Historic Asian Artworks

A selection of traditional Asian artworks showcasing figures from folklore, religious themes, and vibrant prints, highlighting the cultural richness of Japan and China.

Japan, Enba, Danjûrô, Kazunari, Narabe, Kakihito, Momotei, Shinsai, Ryûryûkyo, Kasen awase, A comparison game of poems, Shijimigai, The freshwater clam, Fresh-water clam, Two women and a boy on New Year's Day on their way to a temple. One of the women holds a bamboo pole with wrapped gifts hanging from it, the boy carries the other end of the pole on his shoulder. It can be deduced from the poem that they are on their way to the Tenmangu temple near Kameido, in Edo. With three poems., print, surimono, prints, Japan (collection), height 137 mm, width 184 mm, Japanese, 1764 - 1825, print maker, 1809 - 1809, first quarter 19th century, paper, color woodcut, poet

The Actor Ichikawa Danjuro V as Akushichibyoe Kagekiyo Disguised as a Beggar, in the Play Tsukisenu Haru Hagoromo Soga, Performed at the Ichimura Theater in the Third Month, 1777 1772-1782 Japan. Color woodblock print; hosoban; right sheet of diptych . Katsukawa Shunsho

Ajita, the Fifteenth Venerable Luohan. Origin: China. Ink and color on silk. Period: Yuan dynasty. Date: 1345. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Shakyamuni with luohan, heavenly king, and boys early 17th century Unidentified artist Young boys are a common auspicious motif in Chinese paintingand decorative arts. Here, a group of four boys playfully deliver offerings to Shakyamuni, the historical Buddha, who is attended by a luohan and a heavenly king, a martial figure who guards one of the cardinal directions.. Shakyamuni with luohan, heavenly king, and boys. Unidentified artist. China. early 17th century. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Water-moon Avalokiteshvara. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 45 1/16 x 21 7/8 in. (114.5 x 55.6 cm)Overall with knobs: 79 3/8 x 30 1/8 in. (201.6 x 76.5 cm)Overall with mounting: 79 3/8 x 28 in. (201.6 x 71.1 cm). Date: first half of the 14th century.The Water-moon Avalokiteshvara (Korean: Suwol gwaneum) is an iconographic type that was popular in Korea during the Goryeo period. She was worshipped for her ability to prevent calamities and diseases and to safeguard travelers on their journey. This painting shows the resplendently attired bodhisattva in three-quarter view, seated on a rocky outcropping above the waves. At the top is a diminutive moon, in which a hare pounds the elixir of immortality. At the bodhisattva's feet, the dragon king leads a group of elegantly dressed miniature figures; behind them follow sea monsters bearing precious gifts. The boy pilgrim Sudhana (Korean: Seonjae dongja) stands at the lower right; his encounter with this deity, a

Japan, Enba, Danjûrô, Kazunari, Narabe, Kakihito, Momotei, Shinsai, Ryûryûkyo, Kasen awase, A comparison game of poems, Shijimigai, The freshwater clam, Fresh-water clam, Two women and a boy on New Year's Day on their way to a temple. One of the women holds a bamboo pole with wrapped gifts hanging from it, the boy carries the other end of the pole on his shoulder. It can be deduced from the poem that they are on their way to the Tenmangu temple near Kameido, in Edo. With three poems., print, surimono, prints, Japan (collection), height 137 mm, width 184 mm, Japanese, 1764 - 1825, print maker, 1809 - 1809, first quarter 19th century, paper, color woodcut, poet

Shakyamuni with the Sixteen Benevolent Deities, mid- to late 1300s. Japan, Nanbokuchō period (1336-92). Hanging scroll; ink, color, gold and cut gold on silk; painting: 106.5 x 56.6 cm (41 15/16 x 22 5/16 in.); overall with knobs and cord: 201.5 x 80.4 cm (79 5/16 x 31 5/8 in.). The historical Buddha Shakyamuni forms a triad with the bodhisattvas Fugen and Monju. Sixteen deities who protect the Buddhist scripture called the Great Perfection of Wisdom Sutra surround them. At the bottom left stands the Chinese monk Xuanzang, noted as a Buddhist scholar and translator of religious texts from India, including the Great Wisdom Sutra.

Scene from A Drama THE ACTORS NAKAMURA SHIKAN in THE ROLE OF KIBUN DAIJIN (I.E. Kinobunya Bunzaemon) and Ichimura Uzaemon as the Ghost of Tamagiku YOSHIIKU, UTAGAWA (1833 1904)

A white-robed Buddhist figure seated in a niche of rocks. Ink and color. Signature and two seals. Date: 17th century. Origin: China. Period: Ming dynasty. Ink and color on silk, mounted on panel. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The Legendary Empress Jingū dated 1847 Studio of Katsushika Hokusai 飾北斎 Japanese Jingū is said to have been a third-century ruler of Japan. Following the death of her husband, she donned armor and, according to legend, led a military campaign into the Korean peninsula. A powerful shamaness, Jingū is regarded as an example of the onna-bugeisha, woman warriors who fought alongside men. She is often depicted in masculine garb with a sword, a bow, and a quiver of arrows.. The Legendary Empress Jingū 45811

Man and child praying, from Paradise and the Peri by Moore, USA, Illinois, Chicago, Newberry Library, 19th century

