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.

Flowers left of a triptych of Kegon Falls and Flowers, 20th century, Ishikawa Kosai, 44 × 11 3/8 in. (111.76 × 28.89 cm) (image)68 1/2 × 16 1/2 in. (173.99 × 41.91 cm) (mount, without roller), Ink, color, and gold on silk, Japan, 20th century

Piece 18th-19th century Japan. Piece 66438

Summer and Winter Landscapes, 1600s. Kano Naonobu (Japanese, 1607-1650). Pair of six-panel folding screens; ink on gold- and silver-decorated paper; framed: 154.7 x 331.2 cm (60 7/8 x 130 3/8 in.). This sparse composition depicts a summer scene on the right and a winter scene on the left. Careful observation reveals that the pair of screens was once damaged, and a later conservation including new sections of paper and inpainting sought to preserve the original flavor of the paintings so they could continue to be appreciated. Kano Naonobu was born in Kyoto, the younger brother of major painter and authenticator Kano Tany? (1602-1674). He relocated to Edo (present-day Tokyo) at the behest of the Tokugawa government in 1630 where he worked with his brother and teacher. In Kyoto, he helped his brother with paintings for Nij? Castle and the major Pure Land Buddhist temple Chionin.

Playing Flute in Moonlight, 1392-1573. Japan, Muromachi period (1392-1573). Hanging scroll; ink on paper; image: 118.8 x 50.2 cm (46 3/4 x 19 3/4 in.).

Two fragments of textile, textile fragment, Textile fragments, two, embroidery of flowers and trees on silk., anonymous, Japan, 1673 - 1681, Enpo period, silk, height 9.4 cm × width 7.8 cm × height 11.8 cm × width 16.7 cm

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

Paradise Flycatchers and Wisteria Made 1887-1897 China. Ren Yi was among the most successful and influential among Chinese painters of the so-called Shanghai School. Arriving in Shanghai in 1857, he took the artistic name ìbonianî (one-hundred years), claiming that it would take him a century to achieve success. However, by 1875 Ren Yi was the best-known painter in Shanghai. His highly sought-after bird-and-flower paintings initially followed the Song dynasty (960ñ1279) convention of applying rich color fields within outlines, producing decorative patterning with lifelike representation. This work represents his mature, more spontaneous style that is characterized by looser brushwork, more ink washes, and greater tonal variation.The contrast between the delicate flowers and thick vines of the wisteria make this plant ideal for showcasing an artistís calligraphic prowess. In this painting, Ren Yi demonstrates his impressive range of brush techniques dry, rough strokes dragged across the

Peasant with Basket from Album of Paintings by the Venerable Zeshin, 1847. Shibata Zeshin (Japanese, 1807-1891). Album; ink, color, and gold on silk; each leaf: 19.7 x 18.4 cm (7 3/4 x 7 1/4 in.).

Boating to Red Cliff. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A painting in the form of a vertical scroll a branch with pink flowers and two swallows unknown

Twee vrouwen als Gomô en Kijichô, Katsushika Hokusai, 1800 A woman reads an almanac, while another woman was washes on the porch. The women depict two of the '24 examples of childish obedience '; A Chinese classic text, attributed to the philosopher Confucius. The half -bare woman on the veranda proposes Gomô, who, according to the story, slept naked so that the mosquitoes would come to him, rather than on his parents. The blossom leaves falling on the back refer to the mosquitoes. With two poems. Japan paper color woodcut

Summer and autumn flower plants. (Part of the pair of two-fold screens) by Hoitsu, Sakai (1761-1828) / Tokyo National Museum / Japan / Pigments and gold on textile / Landscape / 182x164,5 / The Oriental Arts

Picture Album of the Floating World ca. 1820s Keisai Eisen Japanese. Picture Album of the Floating World. Keisai Eisen (Japanese, 1790-1848). Japan. ca. 1820s. Set of three woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Poppies. Artist: Suzuki Kiitsu (Japanese, 1796-1858). Culture: Japan. Dimensions: Image: 38 9/16 x 13 1/8 in. (98 x 33.3 cm)Overall with knobs: 40 13/16 x 21 in. (103.7 x 53.3 cm)Overall with mounting: 40 13/16 x 18 11/16 in. (103.7 x 47.5 cm). Date: mid-19th century.Not all flowers could be found in the colorful gardens cultivated by Rinpa artists through the ages. Yet poppies (keshi) clearly must have been a favorite of their clients, for examples survive from every generation of the school. Earlier, artists of the Sotatsu studio, such as Kitagawa Sosetsu (active mid-17th century), as well as Ogata Korin and his followers, took inspiration from screen paintings of poppies by Tosa artists, and took the formalization of leaves and petals one step further toward abstraction. By the age of Suzuki Kiitsu, however, attention to detail and a tendency toward naturalistic depictions of flowers became more pronounced. As seen here, the ink-mottling technique (tarashikomi) was used more libe

