Edo and Chinese Art

Features traditional paintings from Japan and China, illustrating landscapes, figures, and floral motifs that reflect the aesthetic of period styles.

A Prostitute and her attendants under a cherry tree, 1790s, Hosoda Eishi, Japanese, 1756 - 1829, 32 9/16 × 12 1/8 in. (82.71 × 30.8 cm) (image), Ink, color, and gold on silk, Japan, 18th century, A high-ranking prostitute in full regaliaelaborate hair ornaments, layers of kimono, and wide sashis walking under a cherry tree together with her two youthful attendants, miniature replicas of herself. The use of color is highly restricted to shades of pink and gold on her hair ornaments, barely noticeable pink on her lips, bright red on the hem of her undergarment, and some red touches in the cherry blossoms. Thus creating an aura of subtle elegance and refinement surrounding this ethereal beauty.

A butterfly and a flowering plant. Origin: Japan. Period: Edo period. Ink and color on paper. Date: 1760-1868. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Lofty Scholar among Streams and Mountains. Artist: Wang Jian (Chinese, 1609-1677 or 1688). Culture: China. Dimensions: Image: 72 x 33 in. (182.9 x 83.8 cm)Overall with mounting: 107 1/2 x 38 1/4 in. (273.1 x 97.2 cm)Overall with knobs: 107 1/2 x 42 1/2 in. (273.1 x 108 cm).In this work, Wang Jian emulates the tenth-century painter Juran, considered one of the fountainheads of literati painting by Wang and his cohort. In his inscription, Wang states that he made this painting from memory in response to a work by Juran he had once seen. Museum: Metropolitan Museum of Art, New York, USA.

Landscapes with the Chinese Literati Su Shi and Tao Qian 1795-99 Nagasawa Rosetsu Japanese The forbidding precipice painted on the left screen suggests a site on the Yangzi River where the Chinese poet Su Shi, also known as Dongpo (1037-1101), composed his famous “Ode on the Red Cliff.” The gentler scene on the right screen, depicting a scholar and attendants in a hut in a willow grove, is meant to represent the Chinese poet-recluse Tao Qian, or Tao Yuanming (365-472), at his country retreat. The artist seems to have set up an explicit contrast between the two scenes—Su’s forced exile (wild) against Tao’s self-imposed exile (calm). Born to a samurai-class family near the capital, Nagasawa Rosetsu chose the life of a painter, studying in the Kyoto studio of Maruyama kyo (1733-1795). Labeled one of the “Three Eccentrics” of the Edo period, he often exhibited a turbulent, bravura brush style and unconventional treatment of subject matter. Listen to experts illuminate this artwork's

A Prostitute and her attendants under a cherry tree, 1790s, Hosoda Eishi, Japanese, 1756 - 1829, 32 9/16 × 12 1/8 in. (82.71 × 30.8 cm) (image), Ink, color, and gold on silk, Japan, 18th century, A high-ranking prostitute in full regaliaelaborate hair ornaments, layers of kimono, and wide sashis walking under a cherry tree together with her two youthful attendants, miniature replicas of herself. The use of color is highly restricted to shades of pink and gold on her hair ornaments, barely noticeable pink on her lips, bright red on the hem of her undergarment, and some red touches in the cherry blossoms. Thus creating an aura of subtle elegance and refinement surrounding this ethereal beauty.

Wild in the waters of San Xiang; Bian, Wenjin (Fl. CA 1400-1450); Qing era (1644-1911) (1410-00-00-1427-00-00);Knothe, Jerzy (19 ..-), Knothe, Jerzy (19 ..-)-collection, geese, painting, Chinese art, purchase (provenance), scrolls, vertical ganglia

MountainView. Artist: Wang Qiao, Chinese

Mountain Landscape Unidentified artist. Mountain Landscape. Unidentified artist. China. Hanging scroll; ink on silk. Ming (1368-1644) or Qing dynasty (1644-1911). Paintings

Rose, Iris, Primrose and Daisy. Artist: Kubo Shunman (Japanese, 1757-1820) (). Culture: Japan. Dimensions: 8 7/16 x 11 1/4 in. (21.4 x 28.6 cm). Date: 1815. Museum: Metropolitan Museum of Art, New York, USA.