Kshitigarbha. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 33 1/4 × 14 1/2 in. (84.5 × 36.8 cm)Overall with mounting: 79 × 25 3/8 in. (200.7 × 64.5 cm)Overall with knobs: 79 in. × 27 1/4 in. (200.7 × 69.2 cm). Date: first half of the 14th century.A compassionate bodhisattva who rescues sentient beings from descending into hell or purgatory, Kshitigarbha (Korean: Jijang) became enormously popular during the Goryeo period. A key figure in Pure Land Buddhism, Kshitigarbha was often depicted singly and in the guise of a monk--with a shaved head, wearing a monk's robe, and holding his standard attributes, a staff and a wish-fulfilling jewel (cintamani). This exquisite scroll is a well-preserved example of Goryeo Buddhist painting. Some of its hallmarks are the deity's graceful facial features and slender fingers, the red and green colors of the robe, and the sumptuously elegant gold decoration. Very few Korean paintings made prior to the fourteenth century survive. Bu

Arhat with FlyWhisk

A Priest (Kobo Daishi) practicing the Tantra, a demon before him, and a wolf behind. Origin: Japan. Period: Edo period. Ink and color on paper. Date: 1760-1868. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Immortals and Sages Unidentified artist. Immortals and Sages 36032

One of the twelve deva: Kwa-ten (Agni). Origin: Japan. Date: late 15th-early 16th century. Period: Muromachi period. Color and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Life of the Buddha: Subjugation of Demons early 15th century Japan This panel portrays the heretic Raudraksa fighting the Buddha's disciple Sariputra. Two of the six contests of their magical power are represented at the right: above, Sariputra causes a wind to blow down a large tree created by Raudraksa, and below, an elephant created by Sariputra drinks up the flood caused by Raudraksa. Sariputra's defeat of Raudraksa testifies to Buddha's Law, presented as an iconic gathering on the left.. Life of the Buddha: Subjugation of Demons 45212

Welcoming Descent of Amida Buddha 15th-16th century Japan Like many of the works of art created to represent the Pure Land belief in salvation through faith, "welcoming descent" (raigō in Japanese) paintings such as this one were indispensable religious furnishings at the time of death. Such paintings depict the scene in which Amida (Amitabha in Sanskrit) Buddha, often with attendants, descends on clouds from heaven to escort a believer to the Western Paradise. The richly decorated robein particular, the raised pattern of peonies along the hemsuggests a date in the fifteenth or sixteenth century.. Welcoming Descent of Amida Buddha 45592

Jizo Bosatsu. Culture: Japan. Dimensions: Image: 41 1/2 x 19 3/8 in. (105.4 x 49.2 cm)Overall with mounting: 60 x 24 3/4 in. (152.4 x 62.9 cm)Overall with knobs: 71 1/4 x 27 in. (181 x 68.6 cm). Date: 15th century.As veneration of Jizo and reliance on him became widespread during the Kamakura period, he came to be depicted as a single figure descending to aid the suffering and to guide them to paradise. Derived from the raigo images of Amida Buddha descending to welcome a dying believer in the company of this many bodhisattvas, which usually included Jizo, the single-image Jizo raigo portrays him standing in a walking posture, emphasized by the postition of this feet on double lotus pedestals atop a cloud that trails behind as he traverses the Six Realms of Existence. His monk's robe is beautifully decorated with intricate patterns of cut gold. He carries the wish-granting jewel and the golden shakujo, or staff with six jangling rings to announce his arrival. Now barely visible, dou

Shaka (Shakyamuni), The Historical Buddha, Descending from the Mountains 15th century Japan Shaka renounced the world and went into the mountains to become an ascetic at the age of twenty-nine. Unable to reach enlightenment after six years of rigorous austerities, he departed in disillusionment. He resolved to continue his search not by challenging his physical endurance but through disciplined meditationa moment that developed importance only among Zen Buddhists.This picture is modeled after a work by a little-known thirteenth-century Chinese painter of religious figures, Yan Hui. Introduced to Japan by the late fourteenth century, his art proved influential among Japanese painter-monks in Buddhist monasteries. Numerous paintings in Japan, including this one, have been attributed to Yan Hui himselfmore as a form of stylistic categorization than as an indication of actual authorship. Shaka (Shakyamuni), The Historical Buddha, Descending from the Mountains. Japan. 15th century. Hangin

Amitabha triad ca. 13th century Unidentified artist The Amitabha Buddha (Korean: Amita) was the focus of worship in Pure Land Buddhism, which enjoyed great popularity during the Goryeo period. Devotees were promised entrance to Amitabhas Western Paradise upon recitation of his name. Seated high on an elaborate lotus throne, Amitabha is flanked by two bodhisattvas, Avalokiteshvara (Korean: Gwaneum) on his left and Mahasthamaprapta (Korean: Dae Seji) on his right. The identifying attributes of the former include a miniature image of Amitabha in her crown and a ritual sprinkler, or kundika, in her left hand; the latter can be identified by the kundika in her crown. The Buddhas hand gesture, or mudra, represents the preaching of Buddhist law. The symbol on his chest, associated with Buddhism, originated in ancient India. The intricately rendered gold decoration on the deities robes, particularly in the roundels of the Buddhas garment, exemplifies the dazzling virtuosity of Goryeo Buddh

Ichikawa Ebizō (Danjūrō V) in the Role of Mongaku Shonin Disguised as Yamagatsu from the Play Kin no Menuki Minamotoya Kakutsuba 1781-1801 Katsushika Hokusai Japanese This print is Hokusai's early work, with a signature of Shunrō, when he was a student of Katsukawa Shunshō. Danjūrō strikes an impressive pose with his foot on a huge ax.. Ichikawa Ebizō (Danjūrō V) in the Role of Mongaku Shonin Disguised as Yamagatsu from the Play Kin no Menuki Minamotoya Kakutsuba 56018

