Historical Japanese Art

This cluster features traditional Japanese art pieces from the Heian to Edo periods, showcasing court life, nature, and cultural celebrations through delicate ink and color on silk.

Scenes from the Tales of Saigyō left of a pair, 17th century, Unknown Japanese, 60 × 139 in. (152.4 × 353.06 cm)60 × 21 1/2 in. (152.4 × 54.61 cm) (image)65 1/2 × 146 × 3/4 in. (166.37 × 370.84 × 1.91 cm) (outer frame), Ink, color, gold, and silver on gilded paper, Japan, 17th century, The Tales of Saigyō narrate the life of the eponymous samurai poet who gave up his title to become an itinerant monk. The story of Saigyōs lifelong travels was first illustrated in the thirteenth century in a set of four painted handscrolls, and the scenes depicted here are based on those originals. The right screen depicts Saigyōs first New Year after he took the tonsure. He appears alone in the leftmost panel, admiring the blossoms of a nearby plum tree. In the upper left of the left screen, Saigyō kneels before the wall of a shrine. On a journey through the rugged Kii Peninsula, Saigyō became so inspired by the cherry blossoms that he composed a poem and brushed it on the wall of a shrine. At lower

"Imperial Visit to the Great Horse Race at the Kaya-no-in Mansion" from the Tale of Flowering Fortunes 13th-14th century Japan A horse race in autumn 1024 is the setting for this episode from the quasi-historical account of the life of Fujiwara Michinaga (966-1027), the great Heian-court statesman, imperial regent, and patron of the arts. As the race is about to begin, visitors of various courtly ranks make their way to the viewing stand. In addition to detailing the career of Michinaga, the Tale of Flowering Fortunes (Eiga monogatari) is a chronicle of aristocratic life in Kyoto during the Heian period, with descriptions of rivalries, marriages, births, and deaths within the rarified atmosphere of the imperial court.. "Imperial Visit to the Great Horse Race at the Kaya-no-in Mansion" from the Tale of Flowering Fortunes 44889

Illustration from Genji Monogatari Sugimura Jihei (Japanese, active ca. 1681-1703). Illustration from Genji Monogatari, 1688-1704. Woodblock print, 12 1/4 x 21 3/4 in. (31.1 x 55.2 cm). Asian Art 1688-1704

The Dance of the Chrysanthemum Boy. Katsukawa Shunshō (Japan, 1726-1792). Japan, 2nd half of the 18th century. Paintings; scrolls. Hanging scroll; ink and colors on silk

Cranes and chrysanthemums. Origin: Japan. Period: Momoyama or Edo period. Ink and green tint on paper. Date: 1568-1868. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The Hermit Xu You Resting by a Stream, 1400s. Dai Jin (Chinese, 1388-1462). Hanging scroll; ink and slight color on silk; painting: 138.2 x 75.2 cm (54 7/16 x 29 5/8 in.); overall with knobs: 232.5 x 96.3 cm (91 9/16 x 37 15/16 in.).

Picture of the Battle of Shimotoba at Fushimi in Yamashiro Province, December 1874, Tsukioka Yoshitoshi; Publisher: Hirookaya Kōsuke, Japanese, 1839 - 1892, 13 5/8 × 10 in. (34.61 × 25.4 cm) (sheet, each, approx., vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Courtier Enjoying Plum Blossoms, late 17th - early 18th century, Tosa Mitsutaka, Japanese, 1675 - 1710, 15 1/2 × 19 5/8 in. (39.37 × 49.85 cm) (image)51 7/16 × 25 3/4 in. (130.65 × 65.41 cm) (mount, without roller), Ink and colors on silk, Japan, 17th-18th century

De Bamboerivier, rechterscherm.Renovating figure of Kaoru with the two robes over the shoulder in the courtyard, a flowering cherry tree and leafing in the background. One of a few room screens with a passing show on the two screens from the story of Genji (Genji Monogatari), from Chapter 44 The Bamboo Farm (Takegawa), in which Tamakazura gives two robes to Kaoru.

