Eastern Nature and Wildlife Art

A collection of traditional Japanese and Chinese scrolls depicting serene landscapes, wildlife, and seasonal themes, showcasing ink and color techniques.

Autumn Landscape, 19th century, Okada Hankō, Japanese, 1782 - 1846, 57 1/8 x 18 5/8 in. (145.1 x 47.31 cm) (image), Ink and light color on silk, Japan, 19th century, Okada Hanko_ was the son of the rice merchant and wildly eccentric painter Beisanjin. Hanko_'s own painting style, however, reflects the much more conservative approach prevalent among nanga artists active in Kyoto at the end of the nineteenth century. Greater exposure to actual Chinese paintings imported from the mainland helped these Japanese artists perfect the subtleties of their brush techniques and compositional arrangements. Hanko_'s inscription on this painting, in fact, reveals that it is a copy of a work by Dong Xiaochu, a little known artist of China's Ming dynasty.

Gibbon and Bamboo Sesson Shkei Japanese 16th century This scroll painting portrays a gibbon hanging from a vine near stalks of bamboo. The gibbons lowered left hand suggests that he is reaching for something, probably the reflection of the moon in the water belowa scene common in Japanese gibbon paintings and one rooted in Zen Buddhist teachings about the delusional nature of the unawakened mind. Painted entirely in ink, the image belongs to a long line of monochrome Japanese simian paintings inspired by the late thirteenth-century Chinese painter Muqi, whose works, including several of gibbons, were collected in Japan during the artists own lifetime. Sesson Shkei, who was raised and spent his early career in northeastern Japan, relocated in midcareer to Kamakura and nearby Odawara, cities with large Zen monasteries and powerful warrior patrons whose collections were replete with old Chinese paintings. Sessons work during and after this period makes clear that he closely studied paint

Quail and Autumn Flowers late 17th century Tosa Mitsuoki Japanese Elegant in their own right, chrysanthemums often appear together with quails in paintings. The combination was especially favored by Southern Song Chinese artists, as it signified peace and longevity. Along with chysanthemums, the depiction of other autumn flowers, such as bush clover (hagi) and Chinese bellflowers (kiky), creates a seasonal setting for the pair of birds.The painting is signed by Tosa Mitsuoki, a master of jewel-like painting in finely executed line and brilliant color. He became an official court artist in 1654 and made concerted efforts to revive the dwindling fortunes of the Tosa school, which had been all but overshadowed by the Kano school since the Muromachi period.. Quail and Autumn Flowers. Tosa Mitsuoki (Japanese, 1617-1691). Japan. late 17th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Summer and Autumn Landscapes. Artist: Nakabayashi Chikkei (Japanese, 1816-1867). Culture: Japan. Dimensions: Image (each screen): 5 ft. 1/4 in. x 11 ft. 8 9/16 in. (1.53 x 3.57 m). Date: mid-19th century.deep ravines. On the right screen, the solitary figure of a Chinese scholar reveling in the lush vegetation and surging current is almost indiscernible among the trees of summer. The autumn landscape at left, with its angular, geometric mountain forms, is stripped of human presence, which deepens the quiet of the season. Sparingly applied ink combined with a sprinkling of fine gold flecks create gentle, elegant landscapes and a dreamlike atmosphere.Nakabayashi Chikkei, the eldest son of Nakabayashi Chikuto (1776-1853), was part of the last generation of the Nanga (Literati) school of painters in the Edo period. Chikkei preserved earlier Nanga tradition, while at the same time injecting an air of modernity with such details as the low horizon line. Museum: Metropolitan Museum of Art,

Fisherman gazing at the moon late 15th-early 16th century Ye Guang By the banks of a river, two men in moored fishing boats gaze up at the moon. Their rumpled robes and unkempt hair indicate their separation from the ambitions of public service, just as their rapt focus on the moon indicates their connection to nature. Though few paintings remain from the hand of the late-Ming painter Ye Guang, most are romantic images of fishermen, so it is likely that he specialized in the genre.. Fisherman gazing at the moon. Ye Guang (Chinese, active late 16th-early 17th century). China. late 15th-early 16th century. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Lily and Butterflies, 1300s. Liu Shanshou (Chinese, active 1300s). Hanging scroll, ink on silk; image: 160 x 58.4 cm (63 x 23 in.).