Fudō Myōō and Two Attendants After Ryūshū Shūtaku (Myōtaku) Japanese Fudō Myōōliterally, “the Immovable Wisdom King”is a fearsome protector of Buddhist teachings. Originally an important deity of Japanese Esoteric Buddhism (Mikkyō), he was also revered in Zen temples. This triptych of images (1975.268.26-.28), hand-painted but with printed outlines, was created as one of the publication projects promoted by early medieval Zen temples to spread Buddhist teachings and iconography. This printed triptych seems to have been based on a painting of Fudō and his attendants executed by the noted Zen monk-scholar Ryūshū Shūtaku (also known as Myōtaku), who is said to have painted pictures of Fudō on a daily basis for over twenty years. The boy attendants often depicted with Fudō are Kongara (on the right) and Seitaka. The model for this printed triptych was most likely Myōtaku’s painting in the collection of the Henjōkō’in temple at Kōyasan. Fudō Myōō and Two Attendants 45204

Arhat Pindola Bharadvaja unknown

The Hell Courtesan Utagawa Kunisada II Japanese late 1850s This dazzling, nearly life-size, portrayal of a courtesan commands our attention because of the sumptuously patterned robes showing gory scenes of the Buddhist hell, presided over by Enma-ō, a wrathful god in Buddhism who judges the dead and presides as the King of Hell. Seated on throne, he is surrounded by seven of his judges while he reviews and records the misdeeds of the recently deceased, some of whom are prostrated in terror before him. Surrounding the central image of King Enmas court are gory scenes of punishments of hell with demons presiding over sinners being variously tortured, burnt, and boiled.The subject is a woman of medieval times in Japan who worked in the Takasu district of Osaka and who was known as the Hell Courtesan, (Jigoku Dayū). Jigoku, literally hell, was also a term referring to unlicensed courtesans, while tayū (read dayū in combination with jigoku) was the term for the highest-ranking courtesan. I

Buddha, Anonymous, c. 1400 - c. 1500 Painting, Buddha Amitabha. Korea, Amida 15th century Korea paper. ink. dye Painting, Buddha Amitabha. Korea, Amida 15th century Korea paper. ink. dye

The Liao Dynasty, also known as the Khitan Empire, was a state that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü clan of the Khitan people in the same year as the Tang Dynasty collapsed (907), even though its first ruler, Yelü Abaoji (Yaruud Ambagai Khan), did not declare an era name until 916. Although it was originally known as the Empire of the Khitan, the Emperor Yelü Ruan officially adopted the name 'Liao' (formally Great Liao’) in 947. Another name for China in English, Cathay, is derived from the name Khitan. This is also the origin of the Russian word for China, Китай or Kitay, and that of several other East European languages. The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelü Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which extended its influence over Central Asia into Persia and survived until t

The Fourteenth Arhat, Vanavasi (Banabashi) from a set of Sixteen Arhat (JûrokuRakan)

Immortal Poet 17th century Kano Shōun Japanese. Immortal Poet 45705

Benzaiten and Fifteen Attendants 13th century Japan. Benzaiten and Fifteen Attendants 45623

Welcoming Descent of Jizo. Culture: Japan. Dimensions: Image: 42 in. × 15 7/8 in. (106.7 × 40.3 cm)Overall with mounting: 81 1/4 × 22 3/8 in. (206.4 × 56.8 cm)Overall with knobs: 81 1/4 × 24 1/2 in. (206.4 × 62.2 cm). Date: early 14th century.Among the many iconographies of the bodhisattva Jizo (Sanskrit: Kshitigarbha) that originated in the Kamakura period is the "welcoming descent," or raigo. This painting depicts Jizo in the guise of a monk carrying a wish-fulfilling jewel and a golden staff as he descends to earth on a cloud to rescue a suffering believer. Images of salvation such as this one are more commonly associated with the Buddha Amida (Sanskrit: Amitabha), who escorts the dead to his Western Pure Land with twenty-five bodhisattvas, including Jizo. Images of the welcoming descent of Jizo may be related to the important Kasuga Shrine in the former capital of Nara, where Jizo is one of the primary Buddhist deities of worship. Museum: Metropolitan Museum of Art, New York, US

Japan: 'Shimochi, Ainu Chieftain of Akkeshi', Kakizaki Hakyo (1764-1826), 1790

The Discourse of Vimalakirti and Manjusri. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Poetess Ise no Tayū, first half 18th century, Miyagawa Chōshun, Japanese, 1682 - 1752, 14 9/16 × 22 7/8 in. (36.99 × 58.1 cm) (image), Ink and color on silk, Japan, 18th century, A lady with long, open black hair in classical court attire from the 11th century is standing under a cherry tree, with her sleeve raised to her mouth. These visual elements suggest that she is Ise no Tayū, a famous poet who is one of the late classical Thirty-Six Immortal Poets.

Japan: 'Chikiriashikai, mother of Ikotoi, Ainu chieftain of Akkeshi', Kakizaki Hakyo (1764-1826), 1790

Seiry Gongen mid-14th century Japan Seiry Gongen is a female deity who protects Daigoji, a Shingon-sect Esoteric Buddhist temple in south Kyoto. Seiry can be written with different Chinese characters, meaning either “pure waterfall” or “blue dragon”—a nod to her scriptural origins as the third daughter of the Dragon King, Shagara, who is associated with the sea and rainmaking. Based on an earlier painting once owned by Daigoji, this work shows her holding a wish-fulfilling jewel. Having just opened a sliding door, she looks down at a small girl holding a book. According to an inscription on the earlier work, the picture illustrates the dream vision of a certain Daigoji monk who described having seen the goddess deliver to a young girl teachings on Buddhist herbal medicine.. Seiry Gongen. Japan. mid-14th century. Hanging scroll; ink and color on silk. Nanbokuch period (1336-92). Paintings

Silk scroll. Kegon Gojugosho scroll. Zenzai Doji priest and 55 men. Heian Period. 12th cent.

