Elegant Asian Calligraphy and Art

Traditional calligraphy and delicate paintings intertwine nature and poetic elements, reflecting the beauty and calm of East Asian artistry.

Scholar, Crane, and Banana Tree, 1630, Zhang Fengyi; Artist: Chen Jiayan; Artist: Yuan Shangtong; Artist: Wu Ling; Artist: Wen Congjian; Artist: Shao Mi, Chinese, 1594 - 1642, 26 1/2 x 12 7/8 in. (67.31 x 32.7 cm) (image), Ink and color on paper, China, 17th century, The importance of literati circles is emphasized in this collaborative 17th century painting. According to the inscriptions, the rendition of a scholar, crane, and banana tree was created as a gift for the scholar Xizhi by seven different literati artists. Five scholars have painted a separate element emblematic of literati values, signed their names and affixed their personal seals. The colophones were added by friends Wen Congjian and Shao Mi. The literaus is shown in typical Ming period scholars robe, enjoying nature in the presence of a crane, the Daoist symbol of longevity. Intellectual circles were very important to China's scholar class. Composed of highly educated government officials, teachers, writers, painters,

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

The robber Kumasaka Chōhan on the run from Yoshitsune. Donation Gerhard Schack

Dragonfly and begonia 1830-1839 Japan. Color woodblock print; chutanzaku . Utagawa Hiroshige

Sobaschale. .

New Year Picture of Civil Door God (right one of a pair) early 20th century Unidentified artist(s). New Year Picture of Civil Door God (right one of a pair). Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Quatrain on yellow roses. Artist: Empress Yang Meizi (Chinese, 1162-1232) , r. 1202-24;. Culture: China. Dimensions: 9 1/4 x 9 5/8 in. (23.5 x 24.5 cm); with mat: 14 1/2 x 15 1/2 in. (36.8 x 39.4 cm). Date: early 13th century.During the reign of Ningzong (1202-24), his consort, the empress Yang Meizi, was a formidable presence, both in politics and in the arts. Starting out as a young musician in the palace of Empress Wu (wife of Gaozong), Yang Meizi found favor with Ningzong and in 1202 maneuvered her way into becoming his wife. Wielding great power in court politics, she had the powerful prime minister Han Tuozhou executed in 1207 without consulting her husband. In 1224, when Ningzong died, she dethroned Crown Prince Hong and supported Prince Yun, who became Emperor Lizong (r. 1224-64). An excellent calligrapher who practiced the imperial style initiated by Gaozong (r. 1127-62), the empress may have inscribed this poem on the opposite side of a fan painting of roses by a court arti

A Set of Scrolls, c. 1810 - c. 1820 print Two manual rolls on a presentation sheet with a partially rolled out roll painting behind it on which a sitting figure can be seen on a veranda; Probably the court lady and writer Murasaki Shikibu. In the foreground a black lacquer box and a brush. Murasaki Shikibu wrote the novel 'The story of Genji' in the eleventh century. She is often depicted writing in the Ishiyama temple, to which one of the two poems on this print also refers. paper color woodcut scroll. picture, painting

Fish and Seaweed, 16th century. Rinkyo (Japanese). Pair of hanging scrolls: ink on paper; painting only: 66.7 x 28.5 cm (26 1/4 x 11 1/4 in.); including mounting: 139.7 x 42.6 cm (55 x 16 3/4 in.).

Fragment textiel, anonymous, 1781 - 1789 Textile fragment, embroidery and pressure from autumn leaves on crepe. Japan silk Textile fragment, embroidery and pressure from autumn leaves on crepe. Japan silk

Books and a Bookcase 19th century Keisai Eisen Japanese. Books and a Bookcase 54117

Three scenes from the Tokaido road: Kusatsu, Otsu, Kioto; print from the series: Gojusan tsugi harimaze (53 Stations of the Tokaido road in various pictures). Utagawa, Hiroshige I (1797-1858), graphic artist

Flowers and insects. Origin: China. Period: Ming dynasty. Ink and color on silk. Date: 15th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Table of contents, 1892 print Cover of the twelve -part series; On the front an image of a Makimono (hand role) on which the serial title and two flying cranes above pine trees; On the back the twelve different print titles and an advertisement from the publisher with other titles from the series. paper color woodcut shore-birds and wading-birds: crane. ribbon, scroll, banderole ~ ornament