View From a Mountain Pavilion 1700 Li Yin Chinese Li Yin was a professional painter from Yangzhou, a commercial city located on the Grand Canal just north of the Yangzi River in Jiangsu Province. During the late seventeenth and the eighteenth centuries, Yangzhous prosperity supported a number of artists. Li, together with his better-known contemporary Yuan Jiang (act. 1680-1730), worked in a studio of painters that specialized in intricately described visions of palatial architecture set within sumptuous blue-and-green landscapes. In reviving the monumental landscape style of the Tang and Song dynasties, Li Yin and Yuan Jiang also catered to a taste for large-scale hanging scrolls and multipanel screen paintings to decorate the ostentatious mansions of Yangzhous mercantile elite.. View From a Mountain Pavilion 36133

Autumn Landscape, 19th century, Okada Hankō, Japanese, 1782 - 1846, 57 1/8 x 18 5/8 in. (145.1 x 47.31 cm) (image), Ink and light color on silk, Japan, 19th century, Okada Hanko_ was the son of the rice merchant and wildly eccentric painter Beisanjin. Hanko_'s own painting style, however, reflects the much more conservative approach prevalent among nanga artists active in Kyoto at the end of the nineteenth century. Greater exposure to actual Chinese paintings imported from the mainland helped these Japanese artists perfect the subtleties of their brush techniques and compositional arrangements. Hanko_'s inscription on this painting, in fact, reveals that it is a copy of a work by Dong Xiaochu, a little known artist of China's Ming dynasty.

Winter Flowers 16th-17th century China The nandina, narcissus, rock, and magic fungus on this tapestry serve as homonyms for the phrase heavenly immortals’ greeting of longevity” (tian xian zhi shou). At the lower right corner, there is a woven signature of Cui Ba, a painter who was active in the eleventh century and famous for his elegant renderings of flowers and birds. During the second half of the Ming dynasty, Cui’s paintings often served as subjects for tapestries, as can be seen in the emulation of brushstrokes on this extraordinary piece.. Winter Flowers 44049

Spring Mountains over Warm Greenery dated 1630 Dong Qichang Chinese. Spring Mountains over Warm Greenery. Dong Qichang (Chinese, 1555-1636) (and assistants). China. dated 1630. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Zen Master with Meditation Staff, and Chinese-Style Landscapes. Artist: Painting by Unkoku Toeki (1591-1644); Calligraphy by Ten'yu Joko (Japanese, 1586-1660). Culture: Japan. Dimensions: Each: Image: 42 3/8 x 16 7/8 in. (107.6 x 42.9 cm)Overall with mounting: 75 × 17 3/4 in. (190.5 × 45.1 cm)Overall with knobs: 75 × 19 3/4 in. (190.5 × 50.2 cm). Date: probably late 1620s-1644.Pre-modern Japanese portraiture does not necessarily display accurate likeness, but the figure here, in the chinso tradition of portraiture of Zen masters, seems individuated; it may be the Zen master Ten'yu Joko himself, or his master. He holds an "admonition staff" (shippei) in his hands for alerting sleepy students in meditation. Landscapes were common in Zen ink painting from the late fourteenth century, and it became a convention to create triptychs of work with a natural images flanking an image of a Buddhist deity or eminent monk. Here we find the common motifs of cliffs, rocky outcrops, pavilions, and

The Message 19th Century Japanese Art Print David David Gallery, Philadelphia, Pennsylvania USA

Edward Lear, 1812-1888, British, Parham, Sept. 30, 1834, 1834. Graphite and white gouache on moderately thick, moderately textured, gray wove paper.

Royal Visit to Ohara, from The Tale of the Heike. Artist: Studio of Tawaraya Sotatsu (Japanese, died ca. 1640). Culture: Japan. Dimensions: Image (each screen): 63 7/16 x 143 5/16 in. (161.1 x 364 cm). Date: first half of the 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Thatched Huts Among Ridges in Winter, 1649, Lan Ying, 1585 - c. 1664, 72-1/16 x 26-13/16 in. (183.0 x 68.1 cm), Ink and color on silk, China, 17th century, The larger forms in this wintry landscape are strongly silhouetted, and surfaces are composed of light and dark contrasts. Lan Yings inscription indicates he did this painting in the manner of Wang Wei (699-759), a Tang dynasty master associated with the beginnings of the ink landscape tradition, whose poems and landscape paintings are imbued with the ethos of eremitism—the retreat from society into a life of seclusion. Such spirit is also reflected in Lans composition: the portrait of the solitary cottage standing on a mountain amid a grove of trees. In such settings, the atmospheric effects created around the retreat often draw the theme beyond that of peaceful, nonreligious solitude to evoke feelings of otherworldliness.