Attributed to Bada Shanren (Zhu Da) Chinese 51803

Pear-blossoms. Artist: Chen Hengke (Chinese, 1876-1923). Culture: China. Dimensions: 11 x 17 1/4 in. (27.9 x 43.8 cm). Date: early 20th century.The strong interplay of color and ink, decorative appeal and calligraphy updates the tradition of flower painting that had evolved in the 17th, 18th and 19th centuries. Chen's freer brushwork and bright color mark a direction that Chinese painting would take in the succeeding decades, and his influential position as a teacher and mentor served to carve out that path. Museum: Metropolitan Museum of Art, New York, USA.

Tokyo, Ichimatsu, Yoshida, Goto Tokujiro, Wada Tokutaro, Seitei, Watanabe, Keinen, Imao, back cover - stamped, White cover with silhouette of blossoming branches and yellow-purple title strip; inside cover, pattern of pine branches; 16 leaves, partly numbered: first leaf, table of contents; second leaf, fold-out picture; 2-13, illustrations of people, animals and landscapes; 1-2; text; inside cover, colophon., book, prints, pictures, Japan (collection), World of the Arts - 24, Bijutsu sekai - 24, National School of Applied Arts, height 249 mm, width 161 mm, Yoshitoshi, Tsukioka, Japanese, 1839 - 1892, print maker, printmaker, 1893 - 1893, fourth quarter 19th century, paper, colour woodcut, blind printing, 1845 - 1924, 1851 - 1918, editor, Publication (Event), Publication, publisher, block cutter, printer

Textile fragment, Anonymous, 1789 - 1801 Textile fragment, pressure from chrysanthemums in beige background. Japan silk Textile fragment, pressure from chrysanthemums in beige background. Japan silk

White Hollyhocks 17th century In the Style of Tawaraya Statsu Japanese. White Hollyhocks. In the Style of Tawaraya Statsu (Japanese, ca. 1570-ca. 1640). Japan. 17th century. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Story of the old man who made the cherry tree blossom (Hanasaka-no okina, Mukashi banashi); print from the series: Nihon nan zue (Flowers of Japan). Ogata, Gekkô (1859-1920), graphic artist

Portraits of the Qianlong Emperor and His Twelve Consorts, 1736-c. 1770s. Giuseppe Castiglione (Italian, 1688-1766), and others (Chinese). Handscroll, ink and color on silk; overall: 53.8 x 1154.5 cm (21 3/16 x 454 1/2 in.); painting only: 53 x 688.3 cm (20 7/8 x 271 in.).

Straw Basket for Fish () and Mokuge Flower. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 6 7/8 x 10 1/8 in. (17.5 x 25.7 cm). Date: ca. 1875. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with figures, horses, and tigers. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Pillars of the Country 1423-1495 China. Together with those of a riverscape, rocks, flowers, and branches of cedar and bamboo, the magpie is one of six images painted by Yao Shou along the length of this handscroll. Its portrayal represents a venerable genre of painting known as ìbird-and-flower,î whose finest artists had achieved extraordinary refinement and realism by the eleventh century. Yao Shouís vision, however, was far more personal if seemingly simpler. He described the magpie almost solely in varied tonalities of black ink; the branches are accented with darker twigs and dotted leaves but possess little sense of spatiality; and the bamboo leaves are rendered in freely executed strokes of pale blue.Yao Shou accompanied the magpieóas he did its companion imagesówith an original poem written in his characteristically elegant cursive script and signed with his courtesy name, Gongshou In the bright moonlight, why does themagpie circle three times beforealighting During sunny days,

Cycad mid-18th century Ike Taiga This small painting of a cycad, a plant found throughout tropical East and Southeast Asia, was once part of a collection of calligraphy and paintings by Ike Taiga that had been pasted onto a pair of folding screens. Later removed from the screens and mounted as hanging scrolls, the paintings included works on album leaves and folding fans. Mrs. Burke acquired eight of them. The present work is thought to date to Taigas early thirties.. Cycad. Ike Taiga (Japanese, 1723-1776). Japan. mid-18th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Anonymous, monogatari shigure (the wave) (attributed title), 1600. Ink and colors on paper. Golden glitter. Cernuschi Museum, Asia Museum of Asia in the city of Paris. Characters, men, women, arranged in the architectural space This novel would have been written by a nobleman from the era of Muromachi towards the end of the 16th century, with a first Amayadori title (sheltered from the downpour). It was printed for the first time in 1661 under the title of Shigure no in. The title of Monogatari Shigure appears in the 1721 edition. Our manuscript would be, thus, between these two dates. The subject is that of an impossible love from an encounter under a downpour at the Kiyomizu temple in Kyoto.