Autumn Flowers: Peonies and Bellflowers, from the book "Mirror of Beautiful Women of the Pleasure Quarters (Seiro bijin awase sugata kagami)," vol. 2. Katsukawa Shunsho; Japanese, 1726-1792; Kitao Shigemasa; Japanese, 1739-1820. Date: 1776. Dimensions: 21.9 x 50.6 cm (8 9/16 x 6 1/16 in.). Color woodblock print; single-page illustration cut from a book. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Piece 18th-19th century Japan. Piece 66412

Kaishien gaden = The mustard seed garden painting manual.. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

Yellow bird and hibiscus. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1840. Dimensions: 16 x 9.8 cm (6 1/4 x 3 7/8 in.). Color woodblock print; yotsugiriban. Origin: Japan. Museum: The Chicago Art Institute, USA.

The Plasterplaats Mariko; Mariko.Drie travelers, eating in a restaurant in Mariko. They are served by two women. In the Cartouche at the top right state that the distance to the next stopping place, okabe, is two miles.

Robbenacht from a rowing boat, Hiroshige (II), Utagawa, 1836 - 1869 drawing paper brush

Morning Glory and Daffodil. Kuwagata Keisai (Japan, 1764-1824). Japan, late 18th - early 19th century. Prints; woodblocks. Page from a woodblock printed book

Apricot 19th century Wu Xizai Chinese The cool, declarative simplicity of this apricot branch, painted as a gift, is complemented by Wu's inscription: I once saw a handscroll by Chen Laolien Chen Hongshou, 1599-1652, which the painter said was done in the style of a Yuan master, and I have imitated it.Trans. adapted from Ellsworth et al., Later Chinese Painting. Apricot. Wu Xizai (Chinese, 1799-1870). China. 19th century. Folding fan mounted as an album leaf; ink and color on alum paper. Qing dynasty (1644-1911). Paintings

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

Landscape in the Manner of Wang Yuanqi, c. 1875, Gu Yun, Chinese, 1835 - 1896, 33 3/4 x 18 5/8 in. (85.73 x 47.31 cm) (image)82 3/4 x 23 3/16 in. (210.19 x 58.9 cm) (overall, without roller), Light colors and ink on paper, China, 19th century, A respected literatus living in Suzhou during late Qing, Gu Yun was sent as an envoy to Japan in 1887. His painting generally followed in the manner of the Qing Orthodox School of ink landscape painting defined by the so-called four Wangs: Wang Shimin (1592-1680), Wang Jian (1598-1677), Wang Yuanqi (1642-1715), and Wang Hui (1632-1717). This new orthodoxy was based loosely on the painting styles of twelfth through fourteenth century masters as formulated in the theories of the great literatus, Dong Qichang (1555-1636). Dong's codification was perceived as the orthodox, politically safe lineage for literati painting during most of the Qing dynasty. This late nineteenth century work by Gu Yun in its light washes, clear composition, and horizontal s

Hotei withStaff. Artist: Mokuan Sh?t?, Chinese, 1611-1684

Plum blossom from Osaka, Totoya Hokkei, 1823 print A still life of different sake (rice wine) cups. On the left a small cup of thin porcelain, floating in water in a silver bowl that is in a holder of black paintwork. Next to it a cup made of a white shell, decorated inside with plum blossom. On the right a large, partly wrapped in canvas, sake cup of red paintwork, decorated with the image of a shôjô, a mythological creature that would live on the coast and spend his days drinking. Right plum blossom under a poem. Naniwa is the traditional name of the city of Osaka, known for the plum blossoms and sake. With two poems. Japan paper color woodcut plants; vegetation (+ flowers, blossom, blossoming)

Calligraphy. Artist: Fan Yunlin (Chinese, 1558-1641). Culture: China. Dimensions: 7 x 21 in. (17.8 x 53.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Three Horsemen Hunting Wild Geese, 960-1279. China, Song dynasty (960-1279). Album leaf, ink and color on silk; overall: 21 x 23.4 cm (8 1/4 x 9 3/16 in.).