Mountain River on the Kiso Road, 1857, 8th month, Utagawa Hiroshige; Publisher: Okazawaya Taheiji, Japanese, 1797 - 1858, 13 1/2 × 9 3/8 in. (34.3 × 23.8 cm) (image, sheet, vertical ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Admiring Lotus. Artist: Shu Hao (Chinese, 1850-1899). Culture: China. Dimensions: Diam. 10 1/4 in. (26 cm).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. Museum: Metropolitan Museum of Art, New York, USA.

Two Actors in a Yari-odori, i.e. Spear Dance 1710-13 Okumura Masanobu Japanese. Two Actors in a Yari-odori, i.e. Spear Dance. Okumura Masanobu (Japanese, 1686-1764). Japan. 1710-13. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Poem by Kakinomoto Hitomaro, from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 1760-1849 Katsushika Hokusai Japanese Kakinomoto Hitomaro (act. late seventh-early eighth century), the author of this poem, was known for his intense language and subject matter. Like Hokusai, he had a gift for observation and for finding the human inflection in landscape.Ashibiki noyamatori no o nohidari o nohitori ka mo nemuTrailing, the mountain pheasant's tail long and longer this night too, spent along will be.. Poem by Kakinomoto Hitomaro, from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 56148

Piece 19th century Japan. Piece 71944

Cage of Fireflies at Dawn in Summer ca. 1800 Katsushika Hokusai Japanese. Cage of Fireflies at Dawn in Summer 54193

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

Ghosts 1893 China. Album of twelve leaves; ink on paper . Yao Luan

Magpies, Pomegranates, and Hibiscus, Wang Ying, c. 1800 Vertical roller painting with birds. In wooden box. China ink. dye. silk Vertical roller painting with birds. In wooden box. China ink. dye. silk

Hiroshige Picture Album 1862 Utagawa Hiroshige II Japanese. Hiroshige Picture Album. Utagawa Hiroshige II (Japanese, 1826-1869). Japan. 1862. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Falcon Perched on a Tree 1780-1790 Japan. Hand-colored woodblock print; kakemono-e, shomen-ban . Isoda Koryusai

Illustrations of Chinese Poems Chosen from Toshisen's Book 1833 Katsushika Hokusai Japanese. Illustrations of Chinese Poems Chosen from Toshisen's Book. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1833. Five volumes; ink on paper. Edo period (1615-1868). Illustrated Books

Two Horses dated 1793 Unidentified Executed at the height of the artist's career, Two Horses is a study in complements: dark and light horses; earthen shoreline and rocky outcrop; and contrasting species of trees. Charged with distinguishing between truth and falsehood, good and evil, Qian's imagery seems to reflect the powerful contending forces with which he had to deal during his precariously balanced career. His distinctive use of shading to model forms reveals the growing impact of European engravings and painting techniques on Chinese artists of this period.A noted calligrapher who also specialized in the painting of horses, Qian Feng is best known for twice risking his life by bringing charges against unscrupulous officials linked to the Qianlong emperor's favorite, the notoriously corrupt Heshen (1758-1799). Since the connoisseurship of fine horses was a metaphor for the ability to judge and select men for government service, Qian's artistic specialization was particularly appr

Wall Paper. Dated: c. 1937. Dimensions: overall: 22.8 x 29 cm (9 x 11 7/16 in.). Medium: gouache and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Paul Farkas.