Textile (Japan); silk, gilt paper wound on silk core

Duke Wen of Jin Recovering His State. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Textile (France); silk

Bamboo and Plum, 1500s. Sesson Shūkei (Japanese, active 1504-c. 1589). Hanging scroll; ink on paper; mounted: 198.1 x 60.4 cm (78 x 23 3/4 in.). This painting of a white plum (or prunus) and bamboo was once part of a triptych. A central image of the demon-queller Zhong Kui was flanked by this painting and one of a red plum and bamboo. The paintings would have been suitable to hang after the turn of the new year, when Zhong Kui would drive out evil demons, and the years first flowers were in bloom. Sesson hailed from what is now Ibaraki prefecture in northern Honshu. A Zen monk, he spent much of his career in the Kanto region, and developed a distinctive style uninhibited by formal training in the Kano atelier.

Bamboo ca. 16th century Attributed to Ka Japanese In China, the association of bamboo with resilience and fortitude made it a popular painting subject among literati and Chan (Zen) monks. According to tradition, this image of mist-shrouded bamboo was created by Ka, a fourteenth-century monk who was among the earliest Japanese practitioners of Chinese-inspired monochrome ink painting. Despite the attribution, it is likely sixteenth century in date. Graded ink tonalities and delicate rendering of joints in the stalk indicate that the artist was well-trained in Chinese methods of ink painting.. Bamboo. Attributed to Ka (Japanese, died 1345). Japan. ca. 16th century. Hanging scroll; ink on silk. Nanbokuch (1336-92)-Muromachi (1392-1573) period. Paintings

Autumn Maples with Poem Slips. Tosa Mitsuoki; Japanese, 1617-1691. Date: 1670-1680. Dimensions: 144 × 286 cm. Six-panel screen (one of pair); Ink, colors, gold leaf, and gold powder on silk. Origin: Japan. Museum: The Chicago Art Institute, USA.

China, Two-part print, depicting: on the left summer with iris and malus and on the right winter with daffodil and prunus (New Year's print), print, prints, China (collection), height 414 mm, width 450 mm, print maker, printmaker, 1650 - 1725, third quarter 17th century, fourth quarter 17th century, first quarter 18th century, paper, colour woodcut, colour woodblock

Six-part screen. Such screen representing a flight herons above water and rocks. Note: See also AK-MAK-170-A.

Farming Kim Yun-bo (Korean). , late 19th-early 20th century. Ink and light color on silk, Image: 47 13/16 x 13 1/16 in. (121.4 x 33.2 cm). Asian Art late 19th-early 20th century

Plum Blossoms dated 1851 Yamamoto Baiitsu. Plum Blossoms. Yamamoto Baiitsu (Japanese, 1783-1856). Japan. dated 1851. Hanging scroll; ink on silk. Edo period (1615-1868). Paintings

Winter and Spring Landscape, first half of the 1400s. Attributed to Tenshō Shūbun (Japanese). Six-fold screen, ink and slight color on paper; image: 117.4 x 343.5 cm (46 1/4 x 135 1/4 in.); overall: 131.4 x 381.6 cm (51 3/4 x 150 1/4 in.); closed: 70 x 12 cm (27 9/16 x 4 3/4 in.); panel: 131.4 x 62 cm (51 3/4 x 24 7/16 in.); with frame: 135.2 x 385.4 cm (53 1/4 x 151 3/4 in.).

Flowers, fish, and crabs mid-16th century Liu Jie Chinese This painting by the court master Liu Jie juxtaposes a large perch with many smaller fish and a variety of flora and fauna, including narcissus in bloom, lily pads, grasses, grain, a crab, and frogs. The effect is one of civilized tranquility in which the large fish, symbolizing a person of obvious stature, swims quietly along a peaceful riverbank. Both the fish and grain symbolize wealth, and the overall impact of the image is suggestive of abundance and reward. Some pictorial elementsperch, grain, and crabalso create a visual pun with a homophonous wish for “peace and harmony in the entire palace,” which makes it clear that this picture was intended for the emperor. Liu Jie’s formal signature, which gives his title as Commander in the Embroidered Uniform Guard, on Appointment to the Wenhua Palace, confirms that this was an imperial commission. The Wenhua Palace was one of the halls in the Forbidden City at which court painte

Bamboo Unidentified artist. Bamboo 51497

The Salamander (La salamandre). Dimensions: 60 cm x 43.2 cm, 24.2 cm x 18.7 cm. Museum: Van Gogh Museum, Amsterdam. Author: PIERRE ROCHE.