Scenes from the Tales of Saigyō left of a pair, 17th century, Unknown Japanese, 60 × 139 in. (152.4 × 353.06 cm)60 × 21 1/2 in. (152.4 × 54.61 cm) (image)65 1/2 × 146 × 3/4 in. (166.37 × 370.84 × 1.91 cm) (outer frame), Ink, color, gold, and silver on gilded paper, Japan, 17th century, The Tales of Saigyō narrate the life of the eponymous samurai poet who gave up his title to become an itinerant monk. The story of Saigyōs lifelong travels was first illustrated in the thirteenth century in a set of four painted handscrolls, and the scenes depicted here are based on those originals. The right screen depicts Saigyōs first New Year after he took the tonsure. He appears alone in the leftmost panel, admiring the blossoms of a nearby plum tree. In the upper left of the left screen, Saigyō kneels before the wall of a shrine. On a journey through the rugged Kii Peninsula, Saigyō became so inspired by the cherry blossoms that he composed a poem and brushed it on the wall of a shrine. At lower

Carrying Water, Japanese Prints

Chiyoda Castle (Album of Men) 1897 Yōshū (Hashimoto) Chikanobu Japanese. Chiyoda Castle (Album of Men) 55891

Boats on the Sea, 17th century, studio of Tawaraya Sōtatsu, Japanese, died c. 1640, 60 1/2 × 139 7/16 in. (153.67 × 354.17 cm) (image)67 × 145 15/16 × 3/4 in. (170.18 × 370.68 × 1.91 cm) (outer frame), Six-panel folding screen; ink, color, gold, and silver on paper, Japan, 17th century

Zhang Guolao and His Magic Mule Attributed to Yin Qi Chinese. Zhang Guolao and His Magic Mule 51741

A Chinese man holding an egg or cake and looking upwards. Watercolour.

Pomegranate, 1833, Urakami Shunkin, Japanese, 1779 - 1846, 7 1/2 × 17 3/4 in. (19.05 × 45.09 cm) (sheet, fan)12 1/2 × 22 in. (31.75 × 55.88 cm) (mount), Ink and color on mica paper, Japan, 19th century, Although many Japanese Nanga painters created works based on or inspired by old Chinese and Japanese masters, Urakami Shunkin is known to have used his own sketches drawn from real life as the basis for his finished works. Equally comfortable creating large-scale landscapes and small, detailed studies of plant life such as this picture of a pomegranate, still on the branch and split open to reveal its juicy red seeds. Since ancient times, images of ripe pomegranates bursting open have been valued in Korea, Japan, and other cultures influenced by China as symbols of fertility and abundance.

The Eight Immortals of the Wine Cup 1828 Tani Bunch. The Eight Immortals of the Wine Cup. Tani Bunch (Japanese, 1763-1840). Japan. 1828. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Standing Woman 1740s Rykad. Standing Woman. Rykad (Japanese, active 1740s). Japan. 1740s. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Magi - the goddess of flowers; 19th century () (1701-00-00-1800-00-00);Goddesses, Chinese (culture), coil painting, Chinese art, purchase (provenance), scrolls, vertical scrolls

Carpenter's New Specimen book, 1836, Woodcuts

Lady Playing Shamisen, with Her Lover and Attendant Nearby. Artist: Nishikawa Sukenobu (Japanese, 1671-1750). Culture: Japan. Dimensions: H. 10 3/16 in. (25.9 cm); W. 14 1/2 in. (36.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Imado in Asakusa, Utagawa Kuniyoshi, 1831-1835 print Men at work at Tegelovens along a river; Piles of baked tiles in the background on the riverbank. Presentation enclosed by green edge of bamboo trunk. Japan paper nishiki-e / color woodcut crafts and industries. water course (+ landscape with figures, staffage). smoke-stack

One half of a pairthe other screen being called ‘Spring’this winter scene features frost-covered plum blossoms and evergreen bamboo The unknown artistwho is clearly from the school of Unkoku Togan (1547-1618)has used watercolor and gilded paper pulled across a wooden frame to create the screen. Adopted from the Chinese in the 7th and 8th centuries CE, screens such as this are used in Japan to separate space within a house and are an integral part of Japanese décor.