Two textile fragments, textile fragment, Two textile fragments, embroidery and print on sepia and beige damask background., anonymous, Japan, 1804 - 1818, Bunka period, silk, height 30 cm × width 13.2 cm × width 7.2 cm

Bamboo in the wind. Artist: Yi Jeong (Korean, 1541-1626). Culture: Korea. Dimensions: Image: 45 1/2 x 21 in. (115.6 x 53.3 cm)Overall with mounting: 87 13/16 × 26 5/16 in. (223 × 66.8 cm)Overall with knobs: 87 13/16 × 28 3/4 in. (223 × 73 cm). Date: early 17th century.A premier literati artist of his time, Yi Jeong was celebrated for his poetry, calligraphy, and ink bamboo paintings. There are relatively few extant works of bamboo by the artist, but all evidence a masterly hand. Yi enjoyed a distinguished familial lineage: he was a great-great-grandson of King Sejong (r. 1418-50), whose reign is credited with numerous important cultural achievements, including the invention of the Korean alphabet, hangeul.This painting demonstrates magnificently Yi's virtuoso brushwork. Executed in monochrome ink, the painting's juxtaposition of dark and light ink tones reveals the layers of bamboo, creating a subtle spatial depth. The crisply articulated stalks and leaves--deceptively simple yet d

(Untitled) Volume 2 1716 Japan. (Untitled) Volume 2. Japan. 1716. Woodblock-printed book. Illustrated Books

And b ええちつつつつつぶぶつつのつ; .

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

Hilltop View from Yushima Tenjin Shrine (Yushima Tenjin sakaue tenbo), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) 1856 Japan. Woodblock print; oban, keyblock proof impression . Utagawa Hiroshige

A Picnic, Utagawa Kunisada (i), C. 1810 --c. 1815 print A red mat with a Shamisen (Japanese string instrument) and a picnic set. Just like the poem, the image also refers to a party on the occasion of the flowering of the cherry trees. When the cherry blossoms are in full bloom, there are traditionally many parties in Japan with people picnic under the trees. paper color woodcut Picnic, Alfresco, 'Lunch on the grass'. String instruments (Plucked)

Chinese Poet. Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1756-1770. Dimensions: 12 1/4 x 5 1/2 in. Color woodblock print; hosoban, mizu-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Landscape with Drunken General and Servant. Artist: Unidentified Artist; Formerly Attributed to Hao Cheng (Chinese, early 11th century). Culture: China. Dimensions: 8 5/8 x 9 3/16 in. (21.9 x 23.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Akikusa no rikka, Potted autumn grasses and Rikka., Utamaro II, -approximately 1831, artist, between 1807 and 1812, 1 print : woodcut, color ; 22.9 x 17.2 cm., Print shows two plants with pink and yellow flowers growing in a double wooden flower pot.

One of Six Impressions from Worn Old Blocks Unidentified artist. One of Six Impressions from Worn Old Blocks 56123

Designs for applied art part five; Kogei Oyo Zon Zasshi. Part five; Pink cover with various emblems and image of a vase on which title; 10 sheets: one leaf, blank; eight sheets, black and white designs; Last sheet, colophon.

Fragment textile. Textile fragment, embroidery and print of autumn leaves on crepe.

Mt. Qingbian, 1617. Dong Qichang (Chinese, 1555-1636). Hanging scroll, ink on paper; painting: 225 x 67.6 cm (88 9/16 x 26 5/8 in.); overall: 355 x 92.7 cm (139 3/4 x 36 1/2 in.).

Kultura w sieci Kultura+ unknown

A Page from the Jie Zi Yuan Original painted by Wang Meng Chinese. A Page from the Jie Zi Yuan 63217

Landscape. Artist: Maejima Soyu (active mid-16th century). Culture: Japan. Dimensions: Image: 20 1/4 × 13 5/8 in. (51.4 × 34.6 cm)Overall with mounting: 55 3/4 × 18 3/4 in. (141.6 × 47.6 cm)Overall with knobs: 55 3/4 × 20 3/4 in. (141.6 × 52.7 cm). Date: 16th century.On a moonlit night, a small boat carries its passengers toward a thatched lakeside pavilion as a bank of mist rolls through the craggy mountains. The faint traces of two seals on the lower left side of the scroll enable an attribution to Maejima Soyu, a professional painter active in the castle-town of Odawara in eastern Japan and affiliated with a local branch of the influential Kano school. Soyu may have studied directly under Kano Motonobu (1476-1559). Museum: Metropolitan Museum of Art, New York, USA.