Xiao Yi Obtaining the Lanting Preface fromBiancai. Artist: Jiang Yin

Three Scholars in a Pavilion Composing Poetry. Date: 16th century. Origin: China. Period: Ming dynasty. Hanging scroll; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shichirigahama and Enoshima 1848-54 Utagawa Hiroshige. Shichirigahama and Enoshima. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. 1848-54. Diptych of hanging scrolls; ink and color on silk. Edo period (1615-1868). Paintings

Brocaded Sea of Peach Blossom Waves Attributed to Lu Zhi Chinese. Brocaded Sea of Peach Blossom Waves. Attributed to Lu Zhi (Chinese, 1495-1576). China. Folding fan mounted as an album leaf; ink and color on gold paper. Ming dynasty (1368-1644). Paintings

Misty Landscape Unidentified artist. Misty Landscape. Unidentified artist. China. Hanging scroll; ink and color on silk. Ming dynasty () (1368-1644). Paintings

Scroll Made 1710-1730 China. Panel silk, satin weave; embroidered with silk in satin and stem stitches; painted .

Sparrows ca. 1825 Katsushika Hokusai Japanese. Sparrows. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1825. Sketch for a woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Red and White Peach Blossoms, Preparatory Sketch. Artist: Tsubaki Chinzan (Japanese, 1801-1854). Culture: Japan. Dimensions: Image: 56 7/8 x 14 13/16 in. (144.5 x 37.6 cm)Overall with mounting: 85 1/4 x 24 3/16 in. (216.5 x 61.4 cm). Date: 1843.This pair of scrolls (with 1975.268.115) provides a unique insight into the studio process of a painter working in the later phase of the Nanga tradition. The scroll on the right is a shita-e, or preparatory sketch, for the completed work on the left. Tsubaki Chinzan constructed the composition using a collage method: the branches on the upper left, for example, appear to have been painted on a separate sheet, which the artist then pasted into the preliminary version. Chinzan then copied this composition onto the final scroll, using lighter brushstrokes and deleting all pentimenti. Unfortunately, Chinzan lost some of the verve of the study's spiky draftsmanship when he made the transfer to the final work. Museum: Metropolitan Museum of Art, Ne

Near the Spring Unidentified artist. Near the Spring 40455

The Kigyoku Picture Album 1901 After Seizei Kigyoku Japanese. The Kigyoku Picture Album. After Seizei Kigyoku (Japanese, 1732-1756). Japan. 1901. Woodblock printed book; ink and color on paper. Meiji period (1868-1912). Illustrated Books

The River Bridge at Uji by Anonymous / Nelson-Atkins Museum of Art, Kansas City, Missouri / 1568-1615 / Japan / Watercolour and ink on paper / Landscape / 171,4x338

Lohans, c. 1300-1350. Sino-Tibetan, Yuan dynasty (1271-1368). Color and gold on cotton; overall: 72.5 x 34.7 cm (28 9/16 x 13 11/16 in.).

An Actor on Stage 1715-1735 Japan. Album sheet mounted as hanging scroll. Ink and colors on paper .

Landscapes of the Four Seasons. Artist: Xie Shichen (Chinese, 1487-ca. 1567). Culture: China. Dimensions: Image (a): 126 3/8 x 37 in. (321 x 94 cm)Image (b): 127 1/4 x 36 7/8 in. (323.2 x 93.7 cm)Image (c): 126 3/4 x 36 7/8 in. (321.9 x 93.7 cm)Image (d): 126 7/8 x 36 7/8 in. (322.3 x 93.7 cm)Overall with mounting (b): 141 3/4 x 42 3/8 in. (360 x 107.6 cm). Date: dated 1560.These two paintings belong to a set of enormous landscapes depicting the four seasons. They are all similarly composed, with large figures at the bottom and towering mountains above. Each season has its own narrative. In the springtime scene (right), two gentlemen on horseback cross a bridge with their servants. In the summer scene (left), travelers struggle against a strong wind, while a gentleman in a pavilion observes the storm. In his paintings Xie Shichen creates spaces that are poetic rather than representational, incorporating narrative vignettes and stylistic references to past masters. Here, he skillf

Takasago, Utagawa, Toyoharu, 1735-1814, artist, between 1770 and 1781, 1 print : woodcut, color ; 25.6 x 19.3 cm., Print shows two travelers standing beneath a pine tree at the seashore at sunset.