Bamboo, Rock, and Tall Tree, c. 1300s. Ni Zan (Chinese, 1301-1374). Hanging scroll, ink on paper; image: 67.3 x 36.8 cm (26 1/2 x 14 1/2 in.); overall with knobs: 231.4 x 64.2 cm (91 1/8 x 25 1/4 in.).

Five noblers and a servant on their way to a picnic; View cherry blossom in Ueno; Ueno Hanami No Tei. Six men; Three young nobles in long robes and long hair, walking with two older nobles, one with a hat, to the same time a servant, all with sword, in the direction of tree with blossom.

The Three Firends (Pine, Plum, and Bamboo) Murata Unkei (Japanese, active ca. 1830-1850). The Three Firends (Pine, Plum, and Bamboo), dated 1844. Hanging scroll, ink on paper, Image: 53 1/4 x 14 3/4 in. (135.3 x 37.5 cm). Asian Art dated 1844

A man carrying brushwood unknown

Morning Glories (Asagao) Nakamura Hochu (Japanese, died 1819). Morning Glories (Asagao), late 18th-early 19th century. Hanging scroll, ink, gold, color on paper, Image: 7 1/2 x 20 1/4 in. (19.1 x 51.4 cm). Asian Art late 18th-early 19th century

Wild rose and a bird. Color on silk. Origin: Japan. Period: Edo period. Date: 1615-1868. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The PoetHitomaro. Artist: Konoe Nobutada, Japanese, 1565-1614

Flowers andPlants. Artist: Ding Kexue, Chinese Artist: Xu Fushan Artist: Zhu Jiaxiang, Chinese Artist: Jiu Zhazou Artist: Fan Suhua Artist: Wang Jiaxiang Artist: Yang Xun Artist: Xu Yingshan Artist: Long Cheng

Su Shi (Dongpo) in a Bamboo Hat and Clogs before 1460 Inscribed by Zuigan Rysei Japanese A lone figure wearing a wide-brimmed hat and sandals trudges through a murky landscape. Above, five prominent Japanese Zen monks from the monasteries in Kyoto have brushed poems in Chinese, celebrating China’s most famous literatus, Su Shi (1037-1101), here called by his sobriquet “Dongpo.” Su Shi and his writings were beloved in medieval Japan. The event recalled in the quickly brushed image and poems occurred when the aged scholar was in exile on the remote southern island of Hainan. Caught in a sudden downpour, he borrowed a peasant’s straw hat and clogs and continued on his way, while the villagers laughed at his outlandish appearance. The opening poem by Zuigan Rysei sets the scene. Listen to experts illuminate this artwork's story Listen Play or pause #8960. Su Shi (Dongpo) in a Straw Hat and Sandals Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is n

Hibiscus, Lotus, and Rock. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: Image: 45 9/16 x 22 in. (115.7 x 55.9 cm)Overall with mounting: 88 x 28 1/2 in. (223.5 x 72.4 cm)Overall with knobs: 88 x 31 3/4 in. (223.5 x 80.6 cm). Date: ca. 1705-7.Recalling a beautiful woman in their blushing colors and delicate shapes, the blossoms of the lotus and hibiscus epitomize the exuberance and fullness of youth. Seeming to mock himself for continuing to admire such lush summer flowers, the aging Shitao inscribed the lines by the renowned Song dynasty poet Su Shi (1036-1101): "As I grow older, I have stopped having lush dreams, Even one hibiscus tree by the pond is too much for me."Suffering from the infirmities of old age, Shitao, in the last years of his life, frequently painted in a broad impressionistic style with rich wet ink. As he wistfully suggests in his inscription, painting in such an obviously sensuous manner was perhaps not entirely appropriate for one of

Grasshopper and flowers, Keisai requirements, 1830 - 1840 Japan paper nishiki-e / color woodcut Japan paper nishiki-e / color woodcut

Company of six men en route, Hishikawa Moronobu (attributed to), 1673 - 1677 print Six men; Three young high -ranking samurai in long robes, behind it an older man and two men next to it. All walking in the direction of a tree with blossom. Japan paper container made of plant material other than wood: basket. trees (+ flowers, blossom, blossoming)

New Sea of the Arts - 14; Shin Bijutsukai - Juyon. Part fourteen (of 35); green cover with double cloud motif; In the middle, title strip; 11 sheets: 10 sheets with 20 pattern designs, of which on the first page colored spheres in a stylized tree against a black and brown background; inside cover; Colophon; Cover back side, English text.