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

Two mounted fan paintings center of a set of three scrolls, first half 18th century, I Fukyū, Japanese, 1698 - 1747, 49 1/2 × 24 1/8 in. (125.73 × 61.28 cm) (mount, overall, without roller), Ink on colored paper, Japan, 18th century

Oxherding. Artist: Sekkyakushi (Japanese, active first half of the 15th century). Culture: Japan. Dimensions: Image: 21 1/16 × 11 9/16 in. (53.5 × 29.4 cm)Overall with mounting: 54 3/4 × 15 5/8 in. (139 × 39.7 cm)Overall with knobs: 54 3/4 × 17 5/8 in. (139 × 44.7 cm). Date: first half of the 15th century.This painting depicting a herdboy escorting an ox down a hillside path originally may have been one of ten hanging scrolls illustrating the Ten Verses on Oxherding, a Zen parable composed in eleventh-century China that became popular in Japan. If so, it likely represents the fifth verse, "Herding the Ox," in which the herdboy has located his runaway ox and sets off on his way home. Another possibility is that it was inspired by a more secular Chinese painting of an ox and herdboy in which the image was meant to evoke the cyclical rhythms of the seasons.Although the biography of the painter Sekkyakushi remains unclear, he is believed to have been one among several followers of the

Piece 18th-19th century China. Piece 67471

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.8 × 12.1 cm (13 3/4 × 4 3/4 in.)Repeat: 8.2 × 9.9 cm (3 1/4 × 3 7/8 in.). Silk and gold-leaf-over-lacquered-paper strips, plain weave with supplementary patterning wefts; label: silk, plain weave; painted with ink; over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Design of Morning-glory and Other Flowers. Artist: Ogata Korin (Japanese, 1658-1716). Culture: Japan. Dimensions: H. 10 in. (25.4 cm); W. 14 7/16 in. (36.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

The Courtesan Hygo, from the series A Selection of Framed Paintings of Women for the Katsushika Club. Artist: Yashima Gakutei, Japanese, ca. 1786-1868

Landscape: mountains, a river, and buildings. ink on paper. Origin: China. Period: Ming dynasty. Date: 15th-16th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Sample Books of Brocade Designs (Kinran Mihoncho zu) Eisen Keisai (Japanese, 1790-1848). , 19th century. Woodblock print, 8 1/8 x 7 1/8 in. (20.6 x 18.1 cm). Asian Art 19th century

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

Above left, a man in Western dress observes a Japanese worker; below left, a figure on a balcony views Sugita bay through a telescope; right, a bird perched on a plum blossom branch, with Sugita bay in the background. Colour woodcut by KyÅsai, with design on right by MÅsai (Yoshitora), ca. 1870.

The Illustrated Tale of Genji ca. 1650 Yamamoto Shunsh For centuries, The Tale of Genji circulated in manuscript copies limited to members of the social elite. The classic became more widely known starting only in the early Edo period (1615-1868), as texts of the entire tale, digests, and handbook-style synopses were printed, first in movable-type editions and then in more affordable woodblock-printed versions. One of the earliest mass-produced editions to include woodblock-printed illustrations was this multivolume version, first published in about 1650. The Kyoto- and sometimes Edo-based Yamamoto Shunsh, best known as a waka poet and lacquer artist, produced the designs for the woodblock prints, which in many cases adhered to the standardized Tosa canon for Genji pictures, but in others diverged from traditional iconography.. The Illustrated Tale of Genji. Yamamoto Shunsh (Japanese, 1610-1682). Japan. ca. 1650. Twenty-four woodblock-printed volumes; ink on paper. Edo period (1615-

Landscape: a man under a pine. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and slight color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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

A Scholar and His Wife in Their Garden Ren Xun. A Scholar and His Wife in Their Garden, 19th century. Handscroll; ink on paper, image: 13 1/8 × 51 1/8 in. (33.3 × 129.9 cm). Asian Art 19th century