Stag Hunt Attributed to Huang Zongdao Chinese As he hits his prey, the hunter on his pony is ready with a second arrow in his left hand. The powerful horse is shown in an animated flying gallop,” with bulging muscles suggesting the frenzied excitement of the chase, while the delicately rendered deer presents a moving portrait of a gentle victim and death.Hunting was an ancient aristocratic pastime, especially favored as a pictorial theme by the naturalized nomad painter Prince Li Zanhua, to whom this painting was once attributed. By the late Northern Song period, scholar-critics had begun to treat the hunting scene as an allegory of violence and greed. Both the painting style and the psychological interpretation of the subject matter suggest an early-twelfth-century date for this work.An unusually fine collection of colophons is attached to the scroll. In 1352 Zhu Derun (1294-1365) attributed the painting to Li Zanhua. Three other fourteenth-century colophons are followed by a poem by

Old Tree, Bamboo, and Birds late 14th-early 15th century Unidentified artist Unsuspecting swallows weave among the bamboo while a preying hawk eyes them from the branch of an old tree. The unsentimental lesson to be learned from nature was that the strong prey upon the weak. The petty bureaucrat who abuses his authority is in turn the victim of the more powerful official.. Old Tree, Bamboo, and Birds 45662

Bamboo in the Wind, 1855, Yamamoto Baiitsu, Japanese, 1783 - 1856, 12 1/2 × 23 5/16 in. (31.75 × 59.21 cm) (image)43 1/16 × 28 13/16 in. (109.38 × 73.18 cm) (mount, without roller), Ink on paper, Japan, 19th century

A Beauty Unidentified artist. A Beauty 51569

Japan, Zeshin, Shibata, Crab by rock, endpaper - stamped, Octagonal print in album with 39 prints., album sheet, print, prints, Japan (collection), height 223 mm, width 287 mm, Japanese, 1807 - 1891, print maker, printmaker, 1880 - 1890, fourth quarter 19th century, paper, colour woodcut

Two Trees (recto) Tree Studies (verso), first half 1800s. Johann Jacob Dorner (German, 1775-1852). Brush and black and gray wash, gouache, and watercolor, with stylus; sheet: 31.6 x 33 cm (12 7/16 x 13 in.); secondary support: 40.1 x 41 cm (15 13/16 x 16 1/8 in.).

Zhong Kui Riding anElephant. Artist: Fan Yi, ca. 1658-1671

Awaiting the Ferry. Date: 16th century. Origin: China. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Snow, Moon, and Cherry Blossoms (Yoshiwara in Three Seasons) early 19th century Chbunsai Eishi These paintings by the samurai-born artist Chbunsai Eishi comprise a triptych representing Yoshiwara, the area around the brothel district of Edo in three seasons of the year, each with its most appealing feature: snow in winter, cherry flowers in spring, and the moon in autumn. The inscriptions on each scroll are seasonal kyka (witty thirty-one-syllable poems), each signed “Shokusanjin” (ta Nanpo, 1749-1823), one of the popular poets of his time. The kyka above the courtesan likens her unrivalled beauty to that of cherry trees planted along Nakanoch, the main boulevard of Yoshiwara, every spring:Nakanoch uetaru hana no katawara ni miyama-gi nado wa hitomoto mo nashiThere’s not a single treefrom deep in the mountains that could stand proudly beside flowering cherries planted along Nakanoch Boulevard. —Shokusanjin (Trans. John T. Carpenter). Snow, Moon, and Cherry Blossoms (Yoshiwara i

Dragon fishing. Traditional Korean painting (17th century).

The House Near the Lake Unidentified artist. The House Near the Lake 51400

Garden; interior and seated girl. Origin: Japan. Period: Edo period. Date: 1615-1868. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Man in Hut inWinter. Artist, traditionally attributed: Ma Yuan, Chinese, ca. 1150-after 1255

Segment of Ressen Zukan.. Naganobu, Kano, 1775-1828. 1800 - 1825. Illustrations. Spencer Collection

A Guide to Paintings 1731 Nishikawa Sukenobu Japanese. A Guide to Paintings. Nishikawa Sukenobu (Japanese, 1671-1750). Japan. 1731. One volume, black and white, twenty-five double-page sheets; ink on paper. Edo period (1615-1868). Illustrated Books

Japan, Nagoya, Castle, Hommaru Palace, interior, paintings

Visiting an Old Friend in the Spring Mountains, 1300s. After Sheng Mou (Tzu-chao) (Chinese, active c. 1330-1369). Hanging scroll, ink and slight color on silk; painting only: 27.7 x 76.4 cm (10 7/8 x 30 1/16 in.).