The Four Accomplishments, late 1500s-early 1600s. Attributed to Kano Shōei (Japanese, 1519-1592). Pair of six-panel folding screens; ink and slight color on paper; overall: 174 x 378.5 cm (68 1/2 x 149 in.). At first this scene appears a bit strange, if not bizarre: men, young and old, sit in a vast wilderness playing a board game or executing an ink painting. The furniture and ceramic wares are elegant, the attire is fashionably informal, and the young attendants outnumber the gentlemen of leisure. Clouds and mist roll through the landscape, whose bleakness suggests late fall or early spring, a chilly time to be outdoors engaged in what Westerners would call pastimes or hobbies. But we are viewing the past, a pictorial vision of a cultured gentlemans ideal in classical East Asian history: the Four Accomplishments. This enduring Confucian theme embraces the arts of calligraphy, painting, music, and go (a game of strategy akin to chess), each of which is portrayed or suggested in this

Autumn Thoughts on a Garden Landscape, 1844, Nukina Kaioku, Japanese, 1778 - 1863, 55 3/4 x 20 in. (141.61 x 50.8 cm) (image), Ink and light color on satin, Japan, 19th century, As the son of a samurai, Kaioku received a proper Confucian education, but his physical frailty prevented him from becoming a warrior. His aptitude for Chinese studies was so great that he became a central figure in a circle of sinophile literary and artistic scholars in Kyoto during the second quarter of the nineteenth century. Ultimately, Kaioku is more famous for his calligraphy, but he also produced a large number of notable landscape paintings, of which this is one example. Like his other works, it reflects a studied, conservative approach to the Chinese tradition, as well as a reaction against the undisciplined approach of earlier Japanese masters. In the inscription, Kaioku credits the style of Chiang Chai-pu, a visiting Chinese artist, as the source of his inspiration.

Dwellings of the Immortals Amid Streams and Mountains dated 1531 Wen Boren Chinese. Dwellings of the Immortals Amid Streams and Mountains 48888

Shunga album. Spring songs - part two, 1780 - 1850 book Part two (of three); cover with cloud pattern and white flowers; At the top left red title strip with pattern of plum blossom, bamboo and pine branches; 10 sheets: first page, image of bamboo; 4 performances with Love Business Couple; 12 pages, text. paper. color woodcut

Crane with Autumn Grass, late 19th century, Yang Gihun, Korean, 1843 - ca. 1909, 50 3/8 x 19 5/8 in. (127.95 x 49.85 cm) (image), Ink on silk, Korea, 19th century, Yang Gihun was a member of the Royal Academy of Painting at the end of the Joseon Dynasty. Despite the official nature of his position, however, his style reflects the untrammeled spirt of a literati artist. He is best known for his paintings of birds and plants, which he rendered in a delightfully abbreviated and naive style. Yang's inscription alludes to his dream journey to Jiangnan in China

Japan, Gyokusho, Kawabata, Insect on tree branch, endpaper - stamped, Octogonale print in album with 39 prints., album page, print, prints, Japan (collection), height 223 mm, width 287 mm, 1842 - 1913, print maker, printmaker, 1880 - 1890, fourth quarter 19th century, paper, color woodcut

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

Vase of Flowers. Artist: After Chen Hongshou (Chinese, 1598-1652). Culture: China. Dimensions: Image: 63 7/8 x 23 5/8 in. (162.2 x 60 cm)Overall with mounting: 93 1/2 x 27 1/2 in. (237.5 x 69.9 cm)Overall with rollers: 93 1/2 x 31 1/4 in. (237.5 x 79.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Mountain Scenery with Streams and Pavilions in the Style of Fan Kuan 1667 Wang Jian Dong Qichangs theories about studying old masters towered over subsequent generations. Wang Jian was one of a group of painters based in the city of Taicang who studied and systematized Dongs ideas, delving with great intensity into the technique and structure of the landscape painting tradition. In this painting, Wang explores the manner of the great Northern Song-dynasty artist Fan Kuan (active ca. 990-1030), adopting the earlier masters jagged contour lines and signature “raindrop” texture stroke to add tactility to the rocky cliffs.. Mountain Scenery with Streams and Pavilions in the Style of Fan Kuan. Wang Jian (Chinese, 1609-1677/88). China. 1667. Hanging scroll; ink and color on paper. Qing dynasty (1644-1911). Paintings

Swallows, kingfisher, and hibiscus. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 24.9 x 17.7 cm. Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Title page. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1865. Prints; woodblocks. Color woodblock print

Portrait of Gaofeng Yuanmiao Gao Yongxian. Portrait of Gaofeng Yuanmiao, 1590. Ink and color on silk, With mount: 42 5/8 x 29 3/8 in. (108.3 x 74.6 cm). Asian Art 1590

Japan, Kawaguchiya Shozo, Hiroshige (I), Utagawa, Bamboo and sparrow, Sparrow flying near bamboo shoots; a poem at top right. The signatures suggest that the bamboo was drawn by Hiroshige and the bird by 'a ten-year-old girl next door'., print, prints, Japan (collection), height 376 mm, width 126 mm, Japanese, 1797 - 1858, print maker, 1830 - 1840, second quarter 19th century, paper, nishiki-e, color woodcut, blind printing, Publication (Event), Publication, publisher

Grasshopper (Kirigirisu); Cicada (Semi), 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 1/4 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.