Courtesan and Her Attendant 18th century Katsukawa Shunshō　川春章 Japanese. Courtesan and Her Attendant 45789

Bamboo, Plum, and a Pair ofEgrets. Artist: Kano School, Japanese

Scene 3b, 1660, 1660, Japan, Manuscripts, Japanese

The Third Princess with her Cat, from the "New Herbs I" (Wakana I) chapter The Tale of Genji (Genji monogatari 18th century Tsukioka Settei The focal point of one of the tragic romances in the second half of The Tale of Genji is the childlike Third Princess, whom Genji takes to wife in his middle years. While pursuing her runaway cat, the young girl emerges from her living quarters and is seen by Kashiwagi, son of Genji’s best friend, who falls in love with her. This results in a clandestine relationship, Kashiwagi’s guilt-inspired illness and death, and an infant passed off—with Genji’s unspoken knowledge of the truth—as Genji’s offspring.Settei, born in Omi Province, lived and worked in Osaka as an ukiyo-e painter and print artist, designing numerous printed books and producing paintings of beautiful women dressed in the height of contemporary fashion. Many of these were geisha and courtesans, although his late works also included courtly subject matter.. The Third Princess with her

Hollyhocks left of a pair of Plum Trees and Hollyhocks, first half 18th century, Ogata Kenzan, Japanese, 1663 - 1743, 43 1/2 × 113 in. (110.49 × 287.02 cm) (image)45 × 114 1/2 × 5/8 in. (114.3 × 290.83 × 1.59 cm), Ink and color on gilded paper, Japan, 18th century, Ogata Kenzan is best known as a potter, but he was also a successful painter, especially after moving from Kyoto to Edo in his late sixties. Kenzan was the younger brother of painter Ogata Kōrin, from whom the decorative Rinpa school takes its namerin from Kōrin paired with pa, meaning 'school.' On a ground of gold leaf, Kenzan presents red and white camellias blooming on a small hillock below a large plum tree at right and, at left, pink, white, and red hollyhocks. With this placement of the motifs, Kenzan turned the folded surface of the screen into a vital component of the composition.

China/Japan: Tai Gong Wang (Jiang Ziya) fishing while asleep, by Ogata Korin (1658-1716), Edo Period, late 17th century-early 18th century CE. Kyoto National Museum, Kyoto

Tokyo, Sasaki Toyokichi, Japan, Chokuzan, Negishi, Yoshitoshi, Tsukioka, Shinkei sanjurokkaisen, New Appearances of 36 Ghosts, Roba kiwan o mochisaru zu, Old Woman Flying Away with Her Severed Arm, verso - stamped, Demon in the Appearance of an Old Woman, Flying Away with His Severed Arm., print, prints, Japan (collection), height 359 mm, width 245 mm, Japanese, 1839 - 1892, print maker, printmaker, 1889-04-12 - 1889-04-12, fourth quarter 19th century, paper, colour woodcut, colour woodblock, blind stamping, block cutter, Publication (Event), Publication, publisher

Spring Festival Spring Festival, ca. 1630. Pair of six-fold screens, ink, gold, and color on paper, each panel: 36 3/4 x 19 in. (93.3 x 48.3 cm). Asian Art ca. 1630

Seven Gods of Good Fortune and Chinese Children. Artist: Kano Chikanobu (Japanese, 1660-1728). Culture: Japan. Dimensions: 69 1/4 x 153 in. (175.9 x 388.6 cm). Date: 17th-18th century.In this screen, three of the seven gods of good fortune (Daikoku, Ebisu, and Hotei) and a group of Chinese children serve as visual references to wealth, prosperity, and abundance. Some of the children pull a flower cart (hana-guruma) laden with a bamboo basket overflowing with peonies (emblematic of riches and honor) and other flowers associated with good fortune. The flower cart, another popular subject for screen painting during the Edo period, is nearly identical in design to the bamboo work by Kato Toshosai on view nearby. The figures display the artist's awareness of Chinese traditions; in China the theme of One Hundred Boys was a popular and auspicious subject for painting, and in Japan the motif of karako (Tang-Dynasty Children) symbolized longevity and health for offspring. The elegant fusion of

Peony 19th century Ren Xiong Chinese 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.. Peony 49447

Dragons and Clouds. Origin: Japan. Period: Momoyama or Edo period. Ink and pink tint on paper. Date: 1590-1640. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Woman in kimono sitting on bench by Keisai Eisen, colour woodcut, 1830-1835, 1790-1848, Russia, Moscow, State Pushkin Museum of Fine Arts, 34x22

The Eight Immortals of the Wine Cup. Artist: Tani Buncho (Japanese, 1763-1840). Culture: Japan. Dimensions: Image: 52 3/8 × 27 13/16 in. (133 × 70.7 cm)Overall with mounting: 81 1/8 × 32 15/16 in. (206 × 83.7 cm)Overall with knobs: 81 1/8 × 35 7/8 in. (206 × 91.2 cm). Date: 1828. Museum: Metropolitan Museum of Art, New York, USA.