View of Shogetsu Pond Eisen Keisai (Japanese, 1790-1848). View of Shogetsu Pond, 1829. Color woodblock print on paper, Sheet: 9 1/2 x 11 7/8 in. (24.1 x 30.2 cm). This print is believed to be the very first of the aizuri-e done entirely in blue. It consequently set the trend for landscape prints in the 1830s and established the genre. Asian Art 1829

Fukusa (Gift Cover). Japan. Date: 1801-1825. Dimensions: 69 x 64.5 cm (27 1/8 x 25 3/8 in.). Pattered Side: wool, plain weave; fulled (gorofukuren); embroidered with silk and gold- and silver-leaf-over-lacquered-paper-strip wrapped cotton in cross, and single satin stitches; laidwork and paper padded couching; lined with silk, palin weave (possibly dyed with safflower (beni)); sewn with front and lining matched in size (Tackikiri awase); silk, running "controlling" stitches along all edges. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Boating by a Willow Bank. Artist: Unidentified Artist Chinese, active 13th century. Culture: China. Dimensions: 9 3/16 x 9 13/16 in. (23.3 x 24.9 cm); with mat: 15 1/2 x 15 1/2 in. (39.4 x 39.4 cm). Date: 13th century.Evoking the scenery of Hangzhou's West Lake, this painting shows a gentleman being paddled across a placid inlet between a profusion of water lilies and a shore lined with willows. The composition recalls that of Li Jie's Fisherman's Lodge at Xisai of about 1170. As the boat glides through the silvery moonlight, stillness reigns on the cool, scented water. The simplicity of the painting recalls the spare imagery of a Tang-dynasty (618-907) quatrain:Willows still by a lotus bank,A boat drifts slowly by.Ahead, tall grass, blue distant hills,White moon in golden sky. Museum: Metropolitan Museum of Art, New York, USA.

Yang Pu Moving His Family. Date/Period: Yuan dynasty (1279-1368). Painting. Handscroll; ink and light color on paper Handscroll; ink and light color on paper. Height: 527 mm (20.74 in); Width: 2,311 mm (90.98 in). Author: Chinese.

Two Scholar-Musicians in a Landscape. Artist Unknown; Chinese. Date: 1401-1500. Dimensions: 173.5 × 105.5 cm. Hanging scroll; ink and color on silk. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Fish Carps in a Lotus Pond. Korea, Korean, Joseon dynasty, 1392-1910, 19th century. Paintings; screens. Panel from a screenmounted as a hanging scroll, ink and color on cotton

Chinese Children Playing with an Elephant left of a pair, late 18th-mid 19th century, Style of Nagasawa Rosetsu, Japanese, 1754 - 1799, 66 1/4 × 141 in. (168.28 × 358.14 cm) (image)67 3/4 × 142 1/2 × 3/4 in. (172.09 × 361.95 × 1.91 cm) (outer frame), Ink and gold on paper, Japan, 18th - 19th century, A throng of children, identifiable as Chinese by their clothing and hairstyles, play in and around a hulking, yet jolly, white elephant. In the left screen, children play a traditional Japanese game called kotoro-kotoro ('Capture the Child'), in which players line up behind a 'parent' who flails his arms trying to keep a 'demon' from capturing his 'children.' Several tense parent-demon encounters can be found here.

Roller painting with a performance of five boys who pick date spaces, Anonymous, 1500 - 1625 Roller painting with a performance of five boys who pick date spaces. Free copy to an anonymous work from the Song period in the Palace Museum in Taipei. In wooden box. China ink. silk. gold (metal) Roller painting with a performance of five boys who pick date spaces. Free copy to an anonymous work from the Song period in the Palace Museum in Taipei. In wooden box. China ink. silk. gold (metal)

Poet Ono no Komachi from an Album of 36 Immortal Poets (Sanj-roku kasen). Calligrapher: Karahashi Arikado, Japanese, 1687-1750

Admiring Lotus Shu Hao Chinese Xu Hao regularly painted subjects from popular literature, using a figure style based on Chen Hongshou. In this round fan, he brings down to earth the Song Neo-Confucian philosopher Zhou Dunyi (1017-73), author of the famous essay Admiring Lotus (1063).In this painting, Zhou Dunyi holds a fan like the one the shape of the pictures imitates. There is no mark along the centerline of the painting to indicate that the picture ever served as an actual fan, but the consonance of round forms in lotus leaves, fan and format is pleasing.. Admiring Lotus 36172