The Immortal Lü Dongbin Appearing over the Yueyang Pavilion late 13th-early 14th century Unidentified artist This fan depicts the Daoist immortal Lü Dongbin hovering above the Yüeh-yang Lou, a famous pavilion on the east shore of Lake Dongting, in Hunan Province. During the thirteenth and fourteenth centuries, the cult of Lü Dongbin flourished under the influence of the Quanzhen ("Perfect Realization") sect of Daoism. The center of the cult was the Yongle Gong (Temple of Eternal Joy) in Shanxi Province. The painting style of the figures and the architecture and landscape details of this fan relate closely to murals in Yongle Gong that date to the latter half of the Yüan period (1279-1368). Therefore, the cyclical date dingsi inscribed on the wall outside the pavilion in this picture probably corresponds to the year 1377.. The Immortal Lü Dongbin Appearing over the Yueyang Pavilion. Unidentified artist Chinese, late 13th-early 14th century. China. late 13th-early 14th century. Fan mount

Ten Kings of Hell before 1195 Jin Chushi Chinese This is one from a set of scrolls (30.76.290-.294) illustrating the theme of the Ten Kings of Hell, which developed during the second half of the Tang dynasty (618-907). The theme transforms the Indian Buddhist view of judgment after death into a typically Chinese bureaucratic process. Before being permitted to transmigrate into the next life, a soul is tried by a different king each week for seven weeks; it is sent to the eighth king on the hundredth day, to the ninth after a year, and to the tenth the third year after death. Here, each scroll shows a kingassisted by a scribe and other officialsexamining and passing sentence on the souls of the dead; in the foreground demons punish the wicked..Most extant Song and Yuan dynasty Buddhist paintings were preserved in Japan; many had been taken there from Ningbo, Zhejiang Province, an important port city for Japanese merchants and pilgrims. Inscriptions on the present paintings state that

Poet Li Bai () and Two Maids. Huang, Shen (1687 - po 1768), painter

Japan, Kanazawa, Nagamachi, samurai district, Nomura House, interior

The Astana Graves are a series of underground tombs located 6km from the ancient city of Gaochang, and 42km from Turpan, in Xinjiang, China. The tombs were used by the inhabitants of Gaochang, both commoners and locals, for about 600 years from 200 CE - 800 CE. The complex covers 10 square kilometers and contains over 1,000 tombs. Different plots for separate castes and families are marked by gravel dividers. Due to the arid environment many important artifacts have been well preserved at the tombs, including natural mummies. A typical tomb is entered by a 10 meter sloping staircase. The tombs are not very large, usually only 2 meters high. Some tombs also have murals inside. The deceased were laid on a small raised platform in the back of the tomb, surrounded by possessions and even food. Their faces were covered by cloths, some of which have distinct Persian motifs. A small funeral brick was placed to next to each body, on which was written the person's name and other biographical in

Guanyin and the sixteen luohans 16th-17th century Unidentified artist Chinese beliefs about magical islands and enchanted caves were blended with Buddhist ideas imported from India to create iconographic combinations like the one you see here. Mystical clouds encircle the magical island of Mount Putuo as a dragon rises from the crashing waves. The bodhisattva Guanyin, who pledged to forgo enlightenment and remain in the world in order to aid suffering beings, sits in a cave high atop the mountain. Sixteen luohans, wizened guardians of the Buddhist law, pay her homage. Prostrating before Guanyin is the young pilgrim boy Sudhana (Chinese: Shancai), who has come to her seeking spiritual guidance.. Guanyin and the sixteen luohans 36008

Bodhisattva 9th-10th century Xinjiang Uyghur Autonomous Region. Bodhisattva 49570

Japan: Traditional crafts and trades of the 18th century from a hand-painted album by an anonymous artist. Folio 39. Hand-coloured illustration from a Japanese miscellany on traditional trades, crafts and customs in mid-18th century Japan, dated Meiwa Era (1764-1772) Year 6 (c. 1770 CE).

Priest Xianzi (Kensu) Catching a Shrimp, first half 17th century, Shōjō Shōkadō, Japanese, 1584 - 1639, H.20 x W.11-13/16 in. (image), Hanging scroll; ink on paper, Japan, 16th-17th century, The semi-legendary 9th-century Chinese priest Xianzi (Jap. Kensu 子) is catching a shrimp that he is going to eat in conflict with Zen Buddhism.

Prince Shōtoku at Age Sixteen 14th century In the Style of Toba Sōjō Japanese Imaginary portraits and legends about the life of Prince Shōtoku (574-622), the foremost proponent of Buddhism in Japan, emerged soon after his death. Based on the princes mid-Heian-period biography, this painting portrays him in a form in which he was often revered as a deified historical figure: at the age of sixteen, he prayed for his father, Emperor Yōmei (518-587), to recover from illness. The pose, which belongs to a category of portraiture known as kōyō-zō (images of filial piety), appears in both paintings and sculptures of young Shōtoku, which make up nearly half his extant portraits. Dressed in a monks robe, he holds a censer; his hair is arranged in the two loops of a youth and frames boyish, idealized features.. Prince Shōtoku at Age Sixteen 45630

Buddhist Image 1180, Sheng-wen, Chang, 1180

The term Fu Lu Shou or Fulushou collectively refers to the concept of Good Fortune (Fu), Prosperity (Lu), and Longevity (Shou). This Taoist concept is thought to date back to the Ming Dynasty, when the Fu Star, Lu Star and Shou Star were considered to be personified deities of these attributes respectively. The term is commonly used in Chinese culture to denote the three attributes of a good life.