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

Three Friends of Winter right of a pair, first half of 19th century, Yamamoto Baiitsu, Japanese, 1783 - 1856, 61 13/16 × 141 3/4 in. (157 × 360.05 cm) (image)68 1/8 × 148 1/16 in. (173.04 × 376.08 cm), Ink with flecks of gold pigment on paper, Japan, 19th century, In East Asia, pine, bamboo, and plum are known as the 'three friends of winter.' In addition to their individual auspicious connotationschaste pine, upright bamboo, and pure plumeach of these three plants is also celebrated for remaining vigorous even during winter and adding color to an otherwise lifeless landscape. They thus represent the Confucian ideal of tenacity in spite of adversity.

Landscape in the Styles of Huang Gongwang and Gao Kegong dated 1705 Wang Yuanqi Chinese The youngest of the "Four Wangs," Wang Yuanqi knew both Wang Jian (1598-1677) and Wang Hui (1632-1717) and was tutored in painting by his grandfather Wang Shimin (1592-1680). Embarking on a career of government service at the age of twenty-nine, Wang gained official recognition as an artist in 1705, when he and four others were commanded by the Kangxi emperor (r. 1662-1722) to compile a comprehensive study on painting and calli-graphy, which was published in 1708 under the title Peiwenzhai shuhuapu. In this painting Wang draws inspiration from two Yuan dynasty masters, Huang Gongwang (1269-1354) and Gao Kegong (1248-1310).. Landscape in the Styles of Huang Gongwang and Gao Kegong 41487

Scene Inspired by the Scrolls of Frolicking Animals and Humans 1890s Tomioka Tessai This small work by Tomioka Tessai, often described as one of the last great artists of Japan’s literati painting tradition, is a reworking of a scene from one of the most celebrated works in the history of Japanese painting—the twelfth-century Scrolls of Frolicking Animals and Humans (Chj jinbutsu giga). Designated a National Treasure by the Japanese government, the Chj giga scrolls, as they are called colloquially, consist of four handscrolls depicting a variety of anthropomorphized animals, mythical beasts, and humans engaging in a variety of activities. The present work reimagines an iconic scene from the set’s first scroll that shows a group of animals—rabbits, foxes, and monkeys—dressed as Buddhist monks and worshipping before a frog masquerading as the Buddha. For his picture, Tessai takes eleven figures from the ancient original’s horizontal composition, adjusting their relative size and

Landscape Unidentified artist. Landscape 51503

Mount Fuji early 19th century Yokoi Kinkoku This large picture by the Nanga painter Yokoi Kinkoku shows a view from Suruga Bay of Mount Fuji with the Miho Pine Strand in the foreground. It is accompanied by a quatrain brushed by the artist himself:Alone it towers above the white clouds. Who can help feeling the chill of the snow vaporViewed from any angle, it has no front or back,just erupts from midair to catch people’s eyes. --trans. Miyeko Murase and Shiyee LiuMuch of what we know about Kinkoku's life and career can be gleaned from his autobiography, the Kinkoku Djin go-ichidai ki. Born in tsu, a town near Kyoto on the shores of Lake Biwa in mi Province, Kinkoku became a Buddhist monk as a young man and in adulthood practiced extreme austerities as a follower of the syncretic Shugend sect. Traveling widely and never tied to a single teacher, Kinkoku drew from a variety of sources for his painting but is most closely associated with the great Yosa Buson (1716-1783), whose i

Small Birds on a Willow Branch and Hibiscus Blossoms. Artist: Tsubaki Chinzan (Japanese, 1801-1854). Culture: Japan. Dimensions: Image: 43 3/8 x 17 1/2 in. (110.2 x 44.4 cm)Overall: 75 3/8 x 30 3/8in. (191.5 x 77.2 cm). Date: dated Fall 1850.Chinzan was raised in Edo in a samurai family. He trained under the Nanga painters Tani Buncho (1763-1840) and Watanabe Kazan (1793-1841) and favored Chinese literati artists of the Ming dynasty (1368-1644). Specializing in paintings of birds and flowers, he was an avid participant in sencha tea ceremonies, during which he would enjoy viewings of Chinese paintings and antiquities owned by his associates. He enhanced this painting with a poem that alludes to a passage from the "Song of Everlasting Sorrow" by the Tang dynasty (618-906) poet Bai Juyi (772-846). In it, Chinzan imagines the moon shining on the face of Lake Taiye and wonders if someone, a person he does not directly identify, still dances in the heavens in the deep of night. As the cri