Window onto Bamboo on a Rainy Day first half of the 18th century Gion Nankai Bamboo was a favored theme of Nanga artists, who were largely based in Kyoto and often had backgrounds in Confucian studies and Chinese literati theory. Nankai was the son of a physician and clan official in Wakayama Prefecture. He studied literature and Confucianism in Edo (present-day Tokyo), but belonged to the first generation of influential Nanga painters. His earliest dated painting (1719) was of bamboo, and he produced a number of studies on the same subject.In this depiction, the artist precisely brushed leaves and jointed stalks in varying tones to evoke a rain-soaked atmosphere and dotted ink on the nearby rock for moss. His handling reflects brushwork in woodcut-illustrated Chinese painting manuals, such as the early eighteenth-century Mustard-Seed Garden Manual, that were newly available to Japanese artists. In the Chinese tradition, the strength and flexibility of bamboo are likened to the spirit

Courtesan Resting on the Veranda 18th century Furuyama Moromasa Japanese A young beauty sits in relaxed contemplation of a cherry tree in full blossom, an up-to-date vision of the classic poet musing on life's quickly passing beauty. On the folding screen inside the room, a somber ink painting of geese flying over wind-tossed grasses hints at the autumnal phase to come.. Courtesan Resting on the Veranda. Furuyama Moromasa (Japanese, 1712-1772). Japan. 18th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Butterflies” late 16th-early 17th century Tosa Mitsuyoshi This single screen, one of the finest examples of painting by Tosa Mitsuyoshi, encapsulates the imagined visual splendor of Genji’s Rokuj? estate and conflates episodes from two different days in one composition. Ladies-in-waiting from the autumn quadrant of the Umetsubo Empress (Akikonomu) have arrived in Murasaki’s spring garden on a water bird boat on the upper left. The foreground scene takes place the next day, when page girls spectacularly costumed as paradisal kalavinka birds and butterflies of the court bugaku dance arrive at the autumn quadrant via dragon boat. The girls have been sent by Murasaki with flower offerings for the Empress’s sutra reading. The profusion of cherry blossoms throughout the screen illustrates the dominance of the spring season.. Butterflies”. Tosa Mitsuyoshi (Japanese, 1539-1613). Japan. late 16th-early 17th century. Six-panel folding screen; ink, color, gold, and gold leaf on paper. Momoyama

Scroll II., 1501 - 1599

Momoyogusa = Flowers of a Hundred Generations., Kamisaka, Sekka, (Artist), Date Issued: 1909.

Umewaka-Maru Emaki, 1601 - 1700

Minamoto no Yoshitsune Leading The Ward On Utagawa, kuniyoshi (1797 1861)

An eagle on a snow-laden blossoming plum tree. Origin: Japan. Ink and gold on paper. Date: 1568-1615. Period: Momoyama period. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Palace Ladies Bathing Children 11th century Unidentified artist Depictions of the daily life of court ladies became a special genre of painting under the influence of the eighth-century painter Zhou Fang and his tenth-century follower Zhou Wenju. Painting in a richly detailed manner in which even the fabric patterns are meticulously described, these two artists had an important influence on the figure style practiced by the Song Painting Academy. This painting closely follows Tang dynasty (618-907) prototypes: the tight group of figures arrayed in an oval and set against a blank background is a typical Tang style composition; the hesitant brushwork, however, suggests that it is a later copy, probably done in the Northern Song period.. Palace Ladies Bathing Children. Unidentified artist. China. 11th century. Handscroll; ink and color on silk. Song dynasty (960-1279). Paintings

