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

Kunisada, Role portrait of an actress from the series Imayo oshie kagami, 1859-60, color woodcut, graphics

China: 'The Sixteen Luohans'. Detail (1, left) of handscroll painting by Wu Bin (active 1583-1626), 1591. Wu Bin (active 1583-1626), nickname Zhiyin Toutuo and social name Wenzhong, was a Chinese painter born in Putian during the Ming Dynasty period, under the reign of the Wanli Emperor. He worked mainly in Nanjing, and was a devout Buddhist, living and working in a Buddhist temple, where he produced hundreds of hanging scrolls depicting arhats and luohans.

fine arts, Hiroshige, Ando, (1797 - 1858), graphics, ""ejiri"", (""good fairy""), surimono (greeting sheet), circa 1844 / 1846, colour woodcut, 35,8 cm x 23,4 cm, Museum of East Asian Arts, Cologne,

Panel, one of a set of four, 20th century, L.66-1/2 x W.17-1/8 in, silk, China, 20th century

Kyoto, Yamada Naosaburo, Sekka, Kamisaka, Momoyogusa, dl. 1, Flowers of a Hundred Worlds, Tsuta, Ivy, verso - stamped, Green, orange and red ivy leaves over gold-coloured construction of branches., print, prints, Japan (collection), height 301 mm, width 462 mm, Japanese, 1866 - 1942, print maker, printmaker, 1909-05-05 - 1909-05-05, first quarter 20st century, first quarter 20th century, paper, colour woodcut, Publication (Event), Publication, publisher

Okabe: A mountain torrent rushing between steep banks and walled in on one side by a stone embankment, along which people are passing. High peaks in the background.(éži i ®¿ The road here was enclosed on both sides by steep hills covered with dense forest and thick climbing ivy vines. This was considered one of the most fearsome stretches of the highway. Utagawa Hiroshige (1797 October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andi Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyusai Hiroshige. The Ti kaidi (East Sea Road) was the most important of the Five Routes of the Edo period, connecting Edo (modern-day Tokyo) to Kyoto in Japan. Unlike the inland and less heavily travelled Nakasendi, the Ti kaidi travelled along the sea coast of eastern Honshu, hence the route's name.

Maffet Ledger: Drawing ca. 1874-81 Southern and Northern Cheyenne. Maffet Ledger: Drawing. Southern and Northern Cheyenne. ca. 1874-81. Graphite, watercolor, and crayon on paper. United States, Oklahoma. Paper-Drawings

Japanese illustration by Tsukioka Yoshitoshi, Color linocut, 1886, 1839-1892, Russia, St. Petersburg, State Hermitage, 24x36,2

Yanone Gorō, late 19th century, Unknown Japanese, 11 1/4 x 4 1/8 in. (28.58 x 10.48 cm) (sight), Ink on paper, Japan, 19th century

EIGHT VIEWS OF KANAZAWA AT The FUYL MOON /BUYO KANAZAWA HASSHO YAKEI HIROSHIGE, Ichiryusai (1797 1858)

Mythological Fresco Asian Art(- ) Fresco

Flowers of a Hundred Worlds (Momoyogusa): Plum (Ume), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This print from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

Picture Book of the Pleasures of the East ca. 1802 Katsushika Hokusai Japanese. Picture Book of the Pleasures of the East. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1802. Set of two woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Buying Fish in Xunyang, late 18th - early 19th century, Matsumura Goshun, Japanese, 1752 - 1811, 49 3/16 × 17 3/4 in. (124.94 × 45.09 cm) (image)75 15/16 × 22 3/4 in. (192.88 × 57.79 cm) (mount, without roller), Ink and colors on paper, Japan, 18th-19th century

Print November 1901 Kajita Hanko Japanese. Print 55386

'The picture he so much admired had actually taken life...and was gliding lightly towards him', 1919. 'Toshika felt unaccountably happy, he could not tell why and sat alone, reading and thinking deep into the night. Suddenly, in the stillness of the midnight, a rustle behind him in the alcove caused him to turn round quickly. What was his breathless amazement to see that the picture had actually taken life. The beautiful woman he so much admired detached herself from the paper on which she was depicted, stepped down on to the mats, and came gliding lightly towards him.' Illustration to "T