Album of Fifty-four Sketches. Artist: Tsubaki Chinzan (Japanese, 1801-1854); Watanabe Kazan (Japanese, 1793-1841); Takagi Goan (Japanese, active 19th century). Culture: Japan. Dimensions: Album: 11 7/16 × 12 3/8 × 3 13/16 in. (29 × 31.4 × 9.7 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Lotus and Mandarin Ducks. Xie Jin (China, 1747-1819). China, Qing dynasty, dated 1818. Paintings. Hanging scroll, ink and color on paper

Autumn Flowers. Artist: Yamamoto Baiitsu (Japanese, 1783-1856). Culture: Japan. Dimensions: Image: 45 9/16 × 16 1/8 in. (115.8 × 40.9 cm)Overall with mounting: 78 1/16 × 22 5/8 in. (198.2 × 57.5 cm)Overall with knobs: 78 1/16 × 25 1/16 in. (198.2 × 63.7 cm). Date: 1843. Museum: Metropolitan Museum of Art, New York, USA.

Shrinji Temple 1817 Okada Beisanjin Japanese By fancifully reinterpreting this Zen temple near Osaka as a Chinese retreat, Beisanjin cleverly reveals the heart and soul of the site, particularly its cultural heritage. A rice merchant in Osaka known for his love of learning, Beisanjin was an amateur painter whose quick flashes of insight were deeply admired by both his contemporaries and later literati artists. The patterned brushwork and overall energy of the painting surface reveal his study of Yuan-dynasty artists—notably Huang Gongwang (1269-1354)—and their successors.. Shrinji Temple. Okada Beisanjin (Japanese, 1744-1820). Japan. 1817. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Lady Among Bamboo andPlum

Misty Landscape with Scholars and Attendants Unidentified artist. Misty Landscape with Scholars and Attendants 51690

Reverberations of Taiga, Volume 1 (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.

Reading at the Secluded Pine Studio (Song yinan). Artist: Wu Yun, Chinese, 1811-1883

Furniture of theatrical box; a wine-muller and a cushion (Kandoko and Mosen)., 1814. Woodcuts., Surimono

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

Eel Emerging from a Creel. Nakahara Nantenbō (Japan, 1839-1925). circa 1923. Paintings; scrolls. Hanging scroll; ink on silk

Cone-headed Grasshopper or Locust, (batta); Praying Mantis (Toro or Kamakiri), 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.

Pictures of Flowers and Birds. Okamoto Shūki (Japan, 1807-1862). Japan, 19th century. Books. Accordion-style album of 66 leaves; ink and color on silk

White Heron early 17th century Tawaraya Statsu The softness and calm seen in this rendering of a solitary white heron amid reeds would become a hallmark of Rinpa ink painting modes used to render animals or Buddhist and Daoist sages, in distinct contrast to the brightly colored compositions on floral or arboreal themes for which Statsu and his successors Ogata Krin in the eighteenth century and Sakai Hitsu in the nineteenth century became famous. The pale and seemingly hazy outlines of this monochrome ink painting may at first appear to have been brushed in a rather casual manner, but closer examination reveals the verve and expert control of the brush the artist had.Statsu had many followers during his time and in subsequent generations who created similar ink paintings, sometimes based on copies that Krin made in the eighteenth century, but the sureness of brushwork and the confirmation of the signature and seal in this case (often missing in some works) signals its indisputabl

Landscape after Wu Zhen dated 1695 Wang Yuanqi Chinese According to his inscription, Wang Yuanqi did this landscape in the manner of the Yuan painter Wu Zhen (1280-1354). But in Wang's interpretation, Wu Zhen's distinctive idiom of dragged texture strokes and dotting has been used to create a densely patterned scene in which foreground and distant mountains are fused into a continuous "dragon vein" of abstract compositional energy.Wang's poem reads:In olden days, Wu Daozi active 8th century saw Fei Min perform in a sword dance, and, letting his brush fly, he did a wall painting. When Zhang Xu active mid-8th century saw the way the carriers balance the loads on their poles, his "draft" script became even more refined. When I saw Shao Jiuji, I joyously had a sudden insight and casually did this picture. Although past and present painters cannot reach each other, yet what the mind comprehends and the hand responds to—this means the same for all. I am giving this away for a laugh.(Ashw

Wild Geese in Winter 13th century Unidentified artist. Wild Geese in Winter 36063