Landscape in the Style of Zhao Boju (Fang Zhao Boju shanshui) dated 1654 After Wang Hui Chinese This painting is Wang Huis second earliest extant work. Done barely two years into his apprenticeship under the preeminent master Wang Shimin (1592-1680), it shows an approach that differs entirely from that of his earliest known work of 1650 and reflects his exposure to the regions great collections of ancient masters.According to Wangs inscription, the painting follows the style of Zhao Boju (died ca. 1162), a Southern Song academy painter known for his landscapes in the blue-and-green style. The calligraphic contour lines and texture dots of Wangs interpretation, however, owe more to Wang Shimin than to the twelfth-century master.One year before his death Wang added a second inscription:This painting was done in my youth; suddenly, more than sixty years have gone by. Seeing it now I am ashamed of my first steps.. Landscape in the Style of Zhao Boju (Fang Zhao Boju shanshui). After Wan

Shunga album. Murasaki from Edo and Genji from Yoshiwara; Edo Murasaki Yoshiwara Genji. Part two (of three); White cover with blue gene logos; blank cover sheet (removed); 13 sheets: one page, text against background with cloud pattern; 5 erotic images of love-winged couple; 14 pages, text.

Design for Fantasy Branches of Flowers n.d. Jean Pillement French. Design for Fantasy Branches of Flowers. Jean Pillement (French, Lyons 1728-1808 Lyons). n.d.. Red and black chalk. Drawings

Calligraphy: Retirement. Nanzan Koryō (Japan, 1756-1839). no date. Drawings; calligraphy. Pair of hanging scrolls; ink on silk

Japan, Magao, Yomo, Nakanubo, Gurendô, Shinsai, Ryûryûkyo, Kamizukushi, A series on paper, Eirogami, Coloured paper, verso - printed, Camellia and a plum blossom branch, over which lies a poem note (tanzaku). With two poems., print, prent, surimono, prints, Japan (collection), height 141 mm, width 187 mm, Japanese, 1764 - 1825, print maker, printmaker, 1800 - 1810, first quarter 19th century, paper, colour woodcut, colour woodblock, blind printing, poet

Full Moon Over Mountain Scenery. Keisai Eisen; Japanese, 1790-1848. Date: 1830-1840. Dimensions: 27 5/8 x 9 1/4 in. Color woodblock print; vertical oban diptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA. Author: KEISAI EISEN.

Fire-Holder and Tea-Box 19th century Ryūryūkyo Shinsai Japanese. Fire-Holder and Tea-Box 54555 Artist: Ryuryukyo Shinsai, Japanese, active ca. 17991823, Fire-Holder and Tea-Box, 19th century, Polychrome woodblock print (surimono); ink and color on paper, 5 1/2 x 7 9/16 in. (14 x 19.2 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP1970)

The deity of the Kuei star; beginning of the 20th century (1901-00-00-1932-00-00);Jabłońska, Antonina (1901-1994), Jabłoński, Witold (1901-1957), Jabłoński, Witold (1901-1957)-collection, Chinese (culture), gift (provenance), Chinese art

Design for wallpaper painting with hilly landscape. Draughtsman: Jurriaan Andriessen. Dating: 1752 - 1819. Measurements: h 264 mm × w 110 mm. Museum: Rijksmuseum, Amsterdam.

Ma-gu Holding a Vase,with a Deer. Date/Period: 1766. Painting. Width: 101 cm. Height: 181 cm (Without frame). Author: Huang Shen.

The Pavilion of Prince Teng dated 1352 Tang Di Chinese The Pavilion of Prince Teng demonstrates that Tang Di, a scholar and government official best known for his large-scale colored paintings on silk, was also capable of producing intimate, more informal ink drawings on paper. As he does in his monumental decorative style, Tang here follows the conservative brush idiom of the Northern Song master Guo Xi (ca. 1000-ca. 1090), though his relaxed calligraphic depiction of rocks, trees, and foliage reflects the early Yuan transformation of Song models by Tang Di's teacher, Zhao Mengfu (1254-1322). The pavilion, erected in the seventh century by the prince of Teng, is one of the most renowned buildings in Chinese history, thanks to the poet Wang Bo (649-676). It is situated near the confluence of the Gan and Yangzi Rivers in Jiangsi Province. Wang's poem, which contrasts the impermanence of human life with the endless flow of the river, has made the pavilion a favorite subject for painters.