Owl and Crested Mynas on a Plum Branch, 14th - 16th century, Unknown Japanese, 8 5/8 × 20 in. (21.91 × 50.8 cm) (image)54 9/16 × 26 7/8 in. (138.59 × 68.26 cm) (mount, without roller)14 1/2 × 22 1/8 in. (36.83 × 56.2 cm) (mount, inner mount), Ink on paper, Japan, 14th-16th century, The combination of an owl with flocks of either crested mynas or crows, both loud and rowdy birds, appear on a number of ink paintings beginning in the 1500s. In this painting, five raucous crested mynas (a type of starling native to China) surround a stoic owl intent on resting on a blossoming plum branch. The vertical creases in the painting surface indicate that it was originally painted as a folding fan, and, given its appearance, it must have been a beloved, heavily used fan. After the fan had served its utilitarian purpose, its owner had the painted paper removed from the bamboo ribs of the fan and remounted as a hanging scroll for interior decoration.

Compendium of Designs ca. 1820s Umemaru Yzen Japanese. Compendium of Designs. Umemaru Yzen (Japanese, active late 18th century). Japan. ca. 1820s. Woodblock printed book; ink, color, and mica on paper. Edo period (1615-1868). Illustrated Books

Japanese women by Katsushika Hokusai, Color linocut, 1810s, 1760-1849, Russia, Moscow, State A. Pushkin Museum of Fine Arts, 11,5x16,5

Japan, Junzaburo, Morimoto, Chikanobu, Toyohara, Bokutei no watashibune, The ferry between the banks of the Sumida, verso - stamped, Two courtesans, with western umbrellas, waiting in the rain for the ferry to dock, carrying a young woman with an umbrella, two bonsai tree sellers and the ferryman., print, prent, triptych, prints, prenten, Japan (collection), height 359 mm, width 721 mm, 1838 - 1912, print maker, 1895 - 1895, fourth quarter 19th century, paper, colour woodcut, colour woodblock, Publication (Event), Publication, publisher

Flowers of a Hundred Worlds (Momoyogusa): Spring Field (Haru no tanomo), 1909. Kamisaka Sekka (Japanese, 1866-1942). Ink and on paper; Kamisaka Sekka made preparatory drawings for his Flowers of a Hundred Worlds series on tracing paper with ink and color. The freehand sketches are much looser than the finished, printed compositions.

Japan: 'Album of Hawks and Calligraphy'. Album of nine paintings by Kano Tsunenobu (1636-1713), late 17th century. Kano Tsunenobu was a Japanese painter who lived during the Edo Period. He was a student of the Kano school of painting, and had a particular interest in Chinese art styles, often copying or emulating Chinese paintings with very little Japanese influence. He became a second-generation head of the Kano school's Kobikicho branch in Edo (Tokyo).

Water, Saitō Toshimitsu fighting Nonoma in the River Akuta, 1867, 7th lunar month, Tsukioka Yoshitoshi; Publisher: Kiya Sōjirō; Carver: Koizumi Kanegorō, Japanese, 1839 - 1892, 14 1/2 × 9 3/4 in. (36.83 × 24.77 cm) (sheet, each, approx., vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Luohan Seated under a Tree. Origin: China. Date: 1368-1644. Period: Ming dynasty. Hanging scroll; ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Scholar Viewing Plum Blossoms. Artist: Unidentified Artist Chinese. Culture: China. Dimensions: Image: 37 1/4 x 11 1/2 in. (94.6 x 29.2 cm)Overall with mounting: 71 x 16 1/8 in. (180.3 x 41 cm)Overall with knobs: 37 1/4 x 18 in. (94.6 x 45.7 cm). Date: ca. 1300.This small landscape is a rare example of the continuation of the Southern Song Painting Academy manner during the Mongol occupation. With the establishment of the native Chinese Ming dynasty in 1368, the Song style again returned to prominence as the model for the Ming Imperial Painting Academy. This painting demonstrates that practitioners of the Song style continued to work through the fourteenth century, bridging the gap between the two formal academies.Executed in the mode of the Song master Ma Yuan (act. ca. 1190-1225), the painting continues the subject matter and vividly descriptive manner of the Song but uses more abstract outline strokes to define rocks and tree trunks, reflecting the development of a calligraphic