Traditional Abstract Motifs, Mulberry paper (kozo washi) treated with fermented persimmon tannin (kakishibu), Many of these Japanese motifs originated from China. During ceremonial occasions, in Japan, people wore interlaced circles, medallions, and other abstract designs. This stencil has ink stamps of other designs that would be carved into a different stencil to allow for the use of multiple colors. The lower half of the stencil contains Japanese characters., Japan, late 18th - early 19th century, textile designs, Katagami, Katagami

Poem on Growing Old. Artist: Wang Ao (Chinese, 1450-1524). Culture: China. Dimensions: 6 3/4 x 19 3/4 in. (17.1 x 50.2 cm). Museum: Metropolitan Museum of Art, New York, USA.

Three Crows against the Rising Sun, from the series Three Sheets (Mihira no uchi). Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 8 1/4 x 7 1/4 in. (21 x 18.4 cm). Date: mid- 1810s. Museum: Metropolitan Museum of Art, New York, USA.

Page from Shi Zhu Zhai China Qing dynasty (1644-1911), Qianlong period (1736-95) View more. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Qianlong period (1736-95). Prints

Reverberations of Taiga, Volume 2 (leaf 6), 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.

Japan, Fukuda Hatsujirô, Chikanobu, Toyohara, Chiyoda no go-omote - kan, Around the Chiyoda Palace - the complete series, Leporello album with a complete series of triptychs depicting the activities and ceremonies at the Japanese court; blue cover with a pattern of yellow flowers; handwritten title strip at the top center; 11 leaves with a sheet of a triptych on either side; 15 triptychs in total., print album, prints, Japan (collection), height 363 mm, width 240 mm, height 358 mm, width 5970 mm, 1838 - 1912, print maker, printmaker, 1895 - 1999, paper, colour woodcut, Publication (Event), Publication, Japanese, publisher

The Palace in the Moon. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 9 3/8 x 14 11/16 in. (23.8 x 37.3 cm). Date: 8th month, 1789. Museum: Metropolitan Museum of Art, New York, USA.

Tiger. Artist: Meiso (Japanese, active early 18th century). Culture: Japan. Dimensions: 30 5/8 x 13 3/8 in. (77.8 x 34 cm). Date: early 18th century.The tiger has long been an auspicious symbol of power throughout Asia, in both popular culture and elite society. In East Asian art a tiger in a bamboo grove conveys the idea of a peaceful and harmonious society, strong leadership, and just government, as it is one of the few animals able to navigate the thick bamboo forest. With its almost whimsical treatment of the animal, this work resembles Korean tiger paintings of the Joseon dynasty (1392-1910); however, the loose, free brushwork is more characteristic of Japanese renditions of the subject. The artist, Meiso, was almost certainly a Japanese monk-painter. An eighteenth-century monk named Shitaku Junka, about whom little is known, composed the inscribed poem. Museum: Metropolitan Museum of Art, New York, USA.

Tiger, 1888, Iwao, Japanese, act. around 1888, 50 15/16 × 23 7/16 in. (129.38 × 59.53 cm) (image)72 3/4 × 26 5/16 in. (184.79 × 66.83 cm) (mount, without roller), Ink on paper, Japan, 19th century

Reading at the Secluded Pine Studio (Song yinan). Artist: Hu Gongshou, Chinese, 1823-1886

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

Li Shizhuo (1690-1770). "Zhong Kui". Ink and colors on paper. Paris, Cernuschi museum. Color, ink, ink, paper, zhong kui, color, color, paper

Album of Daoist and Buddhist Themes: Procession of Daoist Deities: Leaf 13, 1200s. China, Southern Song dynasty (1127-1279). Album, ink on paper; sheet: 34.3 x 38.4 cm (13 1/2 x 15 1/8 in.).