Dream of the New Year, 18th century, Hakuin Ekaku, Japanese, 1685 - 1769, 20 3/4 × 25 3/8 in. (52.71 × 64.45 cm) (image)56 3/8 × 27 1/8 in. (143.19 × 68.9 cm) (mount, without roller), Ink on paper, Japan, 18th century

Taking Shelter from the Rain early to mid-19th century Teisai Hokuba Travelers caught in a sudden downpour take shelter under the eaves of a gate at a large estate. Men and women from different walks of lifea flower vendor, a bookseller with a stack of books, assorted pilgrims, a lion-dance performer, and a warriorhuddle under the roof. A restless child, untroubled by the rainstorm, hangs upside down from a beam. This painting is based on a pictorial theme made popular by Hanabusa Itch? (1652-1724), who rendered the scene to represent the summer season in various formats (including a screen in the Burke Collection). The style here adheres neither to Hokuba’s usual hypermeticulous depictions of women of the pleasure quarters nor to his landscapes inspired by Kano-school paintings, but perhaps was directly inspired by Itch? or one of his followers.. Taking Shelter from the Rain. Teisai Hokuba (Japanese, 1771-1844). Japan. early to mid-19th century. Hanging scroll; ink and color on silk

The Eight Immortals of the Wine Cup, later 1700s. Soga Shōhaku (Japanese, 1730-1781). Pair of six-panel folding screens, ink and cut-gold foil on paper; overall: 120 x 352.2 cm (47 1/4 x 138 11/16 in.). Responding to the desires of the middle class (chonin), some late Edo period Japanese painters moved away from the seriousness associated with the Chinese theme of reclusion, focusing instead on the motifs humorous aspects. The theme Eight Immortals of the Wine Cup is based on a poem by the renowned 8th-century Chinese poet Du Fu about his eight colleagues. These scholars eagerly sought release from their official governmental duties and then supposedly fled the capital for the countryside. There, they engaged in wildly eccentric behavior and adventurous creative work, all fueled by copious amounts of wine. Shohakus version of events exaggerates the scholars pleasure, as seen in their comical facial expressions.

Camellias Attributed to Ogata Krin Japanese. Camellias. Attributed to Ogata Krin (Japanese, 1658-1716). Japan. Hanging scroll; color on paper. Edo period (1615-1868). Paintings

Japan, Yûshin, Ayaoka, Garden with autumn flowers, endpaper - stamped, Octagonal print in album with 39 prints., album sheet, print, prints, Japan (collection), height 223 mm, width 287 mm, Japanese, 1846 - 1910, print maker, printmaker, 1880 - 1890, fourth quarter 19th century, paper, color woodcut

Seki /Seki, board 48 from the series: Fifty three stages of the Tokaido road , the third version of the so called Reisho Tokaido

Japan, Hokusai, Katsushika, Mariko, The Resting Place Mariko, Three travelers eating in a restaurant in Mariko. They are being served by two women. The cartouche at the top right states that the distance to the next resting place, Okabe, is two miles., print, prent, surimono, prints, prenten, Japan (collection), height 118 mm, width 345 mm, 1760-10-12 - 1849-05-10, print maker, prentmaker, 1804 - 1804, first quarter 19th century, paper, colour woodcut, blind printing

Three Poets: Mukai Kyorai, Hattori Ransetsu, and Shiba Sonome. Yokoi Kinkoku (Japan, 1761-1832). Japan, c. 1818-1832. Paintings; scrolls. Short handscroll mounted on a panel; ink and light color on paper

Interior of the Peterhof Palace, a series of palaces and gardens located in Petergof, Saint Petersburg, Russia, commissioned by Peter the Great

Japan, Nagoya, painted screen

The willows on Uji Bridge, detail from a decorative screen, by Tosa Hirochika (active 15th century), Japan. Japanese Civilisation, 15th century.

Fifty-three Stations on the Tokaido Road Utagawa Hiroshige Japanese. Fifty-three Stations on the Tokaido Road. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. Ink on paper. Edo period (1615-1868). Illustrated Books

Suzuki Harunobu (1724 July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.