Birds and Narcissus. Artist: Xu Xiang (Chinese, 1850-1899). Culture: China. Dimensions: 7 1/4 x 21 in. (18.4 x 53.3 cm). Date: dated 1883.Xu Xiang was first a student of Qian Huian, but later studied with Ren Yi and adopted a freer brush technique. In this fan, the easy naturalism of the pair of birds, whose white markings are used like highlights, contrasts with the rather still flower cluster frontally depicted in outline technique. Juxtaposition of different techniques and a strange lack of consistent scale combine to produce a picture that does not quite hold together, but it nonetheless describes the liberties that artists were free to take in the cosmopolitan climate of Shanghai. Museum: Metropolitan Museum of Art, New York, USA.

Japan: Hikifuda advertising poster depicting A kimono-clad woman and child. It has been left blank so that the printer can add the text required by the purchaser in the column on the left hand side. Late Meiji (1868-1912) period

From a series of sixteen scenes of the death and burial of a man in Japan. Date: 19th century. Japan watercolor on silk or paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Arhat Gopaka unknown

Enjoying the Breeze in a Waterside Pavilion. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

PeasantsMoving. Artist, traditionally attributed: Han Huang, Chinese, 723-787 CE

Boys Miyamairi Kimono with Yoshitsune on horseback and Benkei. Formal kimono for a boy for the first visit to a Shinto shrine (Miyamairi Kimono), with an adornment of a nocturnal scene with a Samurai on horseback at a city wall, met by a man with a halberd. An unknown strong man collects swords from Samurai that is closed outside the city of Kyoto at night. Yoshitsune comes to inspect, affects Benkei and will defeat him despite his halberd. Black silk with a painted yuzen decoration. White silk lining, with separate white sides undercono. Five family weapons (mon) of four squares in a circle (Meyui).

Drawing, One of Sixteen Scenes of the Death and Burial of a Man; japan watercolor on silk or paper; 1908-17-11

Artist, attributed to: Zhao Yong, Chinese, born 1289, Egrets, Small Birds, Willows, and PeachBlossoms, 16thcentury, Hanging scroll, color and ink on silk, unframed: 91 × 40 1/8 in. (231.1 × 101.9 cm), China, Chinese, Ming dynasty(1368-1644), Paintings

Palace Landscape early 19th century Tani Bunch Japanese This landscape with palatial architecture belongs to the "blue-green" style of landscape painting that developed in Tang-dynasty (618-907) China, where the style persisted as a conservative academic mode, and was revived in monumental form during the Ming dynasty (1368-1644). Works by Qiu Ying, a professional painter active in Suzhou in the first half of the sixteenth century, were treasured in Japan and are likely to have been the inspiration for this painting. Tani Bunch was a prolific artist and art historian who worked in many Chinese and Japanese styles. The painting is signed Bunch and bears a large and seldom-found seal.. Palace Landscape. Tani Bunch (Japanese, 1763-1840). Japan. early 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Swallows and wisteria. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1854. Dimensions: 33.2 x 11 cm (12 1/4 x 4 3/4 in.). Color woodblock print; aitanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Photo album (empty). Photo album in leather strap with two paint panels. On the front panel three Japanese women's figures, from ivory and mother-of-pearl; The rear panel shows a rooster at a well with chicks, (presumably) of inlaid mother-of-pearl. The album contains nine cardboard sheets covered with silk. Every page has recesses for two cabinet photos. They have been placed painted decorations: flowers, birds, flowering trees, houses and landscapes.

Plum Screen, late 18th century, Ki Baitei, Japanese, 1734 - 1810, 47 3/4 × 105 5/8 in. (121.29 × 268.29 cm) (image)54 × 111 13/16 × 11/16 in. (137.16 × 284 × 1.75 cm) (mount), Ink and colors on paper, Japan, 18th century

Yang Pu Moving His Family. Artist Unknown; Chinese. Date: 1279-1368. Dimensions: 52.7 × 231.1 cm (20 3/4 × 91 in.). Handscroll; ink and light color on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Kabocha ni tonbou, Dragonfly and pumpkin., Ogata, Gekko, 1859-1920, artist, between 1890 and 1920, 1 print : woodcut, color ; 24.7 x 30.3 cm., Print shows a dragonfly above a pumpkin blossom.