Su Wu the Shepherd, 1788. Min Zhen (Chinese, 1730-after 1788). Album leaf, ink on paper; sheet: 29 x 18.4 cm (11 7/16 x 7 1/4 in.).

Paarden Iris, Katsushika Hokusai, 1822 A tobacco bag with a belt knot (Netsuke) and a partially opened fan with the image of a mountain landscape, next to a pile of paper. Running horses are shown on the tobacco bag; A parrot on the belt node. With two poems. Japan paper color woodcut

Peony and Bamboo. Artist: Ike (Tokuyama) Gyokuran (Japanese, 1727/8-1784). Culture: Japan. Dimensions: Image: 36 5/8 × 16 7/16 in. (93 × 41.7 cm)Overall with mounting: 68 7/8 × 22 3/16 in. (175 × 56.4 cm)Overall with knobs: 68 7/8 × 24 7/16 in. (175 × 62 cm). Date: ca. 1768.Tokuyama Gyokuran was introduced to the world of the literati early in life. Her mother and adopted mother were both noted poets in Kyoto and were close to the early nanga artist Yanagisawa Kien (1704-1758), a painting teacher to Ike Taiga, whom Gyokuran later married in the early 1750s. Although she began painting well before her marriage, Taiga's influence is apparent here in the technique used to create the broad, trailing contour line of the rock and the pointed bamboo leaves. Based on what is known of her stylistic development, this work is dated to around 1768. Museum: Metropolitan Museum of Art, New York, USA.

Scroll I.. 1501 - 1599. Illustrations, Manuscripts. Spencer Collection

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

Thirty Poets, late 18th century, Ki Baitei; Artist: Sō Shizan, Japanese, 1734 - 1810, 48 3/8 × 23 5/8 in. (122.87 × 60.01 cm) (image, each image)68 1/8 × 70 5/16 × 3/4 in. (173.04 × 178.59 × 1.91 cm) (mount), Ink and colors on paper, Japan, 18th century

Immortal Poet. Artist: Kano Shoun (1637-1702). Culture: Japan. Dimensions: 7 1/4 × 6 1/2 in. (18.4 × 16.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Silver rice wine and porcelain pot, Teisai Hokuba, 1820 - 1829 print A silver rice wine on a red standard, behind it a blue and white porcelain pot for sweets. With one poem. Japan paper color woodcut container of precious metal. container of ceramics: jar, jug, pot, vase. other alcoholic drinks

Kyōsai gadan, 1887, Kawanabe Kyōsai, Japanese, 1831 - 1889, 1/2 × 7 × 9 13/16 in. (1.27 × 17.78 × 24.92 cm) (single volume)1 5/8 × 7 3/16 × 10 in. (4.13 × 18.26 × 25.4 cm) (including case), Woodblock printed book; ink on paper, Japan, 19th century

Rice cultivation: four men transplanting rice seedlings () in a paddy field, while behind them two men irrigate the field. Woodcut, 1696.

Insect Catcher and Potted Herbs. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 1/2 x 7 1/2 in. (14 x 19.1 cm). Date: 19th century. 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 1 (leaf 7), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Yamahotogisu or toad lily, Tricyrtis macropoda. Handcoloured woodblock print by Kono Bairei from Kusa Bana Hyakushu (One Hundred Varieties of Flowers), Tokyo, Yamada, 1901.

A hand scroll depicting sprays of blossoming Prunus, Chrysanthemums, Peonies, hydrangea, Lotus, Further Flowers and Foliage. After Jiang Tingzi (1669-1732). Hand scroll in ink, colour and gilt on silk. 18/19th century.

Masterpieces van Seiho - Part one, 1937 - 1942 Part one (of two); Striped cover in green and brown tones, title strip with pattern in white and brown; wrapper, white with speckles in gold and silver; 30 magazines: Foreword and 29 magazines on which prints from the first and second series of masterpieces by Seiho. In cover with the same pattern as cover of the album, with title strip. The two albums have been published by the publisher as a tribute to Seiho; The prints are not mounted in the original appearance in the album. paper color woodcut / letterpress printing

Waterfall and Rocks, 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.