Nonomiya; Flowers of one hundred worlds; Momoyogusa, dl. 1. Noh actor in the Nonomiya piece. Actor with white mask and golden range in right hand, dressed in kimono with plant motifs over a red robe standing under a Bamboo Torri (temple gate).

A Chinese man standing holding three vessels on a tray. Watercolour.

Amitabha and Kshitigarba first half of the 14th century Unidentified artist The combination of the Amitabha Buddha (Korean: Amita) and the bodhisattva Kshitigarbha (Korean: Jijang)on the right and left, respectively, standing under a canopyis the only known example of this iconography in Goryeo Buddhist painting. A more typical composition features these two figures with the bodhisattva Avalokiteshvara (Korean: Gwaneum), forming a triad in which Amitabha is the central deity, or just the two bodhisattvas. Both deities in this painting enjoyed a strong following during the Goryeo dynasty due to the popularity of Pure Land Buddhism. Amitabha Buddha offered the promise of easy salvation and entry into the Western Paradise; Kshitigarbha provided guidance and redemption in death and the afterlife.Buddhist paintings of the Goryeo dynasty were renowned for their delicacy, refinement, and exquisitely rendered gold-painted designs. Pigments were applied to the front and back of the silk, inte

Two Taoists. Huang, Shen (1687 - po 1768), painter

Male figure with writing rolls, detail from Yamaraja, fifth judge of the underworld, 1795, colour on silk, from the temple of Suguk-Sa, South Korea. Korean Civilisation, Joseon dynasty, 18th century.

Portrait of Rigen Daishi, 16th century, Unknown Japanese, 35 9/16 × 16 3/8 in. (90.33 × 41.59 cm) (image)68 1/2 × 22 1/16 in. (173.99 × 56.04 cm) (mount, without roller), Ink and color on silk, Japan, 16th century, In this portrait, master monk Shōbō (832-909), referred to as 'Rigen Daishi' after his death, takes a seated position on a raised chair with shoes placed before him. In his right hand he holds a vajra, a Buddhist ritual weapon used in esoteric Buddhist rituals. Rigen Daishi was the founder of Daigoji, a Shingon Buddhist temple in southeastern Kyoto. Shingon ('True Word') is a sect of Esoteric Buddhism founded in Japan in the 900s, and stresses the importance of meditation through complex ritual ceremonies and objects. Esoteric Buddhist teachings are transmitted orally in secret which cannot be found in texts.

Amitabha Welcoming a Soul to Paradise. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Inscription on the anonymous painting of Chen Puxie Ikky Sjun Japanese late 15th century Ikky Sjun, an erudite monk of the Rinzai Zen sect, built a reputation as one of medieval Japan’s great eccentrics and religious iconoclasts, both through his personal behavior in the conservative society of Kyoto’s Buddhist monasteries and through his Chinese poetry. The persona of eccentricity was also partly established and reinforced by his idiosyncratic calligraphy, as seen here. Ikky is also among the monk-poet-calligraphers of medieval times who helped establish the image of Zen art and literature as an aesthetic system that could be directly experienced and enjoyed without being an actual practitioner of the strict ascetic lifestyle that underlay it. He was famous in his day for breaking religious taboos, and for his refusal to practice celibacy expected of a Buddhist monk. As a poet he used the pen name Kyun, or “Crazy Cloud,” and his collection of poems, The Crazy Cloud Antholog

Krishna with cows from Linga altar. Krishna comes with two cows to a linga altar, on which a calf is; In the foreground on the left two kneaded servants with scales behind a pond with lotus flowers and ducklings; In the background a winged deity floats above large flowers and a tree.

Woman Carrying Bamboo with Charms Torii Kuyonobu (1664-1729 Japanese)

Priest and Monk by a Temple Veranda. Japan, 19th century. Prints; woodblocks. Page from a woodblock printed book

Standing woman for a linga altar. .

Portrait of the actor Nakamura Nakazo next to the an altar. Rain

Possession of the Shamaness Tajihi no Ayako by the Spirit of Sugawara no Michizane, from Illustrated Legends of the Kitano Tenjin Shrine ca. 1300 Japan The ancient Shinto belief that forces of nature are animated by human spirits underlies the legendary origins of the Kitano Tenjin Shrine in Kyoto. The scholar-statesman-poet Sugawara no Michizane (845-903) died in exile following slander by his enemies at court. When natural disasters caused the deaths of his detractors, he was posthumously promoted to high office, and soon thereafter his spirit was deified as Tenjin, patron of the falsely accused. In this scene, from what was originally a set of handscrolls painted in the hakuby (white drawing) style of narrative illustration, a shamaness called Tajihi no Ayako receives an oracle in the form of a possession by the spirit of Sugawara no Michizane, telling her to worship the deceased statesman as a god. The scene shows the disheveled, partially unclothed shamaness performing an ecstati

A ninja or shinobi was a covert agent or mercenary in feudal Japan who specialized in unorthodox warfare. The functions of the ninja included espionage, sabotage, infiltration, and assassination, and open combat in certain situations. Their covert methods of waging war contrasted the ninja with the samurai, who observed strict rules about honor and combat. The shinobi proper, a specially trained group of spies and mercenaries, appeared in the Sengoku or 'warring states' period, in the 15th century, but antecedents may have existed in the 14th century, and possibly even in the 12th century (Heian or early Kamakura era).