THE LONLY HOUSE ON ADACHI MOOR, TSUKIOKA YOSHITOSHI, 1890 print An old woman with a large knife in her hand, against a black background with gourds. A poem in the squares of cartouche. This print is a scene from the Kabuki play 'The remote house' (Hitotsuya), with actor Onoe Kikugorô V in the role of the old murderous witch of the Achi plain, performed in the fourth month of 1890 in the Ichimura Theater. (triptych) paper color woodcut old woman. tools, aids, implements ~ crafts and industries: knife. plants; vegetation

Winter Landscape, after a Yuan Master, 1838, Nukina Kaioku, Japanese, 1778 - 1863, 50 × 19 3/4 in. (127 × 50.17 cm) (image)78 3/8 × 24 1/4 in. (199.07 × 61.6 cm) (mount), Ink and light color on paper, 19th century, Kaioku, the son of a samurai and archery instructor, was a scholar of Chinese studies and learned first under the official school of painting, the Kanō. Unsatisfied with the restrictive conventions, he traveled around Japan and finally settled in Kyoto, where he established his own school. He became especially known for his exquisite calligraphy and is ranked as one of the 'Three Brushes of the End of the Edo Period.

Moon at Sekiguchi. Takahashi Hiroaki (Japan, 1871-1945). Japan, before 1936. Prints; woodblocks. Color woodblock print

Three Laughers of Tiger Ravine, early 20th century, Enaka Mugyū, Japanese, act. c. 1907-1924, 43 11/16 × 19 5/8 in. (110.97 × 49.85 cm) (image)78 1/16 × 25 5/16 in. (198.28 × 64.29 cm) (mount, without roller), Ink and color on silk, Japan, 20th century

Japan, Zeshin, Shibata, Travellers in a Storm, Two men and a boy holding their hats and cloaks in rain and strong wind; a thatched hut in the background., print, engraving, prints, engravings, Japan (collection), height 241 mm, width 250 mm, Japanese, 1807 - 1891, print maker, 1880 - 1890, fourth quarter 19th century, paper, papier, color woodcut, nishiki-e

Seven Masks from the Best 18 Plays. Toyohara Kunichika (Japan, 1835-1900). Japan, 1898, March. Prints; woodblocks. Color woodblock print; embossing, brass

Winter Landscape, 1500s. Yeoseol (Korean). Hanging scroll; ink and slight color on silk; image: 92.4 x 52.7 cm (36 3/8 x 20 3/4 in.); overall: 195.6 x 74.9 cm (77 x 29 1/2 in.).

Tokyo, Matsuki Heikichi, Japan, Kôgyo, Tsukioka, Nogaku zue, Images of Noh plays, Tsuchigumo, Scene from the Noh play Tsuchigumo., Actor playing the role of Tsuchigumo (an arachnid monster) disguised as a hermit throws a web over three attackers with drawn swords. The white, with cobwebs and leaves covered, frame in which Tsuchigumo sits, represents the cave where he is hiding., print, prints, Japan (collection), height 245 mm, width 365 mm, 1869 - 1927, print maker, printmaker, 1902-02-01 - 1902-02-01, first quarter 20st century, first quarter 20th century, paper, colour woodcut, Publication (Event), Publication, Japanese, publisher

A Chinese lady seated leaning on a tea table; right, a water-garden with ducks. Gouache.

Member of the First Japanese Diplomatic Mission to the United States. Charles DeForest Fredricks (American, 1823 - 1894)

Rose Mallow (Fuyō) 18th century Katsukawa Shunshō　川春章 Japanese Rose mallow (fuyō) and kerria (yamabuki) frame a ukiyo-e-style painting of a woman in court dress, her classic beauty as much a part of Japanese culture as that of the flowers. At his best, Shunshō, an Edo bon vivant, paired timelessness with an up-to-date sensibility. His works, both paintings and woodblock prints, were greatly admired in the artistic circles of his day.. Rose Mallow (Fuyō) 45231

fine arts, Gogh, Vincent van, (1853 - 1890), painting, ""the tree"", 1886 - 1888, oil on canvas, 55 cm x 46 cm, Vincent van Gogh museum, Amsterdam, historic, historical, Europe, Netherlands, 19th century, Japan, Japonism, copy after ""blooming plum tree at Kameido gardens"", by Ando Hiroshige, (1797 - 1858), letter, letters, Japanese,