Li Bai gazing at the waterfall on Mount Lu late 15th century Zhong Li Chinese Nearly three hundred years after the death of the Song academician Ma Yuan (act. ca. 1190-1225), a Ming emperor proudly declared Zhong Li to be Ma Yuan reborn. Indeed, Zhong's works, painted in a typically bold, breezy, almost contemptuous manner, represent the end of the Ma Yuan tradition. Brought to this level of large-scale power, directness, and nearly total absence of subtlety or nuance, the tradition of Ma Yuan perhaps could not evolve further. Zhong Li was among the last great court painters in this lineage.This strongly painted composition, the best known of Zhong Li's signed works, is a classic Ming academic-style picture; it continues Dai Jin's (1388-1462) monumental refiguration of the Southern Song academic manner. The interior dynamics are even more spectacular than in earlier works in the tradition, from the explosive energies of the plunging waterfall and dramatically towering cliff face to the

Basket with flowers, anonymous, c. 1600 - c. 1699 print China paper color woodcut

Drunken Fisherman by a Reed Bank Tang Yin Chinese The fisherman, symbol of the scholar in retirement, is drunk and fast asleep under the awning of his boat, oblivious to the cares of the world. Tang Yin expands upon the meaning of his painting in the accompanying poem:Punting pole stuck in the reeds, he ties up his skiff;Late at night, the moon climbs to the top of the pole.The old fisherman is dead drunk, call him, he won't wake up,In the morning he rises, frost-prints on the shadow of his raincoat.(Jonathan Chaves, trans., "Some Relationships Between Poetry and Painting in China," Renditions, vol. 6 1976, p. 90). Drunken Fisherman by a Reed Bank 45760

Bergkers picking woman, 1896 print Woman standing on Takkenbos, grasping a blossoming branch. paper color woodcut picking fruit. landscapes (+ landscape with figures, staffage). reaching for something - AA - female human figure

Arriving in the Pału on the lake "-landscape Water paint, drawing / ink; products from W Dzkien / fabric / silk; painting: height 53.8 cm, width 34 cm, dubla: height 138.5 cm, width 45.8 cm; scasmr; 300 MNW; all rights reserved.Chinese (culture), mountains, lakes, coil painting, landscapes, Chinese art, scrolls, vertical ganglia

Crippled Zhang Meets Hunchback Li, early 17th century, Cao Xi, Chinese, active 1600 - 1637, 41 15/16 x 11 1/2 in. (106.52 x 29.21 cm) (image)79 13/16 x 19 7/8 in. (202.72 x 50.48 cm) (without roller), Ink on paper, China, 17th century, Two lively wise men are shown here engaging in expressive conversation under a drooping pine tree. The inscription, however, adds a layer of political commentary to this work, which was executed around the time of the collapse of the increasingly corrupt Ming court, resulting in the Manchu takeover in 1644. The poem implies that the men, whose bodies are bent, have better characters (i.e., stand straighter) than those in the corrupt court. It reads

Shimo-meguro, Lower Meguro., Katsushika, Hokusai, 1760-1849, artist, 1832 or 1833, 1 print : woodcut, color ; 25.9 x 38.2 cm., Print shows rooftops, pilgrims on roadway, and Mount Fuji in the distance.

Piece 18th-19th century Japan. Piece 67565

A Wren and Chrysanthemums ca. 1830 Utagawa Hiroshige Japanese Intriguingly, the artist borrowed both his depiction of the wren (misosazai) and the accompanying kyka (thirty-one-syllable witty verse) from the poetry book Myriad Birds (Momo chidori, ca. 1790), illustrated by Kitagawa Utamaro and published about four decades before. The poem is about falling in love with a high-ranked courtesan and was composed by Karagoromo Kissh (1743-1802), a samurai-poet who was one of the pioneers of the kyka revival in the late eighteenth century. Taih no takaki kokoro no kimi yue ni uki misosazai yori mo tsukarezu Since your ambition is as lofty as that of Taihthe majestic bird of legendas a wren, even if I fall in love, I cannot hope to soar that high.—Trans. John T. Carpenter. A Wren and Chrysanthemums. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1830. Woodblock print. Edo period (1615-1868). Prints

Flowers of Autumn left of a pair of Flowers of Summer and Autumn, first half 17th century, Tawaraya Sōsetsu, Japanese, act. 17th cent., 51 13/16 × 19 7/16 in. (131.6 × 49.37 cm) (image)84 1/2 × 21 1/16 in. (214.63 × 53.5 cm) (mount, without roller ), Ink, color, and gold on paper, Japan, 17th century, Colorful wildflowers of summer and autumn abound in this pair of hanging scrolls by an early painter of the Rinpa school, a lineage of painters of the Edo period (1603-1868) that engaged with classical Japanese themes and designs to create a distinctively decorative style of painting. The right scroll is dominated by large white cockscomb, blue gentians and irises, and red azaleas. At left orange lilies, red magnolia, and white clematis bloom beneath the branch of a chestnut tree.