Su Shih Portrait 1651, Hongshou, Chen, 1651

Scroll II, 1501 - 1599

Tokyo, Matsuki Heikichi, Japan, Kiyochika, Kobayashi, Nihon meisho zue, Pictures of famous places in Japan, Sarubashi, verso - stamped, The Sagami River flowing between high cliffs, above which the famous Sarubashi Bridge. Sarubashi means Monkey Bridge., print, prints, Japan (collection), height 371 mm, width 251 mm, 1847 - 1915, print maker, printmaker, 1896-11-01 - 1896-11-01, fourth quarter 19th century, paper, nishiki-e, colour woodcut, blind stamp, Publication (Event), Publication, Japanese, publisher

Washing the Feet (from the Dusty World), 1570. Wen Boren (Chinese, 1502-1575). Hanging scroll mounted on a panel, ink and color on paper; image: 170.2 x 79.4 cm (67 x 31 1/4 in.).

The Actor Yoshizawa Ayame I. Date: 18th century. Origin: Japan. Period: Edo period. Ink, color, and lacquer black on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Japan, Imayô jûni kagetsu no uchi, Musume jûni kagetsu, Woman cutting her nails, A woman (the bride) cutting her nails, which had erotic associations in Japan. The cover of a twelve-part series of the twelve months in the modern style., print, cover, shunga, egoyomi (calendar page), prints, Japan (collection), height 160 mm, width 114 mm, print maker, printmaker, 1835 - 1845, second quarter 19th century, paper, colour woodcut

Narihira and Ono-no-komachi, 1825, Woodcuts, Surimono

Textile fragment, embroidery of the three friends on damask., anonymous, Japan, 1781 - 1789, Tenmei period, silk, height 19.9 cm × width 28.5 cm

Daoist Sage and Hawk mid-17th century Soga Nichokuan On the right panel of this screen an elderly man sits in the shade of a grove of trees, a walking stick in one hand. His bald head, scrawny limbs, and bare feet are delineated with smooth brush lines in light ink, while dark spots mark his eyes and the corners of his downturned mouth. The painting was cut down from a larger work, which may have held clues to the identity of the seated figure. The companion piece, on the left panel, depicts a hawk perched on the branch of an oak tree. Soga Nichokuan, well known as a painter of hawks, most likely worked in the vicinity of the port city of Sakai, south of Osaka.. Daoist Sage and Hawk. Soga Nichokuan (Japanese, active mid-17th century). Japan. mid-17th century. Pair of fan-shaped paintings mounted on two-panel folding screen; ink on paper. Edo period (1615-1868). Screens

The Actor Otani Hiroji III in an Unidentified Role 1775-1785 Japan. Color woodblock print; hosoban . Katsukawa Shunsho

Seals and a Carved Lacquer Container for Seal Ink 1817 Kitao Shigemasa Japanese. Seals and a Carved Lacquer Container for Seal Ink 54123

Kunisada, B, C, work, Actors Ichikawa Danjuro VIII, Ichikawa Koraizo and Arashi Kichisaburo in the play Megumi no iro furisode Genji (The Beautiful Wind-Sleeved Robe), 1854, color woodcut, major category: graphics

Lovers under a quilt with phoenix design, Sugimura Jihei (active ca. 1681-1703active ca. 1681-1703)

Japan - 14th century - Kamakura period. Legend of God Kasuga's hunting. Silk cover

Portrait of a woman, Anonymous, 1880 - 1910 photograph This photo is part of an album. photographic support. cardboard. silk. textile materials. deck paint. watercolor (paint) gelatin silver print / brush historical persons. adult woman

Japan, Tsujiokaya Bunsuke, Kuniyoshi, Utagawa, Langoustine and small fish, Langoustine and four small fish by a fishing line attached to a float., print, engraving, prints, engravings, Japan (collection), height 376 mm, width 123 mm, Japanese, 1798 - 1861-04-14, print maker, 1828 - 1832, second quarter 19th century, paper, nishiki-e, colour woodcut, colour woodblock, Publication (Event), Publication, publisher

Album of Ichiryusai Hiroshige's Sketches ca. 1850 Utagawa Hiroshige Japanese. Album of Ichiryusai Hiroshige's Sketches. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1850. Ten double-page original sketches in water color. Edo period (1615-1868). Illustrated Books

EVOCACION DE ESPECTRO - SIGLO XIX. Author: Utagawa Kunisada. Location: MUSEO DE ARTES APLICADAS. WIEN. AUSTRIA.