Five Cranes by the Water's Edge, from the series Three Sheets (Mihira no uchi). Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 8 3/8 x 7 5/16 in. (21.3 x 18.6 cm). Date: mid- 1810s. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Kanko, Box(), recto - stamped, A box on which Okina and Ouna from the play Takasago, depicted as an old couple. The box is cut from wood with seven panels and mounted on a bamboo stick., print, prent, surimono, prints, Japan (collection), height 196 mm, width 174 mm, Japanese, print maker, printmaker, 1859 - 1859, paper, papier, colour woodcut

Tiger Calligraphy dated 1890 Weng Tonghe Chinese. Tiger Calligraphy. Weng Tonghe (Chinese, 1830-1904). China. dated 1890. Hanging scroll; ink on silver-flecked red paper. Qing dynasty (1644-1911). Calligraphy

Pair of screens with 6 panels with gold background, Edo period, Japanese, 1600-1867. From a private collection.

Design on Paper Japan. Paper .

Landscapes of the Four Seasons. Artist: Keison (Japanese, active late 15th- early 16th century). Culture: Japan. Dimensions: Image (a): 38 5/16 × 19 9/16 in. (97.3 × 49.7 cm)Overall with mounting (a): 75 13/16 × 25 11/16 in. (192.5 × 65.3 cm)Overall with knobs (a): 75 13/16 × 27 1/2 in. (192.5 × 69.8 cm)Image (b): 38 3/8 × 19 5/8 in. (97.4 × 49.8 cm)Overall with mounting (b): 75 9/16 × 25 11/16 in. (192 × 65.3 cm)Overall with knobs (b): 75 9/16 × 28 1/8 in. (192 × 71.4 cm). Date: late 15th-early 16th century.Subtle seasonal motifs--rising mist, geese descending toward a sandbank on a moonlit night, snow-laden branches--are indicators of a seasonal progression from verdant spring and summer in the right scroll to autumn and winter in the left. Although the two compositions mirror each other, and landforms in the middle ground seem to connect the two scrolls, this pair of landscapes would once have served as the flanking scrolls of a triptych centered on a Buddhist figure such as K

Chen Hongshou (1598 - 1652), courtesy name Zhanghou and pseudonym Laolian, was a Chinese painter from Zhuji who lived during the late Ming Dynasty era. Chen trained under the famed artist Lan Ying, and developed a plump and profound brushwork style that lent itself to illustrations and tapestry portraits. Chen Zi (1634 - 1713), also from Zhuji, was the son of Chen Hongshou and a renowned artist in his own right.

Letter by Yu Shinan (558-638). Artist: Wang Duo (Chinese, 1592-1652). Culture: China. Dimensions: 6 5/8 x 20 3/4 in. (16.8 x 52.7 cm). Date: dated 1637. Museum: Metropolitan Museum of Art, New York, USA.

Big Eels. Date/Period: 1838/1842. Woodblock print. Width: 13.3 cm. Height: 19.2 cm (sheet). Author: KATSUSHIKA HOKUSAI.

Ru Brigade, Tenth Group, Iriya: Actor Nakamura Bungorō II as Asagao Senbei. Utagawa Kunisada (Toyokuni III) (Japan, Edo, 1786-1865)Utagawa Hiroshige II (Japan, 1826-1869)Utagawa Sadahide (Japan, 1807-1873). eighth month, 1863. Prints; woodblocks. Color woodblock print

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper strip, plain weave with supplementary patterning wefts bound in weft-float faced 1 3 'Z' twill interlacings; label silk, plain weave; painted with ink, glued over paper .

Bottom of the Sea Showing Cray Fish. Artist: Seki Shuko (Japanese, 1858-1915). Culture: Japan. Dimensions: 14 1/4 x 10 5/8 in. (36.2 x 27.0 cm). Date: ca. 1890-92. Museum: Metropolitan Museum of Art, New York, USA.

Snake curled around watermelons in a box decorated with folded paper; poem by Kyokusanjin; surimono. Hokkei, Totoya (1780-1850), graphic artist

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