Piece 18th-19th century China (). Piece 66325

Crane and Their Young in Their Nest in the Branches of a Pine-tree. Artist: Utagawa Toyoharu (Japanese, 1735-1814). Culture: Japan. Dimensions: Aiban; H. 13 7/8 in. (35.2 cm); W. 9 7/8 in. (25.1 cm). Date: ca. 1790. Museum: Metropolitan Museum of Art, New York, USA.

Hibiscus flowers and leaves. Origin: Japan. Period: Edo period. Date: 1615-1868. Color, ink, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Textile fragment. Textile fragment, embroidery of flowers and a range on beige damask.

Chinese Literatus in an Autumn Landscape, late 1400s. Josui Sōen (Japanese, active c. 1489-1500). Hanging scroll, ink on paper; mounted: 111 x 56.2 cm (43 11/16 x 22 1/8 in.). In this painting, Sessh Ty’s disciple Sen depicts a Chinese scholar-official astride a donkey with his attendant behind. Framing their passage on the right side of the scene are two bare willows, and on the left, geese in flight, the cries of which capture the pair’s attention. These elements suggest that the season is late autumn. Sen, who famously received Sessh’s 1495 Splashed-ink Landscape as a certificate of his success as a pupil, studied with the master in Su, presentday Yamaguchi, after which he returned to his native province in the Kanto region.

Autumn Moon over Sumida River (Sumida aki zuki), from the series "Eight Views of the Sumida River (Sumidagawa hakkei)". Kitao Shigemasa; Japanese, 1739-1820. Date: 1760-1764. Dimensions: 12 3/8 x 5 5/8 in. Color woodblock print; hosoban, mizu-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Bamboo and Poem, late 18th - early 19th century, Murase Kōtei, Japanese, 1744 - 1819, 6 11/16 × 7 1/16 in. (16.99 × 17.94 cm), Ink on paper, Japan, 18th-19th century

Fragment textiel, anonymous, 1658 - 1661 Textile fragment, embroidery of corners on silk damask. Japan silk Textile fragment, embroidery of corners on silk damask. Japan silk

Frog (Kaeru); Gold Beetle (Kogane mushi), 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.

Approaching the Winter Shore. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shono: Shiratori Mound (Shono, Shiratorizuka), section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1852. Dimensions: 17.6 x 7 cm. Color woodblock print; section of harimaze sheet (uncut sheet: 1939.1297). Origin: Japan. Museum: The Chicago Art Institute, USA.

Pages from the New Illustrated Edition of 'Tales of the Water Margin. Katsushika Hokusai (Japan, 1760-1849). 1805-1835. Books. Double-page book illustration; black and white woodblock print

Paintings after Ancient Masters: Scholars in a Garden, 1598-1652. Chen Hongshou (Chinese, 1598/99-1652). Album leaf, ink and color on silk; overall: 30.2 x 26.7 cm (11 7/8 x 10 1/2 in.).

Saru no hanaike ni biwa, Monkey holding a potted loquat., Utamaro II, -approximately 1831, artist, between 1807 and 1812, 1 print : woodcut, color ; 35 x 23.2 cm., Print shows a monkey sitting on a bamboo mat with right hand raised, holding a flower pot containing a loquat plant laden with fruit.

Landscape with Fenced in Garden Hine Taizan (Japanese, 1813-1869). Landscape with Fenced in Garden, 1862. Hanging scroll, ink and color on silk, Image: 53 1/8 x 19 3/4 in. (134.9 x 50.2 cm). Asian Art 1862

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

Flower-Vase of Horn and a Butterfly. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 5 3/8 x 10 11/16 in. (13.7 x 27.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Album with images of the alive shed, volume 2 (ukiyo blunder)

Schildering, Mitsumachi (possibly), 1700 - 1800 Ruiter (Narihira) And servant. Japan paper. ink. dye Ruiter (Narihira) And servant. Japan paper. ink. dye

Ming herbal (painting): Stephania

Long Leg and Long Arm, Two legendary figures are depicted with three matching poems. One figure with long legs (ashinaga) admires a painting of a monkey, the other with long arms (tenaga) holds a tray with a peach. Three poems, monkeys, apes, Momokawa Chôki (mentioned on object), Japan, 1800, paper, colour woodcut, h 141 mm × w 188 mm