The colors of the three mornings, Torii Kiyonaga, 1787 Front of the album with seven performances of Japanese ritual New Year's activities, which were common on the first day of the new year, including the first calligraphy of the new year, the first ride on a horse, the first archery and the first bath. The "three mornings" from the title is a reference to New Year's Day; The morning of the first day of the first month of the new year. paper color woodcut

A couple over the water; 19th century () (1801-00-00-1900-00-00);

In the silence of a mountain lake. Dong, Qichang (1555-1636), painter

Three scenes YOSHIMORI, IKKOSAI (1830 1884)

Design for a Stage Set 1830-90 Eugène Cicéri French. Design for a Stage Set 387301

Piece 18th century Japan. Piece 71196

Hoe. Nakahara Nantenbō (Japan, 1839-1925). no date. Paintings; scrolls. Hanging scroll; ink on gold paper

Scholar playing the zither, landscape. unknown, painter

Inrō Partly in a Green Bag with Pattern of White Foxes 1862 (Dog Year) Shibata Zeshin Japanese. Inrō Partly in a Green Bag with Pattern of White Foxes 54205 Artist: Shibata Zeshin, Japanese, 18071891, Inro Partly in a Green Bag with Pattern of White Foxes, 1862 (Dog Year), Polychrome woodblock print (surimono); ink and color on paper, 7 7/8 x 10 3/4 in. (20 x 27.3 cm). The Metropolitan Museum of Art, New York. The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 (JP2746)

Reverberations of Taiga, Volume 1 (leaf 12), 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.

Sorimachi 409, 1746, Osaka

Two textile fragments. Two textile fragments, embroidery of flowers and butterfly and kirikane.

Picnic on the Riverbank. Date: 18th century. Origin: China. Period: Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Book of Painted Kosode Designs, Volume 1 second half of the 17th century Japan This book of painted designs for kimono is undated, but the patterns have a stylistic asymmetry that was popular during the second half of the seventeenth century. Each of the two volumes contains fifty designs illustrating the backs of the garments. The patterns frequently incorporate seasonal motifs.. Book of Painted Kosode Designs, Volume 1. Japan. second half of the 17th century. Ink, color, gold, and silver on paper. Edo period (1615-1868). Illustrated Books

Peony. Artist: Ren Xiong (Chinese, 1823-1857). Culture: China. Dimensions: 6 15/16 x 21 in. (17.6 x 53.3 cm). Date: 19th century.Uprooted during the turbulent years of the Taiping Rebellion, Ren Xiong, eldest of the Four Rens settled in Shanghai in his later years and became an influential painter of popular subjects: flowers and birds, sages and heroes.Ren's richly decorative fan is an interpretation of the 18th century "boneless" (ink without outline) style. Ren renders presence through the lush fullness of ink without painting an organically coherent plant; you will look in vain for a stem to support the heavy bud; it has a less cerebral appeal and evokes a real world of rooted plants, rough stone pots and contrasting textures. Museum: Metropolitan Museum of Art, New York, USA.

Saluting the sunrise over the sea. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Flowers and Birds 1750 Shen Quan Chinese In 1731 the Chinese painter Shen Nanpin came to Nagasaki, where he remained for two years. During this time, he taught Japanese students the traditional Chinese style of realist painting, resulting in the formation of the Nagasaki school. After Nanpin returned to China, many works in his style continued to be imported into Japan, and his influence on Japanese painting persisted into the late Edo period. In the fine example seen here, the meticulous rendering of flowers and birds and the sophisticated composition within a rectangular frame reveal the masterful craftsmanship that Japanese artists eagerly sought to learn from Nanpin.. Flowers and Birds. Shen Quan (Chinese, 1682-after 1762). China. 1750. Hanging scroll; ink and color on silk. Qing dynasty (1644-1911). Paintings

White Rabbit and Amaranth. Isoda Koryusai; Japanese, 1735-1790. Date: 1766-1776. Dimensions: 28.2 x 19.3 cm (10 7/8 x 7 11/16 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Qianlong period (1736-95). Prints

Reading at the Secluded Pine Studio (Song yinan). Artist: Yang Borun, Chinese, 1837-1911

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Landscape Fujimoto Tesseki (Japanese, 1817-1863). Landscape, 19th century. Hanging scroll, ink and light color on paper, 67 1/2 x 17 11/16in. (171.5 x 44.9cm). Asian Art 19th century

The liver, Chinese woodcut, Ming period

Flowers and Pheasants, 19th century, Yamamoto Baiitsu, Japanese, 1783 - 1856, 42 5/8 × 16 7/16 in. (108.27 × 41.75 cm) (image)80 1/2 × 22 1/16 in. (204.47 × 56.04 cm) (mount, without roller ), Ink and color on silk, Japan, 19th century

