on the left. A man bends for this man. On the right two women. Print is part of an album. paper etching Chinese. landscapes in the temperate zone

Tosa School Style Sketches of Old Time People vol.1, 1793, Rintō Yasutami, Japanese, 7 3/16 x 5 3/16 x 5/16 in. (18.2 x 13.1 x 0.8 cm), Woodblock printed book; ink on paper, with hand-applied color, Japan, 18th century

Scene 1b. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

Moonlit Landscape, late 1500s. Japan, Muromachi period (1392-1573). Pair of six-panel folding screens, ink on paper; framed: 155 x 364.2 x 60.6 cm (61 x 143 3/8 x 23 7/8 in.). This unsigned and unsealed composition includes imagery from the Eight Views of the Xiao and Xiang Rivers. Scanning the composition from right to left, four of the Eight Views subjects appear: sunset glow over a fishing village, returning sails off a distant shore, autumn moon over Lake Donting, and evening bell from a mist-shrouded temple. Not all the elements of the traditional Eight Views theme are here, but the artist suggests its literary presence by leading the viewer through a summers journey from one day to the next, aided, like the travelers in the landscape, by the light of the moon.

Hachidanme, Act eight of the Kanadehon Chushingura., Katsushika, Hokusai, 1760-1849, artist, between 1804 and 1812, 1 print : woodcut, color ; 22.7 x 17 cm., Print shows Tonase, Honzo's wife, and her stepdaughter Konami passing Mount Fuji on Konami's bridal journey to find Rikiya; many pilgrims are visible behind them traveling on the Tokaido Road. Scene from act eight of the play Chushingura or revenge of the 47 Ronin.

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

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

Study of an orange tree from the vicinity of Sorrento. Contour of a female figure. Thoma, Hans (1839-1924), draughtsman, cartoonist

Illustrations of What We Have Seen and Heard at Yokohama, a Nearly Opened Port ca. 1858 Hashimoto Gyokuran. Illustrations of What We Have Seen and Heard at Yokohama, a Nearly Opened Port. Hashimoto Gyokuran. Japan. ca. 1858. Ink on paper. Edo period (1615-1868). Illustrated Books

Festival of Insects, c. 1615-1868. After Motsurin Jōtō (Japanese, d. 1492). Hanging scroll, ink on paper; image: 30.7 x 45 cm (12 1/16 x 17 11/16 in.); overall: 122.5 x 55.9 cm (48 1/4 x 22 in.).

Fifty-four Scenes from The Tale of Genji (Genji monogatari). Culture: Japan. Dimensions: Each: 66 15/16 in. × 12 ft. 5 3/16 in. (170 × 379 cm). Date: late 17th century.This tale by the eleventh-century court lady Murasaki Shikibu relates the life and loves of a fictional prince in the golden age of the Heian (794-1185) period. Over time, it inspired more pictorial art than any other Japanese literary work. The complex psychological novel--called the world's first--become known through the circulation of illustrated albums and handscrolls that included snippets of prose or poems from the narrative. Printed versions began to appear in the seventeenth century. These screens, probably the work of a Kano school artist, exhibit iconic scenes from each of the novel's fifty-four chapters; viewers would have enjoyed the challenge of identifying which characters or turns of plot were being depicted. Seasonal change, various locations, and characters at different stages of their lives are woven

Landscape in the Moonlight probably 18th or 19th century Attributed to Ygetsu. Landscape in the Moonlight. Attributed to Ygetsu (Japanese, active 1521-1530). Japan. probably 18th or 19th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

A Ferryboat Crossing the Sumida River. Keisai Eisen; Japanese, 1790-1848. Date: 1820-1829. Dimensions: 19.6 x 17.5 cm. Color woodblock print; shikishiban, surimono. Origin: Japan. Museum: The Chicago Art Institute, USA. Author: KEISAI EISEN.

'Shepherd and Weaver. Beaten Princess'. China, late 19th - early 20th century. Dimensions: 61x112 cm. Museum: State Hermitage, St. Petersburg.

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

China: 'The Yellow Pavilion'. Album leaf painting by Xia Yong (active mid-14th century), 1350. Xia Yong (active mid-14th century), style name Ming Yuan, was a Chinese painter from Qian Tang who lived during the late Yuan Dynasty period. Little is known about his life, and he is mainly known for his paintings of palaces and temples, with a style similar to that of famed painter Wang Zhenpeng.

Empire of the Great Ming by Li Shida, watercolour and ink on paper, active 1580-1621, 17th century, USA, Washington, D.C, Freer Gallery of Art, 31, 8x61

Anonymous watercolor showing a fallen wooden object or figure, depicting texture, color, and shadow.

Biography of the Mong Honen. Date/Period: 1185/1333. Painting. Ink and pigment on paper (colors and ink on laid paper mounted on silk scroll). Width: 68.6 cm. Height: 29.8 cm (sheet). Author: Unknown Japanese.

Pictorial print 18th century British. Pictorial print. British. 18th century. Cotton. Textiles-Printed

Japan, Soshuya Yohei, Hokusai, Katsushika, Doban Omi hakkei, Engraved Eight Views of Omi Province, Ishiyama no shugetsu, Autumn Moon at Ishiyama, under print - stamped, Mountainous landscape with full moon; a temple in the mountains in the foreground., print, prints, Japan (collection), height 82 mm, width 111 mm, 1760-10-12 - 1849-05-10, print maker, 1809 - 1814, first quarter 19th century, paper, nishiki-e, color woodcut, blind printing, Publication (Event), Publication, Japanese, publisher

Study sheet with sitting lady, Rodolphe Bresdin, 1832 - 1885 drawing France tracing paper. ink pen sitting figure - AA - female human figure

Dragon-boat festival performance 18th-19th century Unidentified artist. Dragon-boat festival performance. Unidentified artist Chinese. China. 18th-19th century. Silk and metal thread tapestry (kesi). Qing dynasty (1644-1911). Paintings

Nangaku- Bunpō Highway Pictures ca. 1811 Kawamura Bunpō Japanese. Nangaku- Bunpō Highway Pictures. Kawamura Bunpō (Japanese, 1779-1821). Japan. ca. 1811. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

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