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

Crane and Pine late 19th century Chen Zhaofeng Chen Zhaofeng painted for the imperial court at the end of the nineteenth century, during the twilight of Chinas imperial period. Very little of his art survives, but this excellent example reveals a high level of technical accomplishment. The crane, pine, and rock are all symbols of longevity, and this charming painting would have been appropriate to hang in a palace during a celebratory occasion such as an imperial birthday. Chens style follows that of the eighteenth-century court painter Shen Quan (1682-after 1762), which combines meticulously painted birds and flowers with bolder bravura brushstrokes for tree trunks and branches. Originally composed as a set of four hanging scrolls, this painting was remounted at some point in Japan into its current bi-fold screen format.. Crane and Pine. Chen Zhaofeng (Chinese, active late 19th century). China. late 19th century. Set of four hanging scrolls mounted on a Japanese bi-fold screen; ink

Togakushi Mountain Range, first half 19th century, Hosokawa Rinkoku, Japanese, 1779 - 1843, 9 1/2 × 11 1/2 in. (24.13 × 29.21 cm) (image)43 11/16 × 16 7/8 in. (110.97 × 42.86 cm) (mount, without roller), Ink and color on paper, Japan, 19th century

Wild guns and peonies, from the series "Comparison of flowers and birds" (Kachôga KuBe) ; Shiba, Rinsai (Fl. Ca 1869-1890), Tsutaya, Kichizô (Kôeidô; Fl. Ca 1820-1890); 1882 (1882-00-00-1882-00-00);Graphics, Japanese (culture), kachôga, Japanese art

Illustration of Su Shi's "Second Ode on the Red Cliff" late 14th-early 15th century Unidentified artist The subject and style of this fan painting exemplify late Yuan scholarly taste. The picture illustrates the celebrated "Second Ode on the Red Cliff" by the Northern Song scholar-artist Su Shi (1036-1101), in which a poet dreams that a crane he saw during an outing was a Daoist immortal in disguise. The rough brush idiom is based on the traditions of Dong Yuan (act. ca. 940-75) and Juran (act. ca. 960-95), but the patterned texture strokes, moss dots, and brisk rhythmic arcs of the water reeds recall the fourteenth-century master Sheng Mou.. Illustration of Su Shi's "Second Ode on the Red Cliff" 44451

Figures in Landscape. Korea, Korean, Joseon dynasty (1392-1910), 17th century. Paintings. Album leaf, ink and color on silk

Nissaka, Ando, Hiroshige, 1797-1858, artist, between 1848 and 1854, 1 print : woodcut, color ; 18.4 x 25.6 cm., Print shows travelers standing around large rock with writing on it at the Nissaka station on the Tokaido Road.

Eight landscapes 1699 Lu Han Chinese Almost nothing is known of Lu Han, the painter of this album, but the style of the landscapes indicates he studied the work of his contemporary Wang Hui (1632-1717). The album is notable for the layers of significance encoded in the images: not only is each leaf in the style of a different well-known painter, but many of them also depict historical events, such as the fourth-century Gathering at the Orchid Pavilion, or famous works of literature, such as the Ode to the Pavilion of the Inebriated Old Man” by Ouyang Xiu (1007-1072).. Eight landscapes 51621

Ming herbal: (painting): Sweet wormwood

Album of Fifty-four Sketches 19th century Watanabe Kazan. Album of Fifty-four Sketches. Watanabe Kazan (Japanese, 1793-1841). Japan. 19th century. Album of fifty-four sketches; ink and color on paper. Edo (1615-1868)-Meiji period (1868-1912). Paintings

Peonies Fukae Rosh Japanese early to mid-18th century A subtly colored but glorious array of peonies, white, pink and red, are rendered against leaves rendered in mottled ink and color washes. To add a deluxe touch, in places gold pigment was dripped into the outlines of the leaves as they were being painted. As with other paintings from this group, no doubt once mounted as a pair of six-panel screens, Rosh draws on ink painting techniques of previous Rinpa masters. Rather than working in shades of gray and black, he has employed the tarashikomi technique, in which mottled washes create gradations of mineral pigments that overlap and blend together to evoke pictorial depth and emotion. The colors of the flowers are modulated: dark red stands out from the pale red background; deep purple accents stand out against pale pink; white gofun (ground oyster-shell) pigment accents the grayish petals. While archaic in flavor for his time, still his paintings on floral themes have an enduring ch

Design for a Stage Set 1828-90 Eugène Cicéri French. Design for a Stage Set. Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). 1828-90. Drawings

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

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