A woman wearing a traditional burqua or Muslim veil. Gouache painting by a Persian artist, Qajar period.

Liu Haichan right of the set Daoist Immortals, 1646, Kano Sansetsu, Japanese, 1589 - 1651, 65 1/2 x 45 1/2 in. (166.37 x 115.57 cm) (image)69 x 49 x 1 3/4 in. (175.26 x 124.46 x 4.45 cm) (outer frame), Ink, color, and gold leaf on paper, Japan, 17th century, These sliding door panels (fusuma) show a group of Chinese Daoist immortals. The Chinese believed the immortals were historical and legendary personages who, through moral virtue, faith, and discipline, managed to transcend the bounds of the natural world and live forever. They were worshiped as saints. Old Chinese themes like this were admired in Japan by military rulers and Zen priests, who exalted Chinese culture and its heroes.

Fudō Myōō and Two Attendants After Ryūshū Shūtaku (Myōtaku) Japanese Fudō Myōōliterally, “the Immovable Wisdom King”is a fearsome protector of Buddhist teachings. Originally an important deity of Japanese Esoteric Buddhism (Mikkyō), he was also revered in Zen temples. This triptych of images (1975.268.26-.28), hand-painted but with printed outlines, was created as one of the publication projects promoted by early medieval Zen temples to spread Buddhist teachings and iconography. This printed triptych seems to have been based on a painting of Fudō and his attendants executed by the noted Zen monk-scholar Ryūshū Shūtaku (also known as Myōtaku), who is said to have painted pictures of Fudō on a daily basis for over twenty years. The boy attendants often depicted with Fudō are Kongara (on the right) and Seitaka. The model for this printed triptych was most likely Myōtaku’s painting in the collection of the Henjōkō’in temple at Kōyasan. Fudō Myōō and Two Attendants 45202

Piṇḍolabbaradvāja, the First of the Sixteen Arhats, 13th - early 14th century, Unknown Japanese, 37 3/4 × 15 3/4 in. (95.89 × 40.01 cm) (image)68 × 22 1/2 in. (172.72 × 57.15 cm) (mount), Ink, color, and gold leaf on silk, Japan, 13th-14th century, Buddhist 'achievers' or rakan strive for 'awakening'enlightenmentand the attaining of nirvana. Rakan could be depicted in a more natural, life-like manner or with grotesquely distorted features. The image of the running waterfall in the background and a deer standing next to a seated rakan figure might depict the third rakan, Kanaka, who vowed to protect the Buddha’s Law.

LIBRO KALILA Y DIMNA - FABULA DEL ANCIANO Y LOS PAJAROS HACIA 300 DC - MANUSCRITO SIGLO XIV. Author: FABULAS DE BIDPAI. Location: B GULISTAN PALACE. Teheran. IRAN.

HOTOKE BIJ DE NONNEN, KOBAYASHI KIYOCHIKA, 1897 print Three nuns in Open Hut, surprised by the arrival of the beautiful hotoke, in the foreground with white headscarf. Due to regret about a love affair, the former dancer Hotoke decides to enter as a nun. The white headscarf shows this decision. paper color woodcut / polishing adult woman (+ four persons). civic architecture; edifices; dwellings

Dakiniten, the Buddhist Manifestation of the Shinto Deity Inari, late 14th century, Unknown Japanese, 26 7/16 × 15 1/4 in. (67.15 × 38.74 cm) (image)59 1/2 × 21 13/16 in. (151.13 × 55.4 cm) (with rollers), Ink and color on silk, Japan, 14th century, Buddhism officially entered Japan in the mid-500s, and by the 800s, Japanese Buddhists had developed a theory that kami, native gods, were incarnations of Buddhist deities. The figure of Dakiniten in this scroll exemplifies Buddhisms ready assimilation of native gods. In Hinduism, a ḍākinī is a female spirit or deity who eats the flesh and heart of humans nearing death. In Japan, the deity entered the Buddhist canon as a converted Hindu goddess, Dakiniten. Dakiniten was further conflated with the Shinto kami (deity) Inari, who was associated with abundance, especially of rice. Here, she is shown riding a white fox, another representation of Inari. The foxs legs are wrapped in snakes, a reference to another converted Hindu goddess, Benzait

Three Chinese sages. Watercolour painting by a Chinese painter.

Arhat sitting and reading (in Buddhism, arhat is perfected person)

Kumano Shrine Mandala early 14th century Unidentified artist Kumano mandalas represent the Kumano Shrine complex, one of the most sacred sites in Japan. The painting is divided into three sections. At center, Buddhas and bodhisattvas sit on the tiled floor of a temple. In the bottom register, Shinto deities appear against mountains that dip into the Pacific Ocean. The top register reflects the distinctive confluence of Shinto and Buddhism that took place in medieval Japan, depicting deities from both religious traditions standing side by side. At right is Nachi Waterfall, the largest waterfall in Japan, whose tutelary deitythe one-thousand-armed Kannonis shown in shining gold. Standing against the tallest peak is the three-eyed, blue-bodied Za? Gongen, the tutelary deity of yamabushi (mountain-dwelling practitioners of a sect known as Shugend?). The sect's legendary founder, En no Gy?ja, can be seen seated in a nearby cave, flanked by his two servant-demons.. Kumano Shrine Mandala. U