The God of Good Fortune Jurōjin ca. 1773 Soga Shōhaku Japanese Jurōjin, one of the seven Japanese gods of good fortune, is seated in a small boat with a white deer, his frequent companion. To compound the felicitous imagery, Jurōjin hoists a small minogame (straw-raincoat turtle) into the boat, and above him soars a crane, both symbols of longevity. The mantle” of the turtle is formed from seaweed and attests to how long the amphibious animal has lived. Jurōjin’s forehead is traditionally depicted as overly large or elongated, emblematic of his wisdom. The accenting of his mouth and lips with bright red, a color associated with the budding of flowers in spring, adds to the celebratory effect of this work, no doubt made for the New Year. The vigorous ink brushwork used to delineate the forms of the tree and stones, including Chinese axe-cut” strokes, are characteristic of Soga Shōhaku’s work, though here might have been created with the assistance of members of his atelier. The render

Yamamba, from the series Pictures of No Performances (Nogaku Zue) 1893-1903 Japan. Color woodblock print . Tsukioka Kôgyo

Momoyogusa = Flowers of a Hundred Generations.. Kamisaka, Sekka, 1866-1942. Prints, Illustrations. 1909 - 1910. Spencer Collection. Japan , Social life and customs

Boy with hoop, from behind. Draughtsman: Harmen ter Borch (mentioned on object). Dating: c. Feb-1651 - c. Jul-1651. Place: Zwolle. Measurements: h 215 mm × w 165 mm. Museum: Rijksmuseum, Amsterdam.

Nippori Keinai Ebisu-Daikoku ca. 1793 Torii Kiyonaga Japanese. Nippori Keinai Ebisu-Daikoku 54669

Kabuki Actors Asao Yjir as Sano Genzaemon and Ichikawa Ebijr I as Miura Arajir, in the play Keisei Sano no Funabashi 1822 Shunksai Hokush Japanese. Kabuki Actors Asao Yjir as Sano Genzaemon and Ichikawa Ebijr I as Miura Arajir, in the play Keisei Sano no Funabashi. Shunksai Hokush (Japanese, active 1808-32). Japan. 1822. Diptych of woodblock prints; ink and color on paper. Edo period (1615-1868). Prints

Details of paintings in a palace, Ninomaru Palace, Nijo Castle, Kyoto Prefecture, Kinki Region, Honshu, Japan

Japan, Kagaya Kichiemon, Kuniyoshi, Utagawa, Toto meisho, Famous places in the Eastern Capital, Asakusa Imado, Imado in Asakusa, Men working at tile kilns along a river; in the background on the riverbank stacks of baked tiles. The scene is surrounded by a green border of bamboo trunks., print, prent, prints, Japan (collection), height 260 mm, width 369 mm, Japanese, 1798 - 1861-04-14, print maker, printmaker, 1831 - 1835, second quarter 19th century, paper, nishiki-e, colour woodcut, colour woodblock, Publication (Event), Publication, publisher

fine arts, Utagawa Kuniyoshi (1798 - 1861), flying a kyte in the forst month, woodcut, 1845, 38x25 cm, W. Netto collection, D™sseldorf,

Autumn Landscape in the Style of Sesshū, 18th century, Spurious seal of Sesshū, Japanese, 1420 - 1506, 18 1/2 x 31 1/2 in. (46.99 x 80.01 cm), Ink and light color on paper, Japan, 18th century

Lady from the 'Visiting Kawachi' Episode of the Tales of Ise, second half 17th century, Unknown Japanese, 25 1/16 × 10 1/8 in. (63.66 × 25.72 cm) (image), Ink and color on paper, Japan, Nikuhitsu, The body of a single female figure forms a dramatic S-shape against a blank background. With her right hand she raises her hem, providing us with a better view of the design motifs that adorn her robes: maple leaves, deer, and autumn flowers and grasses on a white outer robe, and chrysanthemums and cresting waves on her red inner robe. This combination of motifs alludes to a poem from 'Visiting Kawachi,' a single episode of the tenth-century Tales of Ise, allowing her to be identified as the unnamed heroine of that episode.