Chokuzan, Negishi, Hasegawa Tsunejirô, Yoshitoshi, Tsukioka, The competition in magic tricks between Hakamadare Yasusuke and Kidomaru (Hakamadare Yasusuke Kidomaru jutsu kurabe no zu), print, diptych, prints, Japan (collection), height 714 mm, width 246 mm, Japanese, 1839 - 1892, print maker, printmaker, 1887 - 1889, fourth quarter 19th century, paper, color woodcut, nishiki-e, Publication (Event), Publication, publisher

Village and Temples in Jiangnan early 15th century Unidentified artist Gold, azurite, and malachite are perfectly suited to this depiction of the verdant Jiangnan ("South of the Yangzi River") landscape. In theforeground is a small village where travelers arriving by boat bow to one another or enjoy the view from a pavilion across a stream. Towering above the white-washed houses is the two-story hall of a temple; in the distance, other temples, one with a pagoda and freshly dyed red walls, nestle in the foothills.. Village and Temples in Jiangnan 45665

Insect Daimyo Procession, late 19th century, Unknown Japanese, 18 3/8 × 43 3/4 in. (46.67 × 111.13 cm) (image)60 1/4 × 49 11/16 in. (153.04 × 126.21 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

Swan and Cygnets, 14th-15th century, After Wu Yuanyu, Chinese, active 1080-1104, 62 x 35 1/2 in. (157.48 x 90.17 cm), Ink and color on silk, China, 14th-15th century, By the Song dynasty (960-1280), the Chinese had perfected a pictorial art form called huaniao (flower-and-bird painting). Chinese artists combined a highly descriptive approach to rendering plants and animals with themes that had psychological implications. Based on a composition by the 11th-century artist Wu Yuanyu, this carefully executed painting of a swan and cygnets forms a pair with another scroll of the same subject matter. The compositions express a psychological bond between parent and child that is emblematic of the traditional Confucian value of family unity. Large, paired paintings such as these were commonly hung in the reception halls of aristocratic homes as well as palaces during the early Ming period.

Flowers and Grasses, mid-1600s. Kitagawa Sōsetsu (Japanese, active 1639-50). One of a pair of six-panel folding screens; ink and color on paper; image: 153.7 x 329.2 cm (60 1/2 x 129 5/8 in.); including mounting: 170.2 x 348.4 cm (67 x 137 3/16 in.). Kitagawa Ssetsu painted for the Maeda family, powerful rulers of what is present-day Ishikawa Prefecture on the central northern coast of Honsh, Japan’s main island. Screens served as room dividers and backdrops in Maeda grand residences. This composition is considered one of the artist’s masterpieces. Kitagawa Ssetsu is thought to have been a student of Tawaraya Ssetsu, who was in turn the student of Tawaraya Statsu, the Kyoto-based master painter regarded as the creator of the style that came to be known as Rinpa. By selecting a painter of this lineage, the Maeda family consciously connected their aesthetics to those of the imperial capital as a means of proclaiming their elevated status.

Mountain Landscape early-mid-15th century Traditionally attributed to Tensh Shbun In late medieval Kyoto, cultural elites in the circle of the Ashikaga shoguns were especially interested in Chinese ink paintings. They voraciously collected works by Chinese masters and commissioned Japanese painters to create works in the style of their Chinese forebears. The compositions that make up this pair of screens are inspired by the Southern Song Chinese court painter Xia Gui (active ca. 1195-1230), whose works were highly prized in medieval Japan. Rock forms described with thick contour lines, textured by “axe-cut” brushstrokes and accented with “moss dots,” as well as paired foreground trees were immediately recognizable to the Japanese audience as elements of Xia Gui-style painting. Although later inscriptions by the painter Kano Yasunobu (1614-1685) name the original artist as the Kyoto painter Tensh Shbun, the paintings werenot actually created as a pair. Rather, they are a later combi

Pan Lang (Han Rō), mid-1500s. Shikibu Terutada (Japanese, active mid-1500s). Fan-shaped painting mounted as hanging scroll; ink and gold on paper; painting: 25 x 50 cm (9 13/16 x 19 11/16 in.); mounted: 99.4 x 65.5 cm (39 1/8 x 25 13/16 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 thr

My Natural Place, second half 19th century, Murase Taiitsu, Japanese, 1803 - 1881, 10 × 20 7/8 in. (25.4 × 53.02 cm) (sheet)11 11/16 × 22 in. (29.69 × 55.88 cm) (mount), Ink on mica paper, Japan, 19th century

Flower arrangement. Benjamin West Kilburn (American, 1827 - 1909)