A hand-drawn, hand-coloured watercolour from the late 19th century by an unknown Burmese artist. The name of the ethnic group featured appears near the top of the picture in Shan script (left), Burmese script (Centre) and Khun script (right). Khun script was formerly used in Kengtung / Kyaingtong in eastern Shan State and in Lan Na or Lanna, northern Thailand. The Tai ethnicity refers collectively to the ethnic groups of southern China and Southeast Asia, stretching from Hainan to eastern India and from southern Sichuan to Laos, Thailand, and parts of Vietnam, which speak languages in the Tai family and share similar traditions and festivals, including the water festival. Despite never having a unified nation-state of their own, the peoples also have historically shared a vague idea of a 'Siam' nation, corrupted to Shan or Assam in some places. The majority of Tai Lu live around Xishuangbanna in Yunnan Province in southern China. Other Tai Lu villages can be found in Laos, Vietnam, Tha

The Liao Dynasty, also known as the Khitan Empire, was a state that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü clan of the Khitan people in the same year as the Tang Dynasty collapsed (907), even though its first ruler, Yelü Abaoji (Yaruud Ambagai Khan), did not declare an era name until 916. Although it was originally known as the Empire of the Khitan, the Emperor Yelü Ruan officially adopted the name 'Liao' (formally Great Liao’) in 947. Another name for China in English, Cathay, is derived from the name Khitan. This is also the origin of the Russian word for China, Китай or Kitay, and that of several other East European languages. The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelü Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which extended its influence over Central Asia into Persia and survived until t

Depiction of the story of the Buddha distracting murderer Angulimala from killing his own mother and 100th murder victim, in the Life of Buddha, Seoul...

The Astana Graves are a series of underground tombs located 6km from the ancient city of Gaochang, and 42km from Turpan, in Xinjiang, China. The tombs were used by the inhabitants of Gaochang, both commoners and locals, for about 600 years from 200 CE - 800 CE. The complex covers 10 square kilometers and contains over 1,000 tombs. Different plots for separate castes and families are marked by gravel dividers. Due to the arid environment many important artifacts have been well preserved at the tombs, including natural mummies. A typical tomb is entered by a 10 meter sloping staircase. The tombs are not very large, usually only 2 meters high. Some tombs also have murals inside. The deceased were laid on a small raised platform in the back of the tomb, surrounded by possessions and even food. Their faces were covered by cloths, some of which have distinct Persian motifs. A small funeral brick was placed to next to each body, on which was written the person's name and other biographical in

The 6 Paths to Rebirth and the 10 Kings, Bodhisattva Ksitigarbha, painting on silk, c.983 AD, Song Dynasty, from caves at Mogao (Gansu), Dunhuang, detail

Kwanum, anonymous, 1300 - 1400 Painting by Guanyin sat on a rock from the Potalaka in Maharajalila. In wooden box. Korea (possibly) silk. ink. dye Painting by Guanyin sat on a rock from the Potalaka in Maharajalila. In wooden box. Korea (possibly) silk. ink. dye

Dismissed, Verstoten, Lizzy Ansingh, 1913,

The Apostle Paul (From the Deesis Range) by Rublev, Andrei (1360/70-1430) State Russian Museum, St. Petersburg ca 1408 Tempera on panel 311x104 Russia, Moscow School Russian icon painting Bible Painting

Departure from Kashima, 1336-92. Japan, Nanbokuchō period (1336-92). Hanging scroll; ink and color on silk; overall: 212.7 x 63.3 cm (83 3/4 x 24 15/16 in.); including mounting: 119.4 x 41 cm (47 x 16 1/8 in.). The kami Takemikazuchi from Kashima (in present-day Ibaraki Prefecture) departs on a white deer for Mount Mikasa in Nara, where he takes up residence. The five Kasuga kami are presented within a golden circle supported by the branches of a sakaki tree, from which trail five white paper streamersindicating the purity and sacredness of the five shrine halls of the complexas well as blossoming wisteria vines, a symbol of the Fujiwara family. The two figures walking along near the stag’s back legs are Nakatomi no Tokif? and his younger brother Hidetsura, who have followed Takemikazuchi and become priests of Kasuga Taisha.

Reeds and Geese dated 11th month, 1343 Tesshū Tokusai Japanese This pair of hanging scrolls, though separated recently as is apparent from their different mountings, once formed part of a triptych flanking a central scroll that depicted the Daoist immortal Lu Dongbin (now in the Nelson-Atkins Museum, Kansas City). This schema, cultivated and popular in Zen temples in Japan, reflected the desire to express the underlying unity of the natural and spiritual worlds. The flying, calling, sleeping, and feeding geese reference the four fundamental aspects of monastic life.Tesshū Tokusai was one of the most cultivated monks of early Japanese Zen Buddhism. As a spiritual discipline, he devoted himself to painting orchids and geese in the style of contemporary Chinese masters. The inscription on the left scroll, partially damaged, includes the date of the eleventh month, 1343, as well as the words for Japan” and a respected scholar.”. Reeds and Geese 44856

Life of Buddha. In one noteworthy story, the Buddha distracted murderer Angulimala from killing his own mother and 100th murder victim. Inspired by the Buddha's fearlessness and wisdom, Angulimala became a disciple and later attained enlightenment himself.

Scholar and Attendant in Mountain Retreat Unidentified artist. Scholar and Attendant in Mountain Retreat 51488

The Bezeklik Thousand Buddha Caves (Bozikeli Qian Fo Dong) are complex of Buddhist cave grottos dating from the 5th to the 9th centuries. There are 77 rock-cut caves at the site. Some ceilings are painted with a large Buddha surrounded by other figures, including Indians, Persians and Europeans. The quality of the murals vary with some being artistically naive while others are masterpieces of religious art.