White-Robed Kannon. Artist: Sakai Hoitsu (Japanese, 1761-1828). Culture: Japan. Dimensions: Image: 33 5/8 × 14 in. (85.4 × 35.6 cm)Overall with mounting: 68 1/4 × 15 7/8 in. (173.4 × 40.3 cm)Overall with knobs: 68 1/4 × 17 3/4 in. (173.4 × 45.1 cm). Date: 1823.The bodhisattva Kannon (Sanskrit: Avalokiteshvara) sits on a pedestal-like rock, his white-robed figure enveloped in a radiance shaped like the full moon. His skin, his jewelry, and the nearby foliage bear touches of color, but the landscape surrounding him is rendered in monochrome brushwork and ink wash. The iconography and composition follow a model imported from China centuries earlier, established in Japan by Zen monk-painters of the Muromachi period (1392-1573). Above the figure, the words of the "Kannon-gyo"--a section of the twenty-fifth chapter of the sacred text Lotus Sutra--are inscribed in gold pigment by the artist.Sakai Hoitsu studied the artistic vocabulary of various schools but is best known for his Rinpa com

Fragment textiel, anonymous, 1661 - 1673 Textile fragment, embroidery of white oleanders and windows motifs on ocher-colored silk. Japan silk Textile fragment, embroidery of white oleanders and windows motifs on ocher-colored silk. Japan silk

Four textile fragments on a sheet, embroidery on silk, textile fragment, anonymous, Japan, 1336 - 1469 and/or 1600 - 1625, silk

Mount Fuji under a Bridge (left); Mount Fuji behind a Net (right), from One Hundred Views of Mount Fuji ca. 1847 Katsushika Hokusai Japanese. Mount Fuji under a Bridge (left); Mount Fuji behind a Net (right), from One Hundred Views of Mount Fuji. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1847. Woodblock print; ink on paper. Edo period (1615-1868). Illustrated Books

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper strips, satin weave with patterning wefts; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink .

Fan leaf with flying cuckoo, utagawa kunisada (i), 1796 - 1864 drawing Japanese paper. watercolor (paint) brush

Drawing, Design for a Woven or Printed Fabric or Wallpaper; graphite, brush and purple watercolor on paper; 55 × 55 cm (21 5/8 × 21 5/8 in.)

Winter Landscape. Artist: Unidentified Artist. Culture: China. Dimensions: Image: 9 1/2 × 9 3/4 in. (24.1 × 24.8 cm)Mat: 17 15/16 in. × 18 in. (45.6 × 45.7 cm). Date: 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo period (1615-1868). Textiles-Woven

River Gorge with Waterfall Attributed to Tani Bunch Japanese. River Gorge with Waterfall. Attributed to Tani Bunch (Japanese, 1763-1840). Japan. Hanging scroll; ink on silk. Edo period (1615-1868). Paintings

Fragment, Medium: silk Technique: painted, Light green-blue satin, machine woven, painted in strong clear colors, probably in France in imitation of Chinese style; flowers, foliage, birds. Incomplete widths; left selvages present., Europe, early 19th century, printed, dyed & painted textiles, Fragment

An Arrangement of Shuro Palm Leaves in a Bronze Jar 1791-1801 Japan. Color woodblock print; aiban . Kitagawa Utamaro

New Sea of the Arts - 22, 1904 book Part 22 (of 35); blue cover with image of pink stylized kimono; in the middle, title; 10 sheets with 20 pattern designs, of which an image of hydrangeas against a purple background on the first page; Inside cover; Colophon. paper. color woodcut

Piece 18th century Japan. Piece 71820

Nichiren in Exile at Sado. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1882, May. Prints; woodblocks. Color woodblock print

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

Bamboo and Poem. Artist: Zhu Lu (Chinese, 1553-1632). Culture: China. Dimensions: 6 5/8 x 20 5/8 in. (16.8 x 52.4 cm). Date: early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Gibbons in a Landscape, early 1900s. Korea, Joseon dynasty (1392-1910). Six-fold screen, ink and color on hemp; painting only: 104.8 x 393.7 cm (41 1/4 x 155 in.).

Design for a Stage Set 1828-90 Eugène Cicéri French. Design for a Stage Set 387312

Piece 18th-19th century Japan. Piece 66992

Kanagawa. Print shows two men in a boat fishing with nets.

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