Japan, Takekawa Risaburô, Gekkô, Ogata, Bijin hana kurabe, Comparisons between beauties and flowers, Iris garden, verso - stamped, Woman on a bridge, looking at blooming irises., print, prints, Japan (collection), height 350 mm, width 238 mm, Japanese, 1859 - 1920, print maker, printmaker, 1887 - 1896, paper, colour woodcut, blind stamp, Publication (Event), Publication, publisher

Artist: Tosa School, Japanese, Scenes from the Tales ofGenji, late 16thcentury, Three-panel folding screen; ink, color, and gold pigment and gold foils on paper, unframed: 46 1/2 × 67 11/16 in. (118.1 × 172 cm), Japan, Japanese, Early Momoyama period(1573-1615), Paintings

Chinese Children at Play Unidentified artist. Chinese Children at Play 51695

BERGBEKLIMMERS, KATSUSHIKA HOKUSAI, 1831-1835 Pilgrims in white clothing the mountain Fuji climbing; At the top right different pilgrims in a cave. print maker: Japanpublisher: Tokyo paper nishiki-e / color woodcut Fuji Pilgrims in white clothing the mountain Fuji climbing; At the top right different pilgrims in a cave. print maker: Japanpublisher: Tokyo paper nishiki-e / color woodcut Fuji

Scene from the Noh theater play "Suehirogari". Draughtsman: Tsukioka Kôgyo. Dating: 1898. Place: Japan. Measurements: h 242 mm × w 323 mm. Museum: Rijksmuseum, Amsterdam.

Lady Leaning on a PlumTree. Artist: Gai Qi, Chinese, 1774-1829

Satyr and Flying Cupid, 1900. Ker Xavier Roussel (French, 1867-1944). Color lithograph;

Dress. Dated: 1935/1942. Dimensions: overall: 28.9 x 22.9 cm (11 3/8 x 9 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Mary E. Humes.

The Yellow Pavilion ca. 1350 Xia Yong Chinese Xia Yong carried the specialty of architectural renderings in the "ruled-line" (jiehua) manner to new heights of technical control. In contrast to his loosely described landscape elements, Xia's buildings are densely detailed and meticulously drawn. This predeliction for minute scale is also evident in the artist's microscopic inscription, which transcribes "A Rhapsody on the Yellow Pavilion," an essay by the famous Northern Song scholar Su Che (1039-1112), the younger brother of the poet Su Shi (1037-1101). Su Che's inscription describes how the region around Xuzhou, in northern Jiangsu, was flooded in 1077, following a sudden break in the dikes of the Yellow River. Su Shi, then a prefect there, worked indefatigably to rescue the city from disaster. After the flood subsided and the city walls were repaired, the Yellow Pavilion was dedicated in his honor. Three centuries later, in 1344, the Yellow River flooded again, causing widespread des

Chongseok-jeong (Chongseok Pavilion) , 19th century. Ink and light color on paper, 9 1/4 x 11 15/16 in. (23.5 x 30.3 cm). Asian Art 19th century

Scholar and Woodsman , 19th century. Ink and light color on paper, 24 3/16 x 15 3/8 in. (61.5 x 39 cm). Asian Art 19th century

Visiting a Friend on Pine Mountain Chu Xun (Chinese). , 1611. Ink and color on gold surfaced paper, 6 7/8 x 21 3/4 in. (17.4 x 55.2 cm). Asian Art 1611

Painting

The Chinese God of War. Katsushika Hokusai (attributed to) (飾北斎) (Japan, 1760-1849). Japan, 19th century. Prints; woodblocks. Color woodblock print in shape of fan REPRODUCTION

Act 5 (Godanme), from the series The Revenge of the Loyal Retainers (Chushingura) 1829-1844 Japan. Color woodblock print; oban . Utagawa Hiroshige

The Palace in the Moon 8th month, 1789 Kitagawa Utamaro Japanese. The Palace in the Moon 37273

Painting

Ogre Accompanying the Wisteria Maiden, late 19th century, Kikuchi Yōsai, Japanese, 1781 - 1878, 46 1/2 × 14 in. (118.11 × 35.56 cm) (image)68 3/4 × 19 1/2 in. (174.63 × 49.53 cm) (without roller), Ink and color on paper, Japan, 19th century

Wang Zhen (1867-1938). "Hanshan et shide". Papier, 1924. Paris, Musée Cernuschi. 50143-11 Calligraphy, drawing, hanshan, mountain, paper, character, shide

Watanabe, Seitei N.1851 - D.1918, Le Eighth Month (Title Awarded), 1900. Ink and colors on silk. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

A girl playing battledore and shuttlecock. Date: 18th century. Origin: Japan. Period: Edo period. Color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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