Fudō Myōō with Four Attendants, Outlined in Seed Syllables Second half of the 15th century Chikai 海 His name meaning “immovable wisdom king,” Fudō Myōō (Sanskrit: Acala-vidyaraja) represents the wrathful aspect of the Cosmic Buddha Dainichi (see the large statue to the left of the Buddhist altar). As in the two sculptures of Fudō displayed nearby, in this painting the Buddhist protective deity holds a wisdom-sword in his right hand and a lasso, outlined in red, in his left. He and his four youthful attendants (dōji) are circumscribed in tiny sacred Sanskrit characters called “seed syllables” (shuji), rendered in black ink. The syllables that form the five figures’ attributes are outlined in red ink.The monk Chikai, based at Kono Shrine near Amanohashidate (Kyoto Prefecture), was associated with the Shingon (Esoteric) sect of Buddhism and known as a prolific painter of Fudō images in his day, though only a few examples survive.. Fudō Myōō with Four Attendants, Outlined in Seed Syllable

A black Tibetan demon with a boar's head, wearing a red and green dress. Gouache painting by a Tibetan artist.

Two beggars asking for alms. Collotype () after an Indian draftsman.

A hand-drawn, hand-coloured watercolour from the late 19th century by an unknown Burmese artist. The name of the ethnic group featured appears near the top of the picture in Shan script (left), Burmese script (Centre) and Khun script (right). Khun script was formerly used in Kengtung / Kyaingtong in eastern Shan State and in Lan Na or Lanna, northern Thailand. The Lisu are a Tibeto-Burman ethnic minority that lives primarily in northern Burma, northern Thailand, China's Yunnan Province and India's Arunachal Pradesh. The approximately 1.2 million Lisu pass their history down from one generation to the next in the form of songs that are often so long that it can take a whole night to sing one.

The Fifteenth Arhat, Ajita (Ajita) from a set of Sixteen Arhat (JûrokuRakan)

Gaikoku jinbutsu zukushi - Amerika nyonin | Library of Congress

Illustrated Frontispiece to the Sutra of Enlightenment through the Accumulation of Merit and Virtue, the So-called Jingoji Sutra ca. 1150-85 Japan This scroll bears a large rectangular Jingo-ji seal in red ink below the title, indicating that it once belonged to the set of more than five thousand sutra scrolls known as the Jingo-ji sutras. The retired emperor Toba (1103-1156) commissioned the transcription of these sutras about 1149. His son Goshirakawa (1127-1192) continued the project and dedicated it to Jingo-ji temple in Kyoto in 1185.. Illustrated Frontispiece to the Sutra of Enlightenment through the Accumulation of Merit and Virtue, the So-called Jingoji Sutra. Japan. ca. 1150-85. Handscroll; gold and silver on indigo-dyed paper. late Heian period (ca. 900-1185). Paintings

The Empress Dowager Ci'an (1837 - 8 April 1881), popularly known in China as the East Empress Dowager, officially known posthumously as the Xiaozhen Empress, was the second Empress Consort of the Xianfeng Emperor (1831 - 1861) of the Manchu Qing Dynasty in China, and then Empress Dowager after 1861. Born the Lady Niuhuru, she was the daughter of Muyangga, an official from a powerful Manchu family, the Niuhuru clan. Her mother was Lady Giyang, of the Giyang clan.

The Mufti, head of religious affairs. Vanmour probably painted the portrait of Abdullah Efendi (1680 -1743). This originally Greek spiritual was connected to the court from 1718 in the position of Seyh Ül Islam and had to clear the field after the uprising of 1730. He was banned, but returned to Istanbul where he died in 1743. Abdullah owned an impressive collection of legally religious documents and played a crucial role in introducing the printing in the Ottoman Empire.

'The Victory of Buddha', 1920. The Buddha's victory over Mara was completed through tranquility and contemplation through which he attained enlightenment. From "Myths of the Hindus & Buddhists", by The Sister Nivedita and Ananda K. Coomaraswamy. George G. Harrap & Company Ltd, London, 1920

Joseon (Korean: 선; Hanja: 朝鮮; also Chosŏn, Choson, Chosun, Cho-sen), was a Korean state founded by Taejo Yi Seong-gye that lasted for approximately five centuries, from July 1392 to October 1897. It was founded following the aftermath of the overthrow of the Goryeo Dynasty in what is today the city of Kaesong. Early on, Korea was retitled and the capital was relocated to modern-day Seoul. The kingdom's northernmost borders were expanded to the natural boundaries at the Amnok and Duman rivers through the subjugation of the Jurchens. Joseon was the last dynasty of Korean history and the longest-ruling Confucian dynasty. During its reign, Joseon consolidated its effective rule over the territory of current Korea, encouraged the entrenchment of Korean Confucian ideals and doctrines in Korean society, imported and adapted Chinese culture, and saw the height of classical Korean culture, trade, science, literature, and technology. However, the dynasty was severely weakened during the late 16

Japan: A chiropractor at work on a patient. Detail from an emaki horizontal scroll, Shijo school, Kyoto, late 18th - early 19th century

A woman diviner burning incense. Watercolour by Zhou Pei Qun, ca. 1890.

Wu Zetian ( 624-705), personal name Wu Zhao, often referred to as Tian Hou during the Tang Dynasty and Empress Consort Wu in later times, was the only woman in the history of China to assume the title of Empress Regnant. As de facto ruler of China first through her husband and her sons from 665 to 690, not unprecedented in Chinese history, she then broke all precedents when she founded her own dynasty in 690, the Zhou (interrupting the Tang Dynasty), and ruled personally under the name Sacred and Divine Empress Regnant and variations thereof from 690 to 705. Her rise and reign has been criticized harshly by Confucian historians but has been viewed under a different light since 1949.

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