Album of Calligraphy and Paintings, first half of the 1700s. Bian Shoumin (Chinese, 1684-1752). Album leaf; ink and color on paper; overall: 18.6 x 27.6 cm (7 5/16 x 10 7/8 in.).

Fight in the mountains at night YOSHITORA, UTAGAWA (FL. C.1850 1880)

Demon-crushing Bow. Artist: Suzuki Harunobu (Japanese, 1725-1770). Culture: Japan. Dimensions: H. 11 5/8 in. (29.5 cm); W. 8 3/8 in. (21.3 cm). Date: ca. 1765. Museum: Metropolitan Museum of Art, New York, USA.

The Ninth Month ca. 1767 Ishikawa Toyomasa Japanese. The Ninth Month 54534

Japan, Jinkô, Sakuragawa, Toyokuma, Utagawa, Two manzai dancers, Two manzai dancers among New Year's decorations, one beating a drum. Behind him a man with a fan showing the long months 1, 3, 7, 9, 11 and 12 for the year 1832. With one poem., print, picture, surimono, egoyomi (calendar page), prints, pictures, Japan (collection), height 191 mm, width 81 mm, Japanese, 1820 - 1900, print maker, printmaker, 1832 - 1832, second quarter 19th century, paper, colour woodcut, poet

The Actor Iwai Kiyotaro as Kewaizaka no Shosho in the Play Gohiiki no Hana Aikyo Soga, Performed at the Kawarazaki Theater in the First Month, 1794 1789-1799 Japan. Color woodblock print; hosoban; left sheet of diptych (right 1925.2506) . Katsukawa Shun'ei

Happy Return from the West. Artist: Unidentified Artist; Copy after Zhao Mengfu (Chinese, 1254-1322). Culture: China. Dimensions: 9 x 35 1/4 in. (22.9 x 89.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

The Actor Onoe Kikugoro V as the Priest Sogen (Yuki Iwakura Sogen Onoe Baiko), from the series Snow, Moon, and Flowers (Setsugekka no uchi) 1890 Japan. Color woodblock prints; oban triptych . Tsukioka Yoshitoshi

Portrait of a Woman in Large Circle with Landscape Below Katsushika Hokusai Japanese. Portrait of a Woman in Large Circle with Landscape Below 56797

Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a tomoe symbol drawn on the drums. Fujin or Futen is the Japanese god of the wind and one of the eldest Shinto gods. He is generally depicted as a terrifying wizard-like demon carrying a large bag of winds on his shoulders. In Japanese art, the deity is often depicted together with Raijin, the god of lightning, thunder and storms. Ogata Krin (1658 - June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Ketsu and Tawaraya Sotatsu. 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyo

Artist, school of: Kano Motonobu, Japanese, 1476-1559, Water Bird on Sand near Reeds andMallow, latter half of 16thcentury, Hanging scroll, ink and color on paper, ivory rollers, without mounting: 13 3/8 × 24 15/16 in. (33.9 × 63.4 cm), Japan, Japanese, Muromachi period(1336-1573), Paintings

Lacquer Paintings of Various Subjects: Drum for Gagaku Dance 1882 Shibata Zeshin Japanese The strong color effect seen in this album is achieved by using lacquer as a painting medium. Painting with lacquer on paper was one of the techniques Zeshin developed into his own style. Despite the heavy material, Zeshin's skillful brushwork and his technical inventions with the material made it possible to create various textures as with ink painting. In addition, some lacquer techniques, like mother-of-pearl inlays and the creation of rough surfaces, are also used. Up until the middle of the Meiji period, lacquer was limited to roughly five colorsblack, brown, vermillion, green, and yellowwhich determined the color palette of Zeshin's lacquer paintings.. Lacquer Paintings of Various Subjects: Drum for Gagaku Dance 57192

A Collection of Monsters one of a pair, late 18th - early 19th century, Unknown Japanese, 10 3/16 × 272 7/16 in. (25.88 × 691.99 cm) (image)292 5/8 × 10 3/16 in. (743.27 × 25.88 cm) (mount, without roller), Ink and color on paper, Japan, 18th-19th century

Drawing, One of Sixteen Scenes of the Death and Burial of a Man; japan watercolor on silk or paper; 1908-17-9

of 2