Sotoori-hime, early 19th century, Sumiyoshi Hironao, Japanese, 1781 - 1828, 34 5/16 × 12 1/8 in. (87.15 × 30.8 cm) (image)62 1/2 × 15 5/8 in. (158.75 × 39.69 cm) (mount), Ink and color on silk, Japan, 19th century

Japan, Kamekichi, Tsunashima, Enkatsu, Noguchi, Yoshitoshi, Tsukioka, Shinsen Azuma nishiki, New brocades from the East, Shinmei sumo toso no zu, Brawl between firemen and sumo wrestlers at the Shinmei temple, verso - stamped, The leader of the sumo wrestlers Yotsuguruma Daihachi, fighting with ladder against the fire chief Kotengu Heisuke, during a riot in 1805., print, diptych, prints, Japan (collection), height 475 mm, width 356 mm, Japanese, 1839 - 1892, print maker, printmaker, 1886 - 1886, fourth quarter 19th century, paper, colour woodcut, polishing, block cutter, Publication (Event), Publication, publisher

Album with scenes from The Tale of Genji, 17th century, Unknown Japanese, 7 1/8 × 9 3/8 × 1 3/4 in. (18.1 × 23.81 × 4.45 cm)6 1/2 × 8 1/2 in. (16.51 × 21.59 cm) (image, each image), Album with 20 leaves; ink, color, and gold on paper, Japan, 17th century, This album includes 20 scenes from The Tale of Genji, but not in order. The scene at right is one of the most frequently illustrated scenes from chapter 3, in which two young women and a young boy are shown indoors playing a board game by lamplight, while Genji himself spies on them from the veranda. Genji is in pursuit of one of these girls, Utsusemi, who ends up running away after catching the scent of Genjis perfume on the breeze. His pursuit halted in this way, Genji instead has sex with Utsusemis companion.

Hsiao I Obtaining the Lan-T'ing Calligraphy by Trickery (first image) and Prunus Blossoms (second image) Hsiao I Obtaining the Lan-T'ing Calligraphy by Trickery (first image) and Prunus Blossoms (second image), late 17th century. Ink and color on silk, With mount: 12 5/8 x 30 in. (32.1 x 76.2 cm). Asian Art late 17th century

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

Two intertwined young people. Draughtsman: anonymous. Dating: c. 1600 - c. 1624. Place: Isfahan. Measurements: h 30 cm × w 42.5 cm; h 160 mm × w 100 mm; h 320 mm × w 200 mm. Museum: Rijksmuseum, Amsterdam.

Scroll III., 1501 - 1599

The Visitation (La visitation). Dimensions: 32.6 cm x 24.4 cm, 16.2 cm x 12.9 cm. Museum: Van Gogh Museum, Amsterdam. Author: MAURICE DENIS.

World Erotic Art Museum. Japanese erotic art. Master of naturalism. Watercolor on silk. 18 th century. Miami, Florida, USA.

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.

Actors Iwai Kumesaburō III as Oyone (R), Kawarazaki Gonjūrō I as Taheiji (C), and Nakamura Shikan IV as Magoshichi (L), 1862, 5th lunar month, Tsukioka Yoshitoshi; Publisher: Kakumotoya Kinjirō; Carver: Katada Chōjirō, Japanese, 1839 - 1892, 14 1/4 × 9 7/8 in. (36.2 × 25.08 cm) (image, sheet, each; vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, Related to the play Shōbu awase adachi kōdan 蒲合仇討講談, performed at the Ichimura Theater in the 5th month of 1862.

A design for a fan depicting a pastoral scene with Chinese figures. Watercolour painting by a Chinese artist.

Five Figures Pulling a Boat, first half 19th century, Oki Ichiga, 11 × 17 1/8 in. (27.94 × 43.5 cm) (image)45 3/16 × 18 1/4 in. (114.78 × 46.36 cm) (mount, without roller), ink and colors on silk, Japan, 19th century

Memorial Portrait of the Actor Ichikawa mez I painting ca. 1833; inscription dated 1858 Painting by Utagawa Kunisada The celebrated Kabuki actor Ichikawa mez (1781-1833) is shown in a formal pose and garbed in a persimmon brown ceremonial kimono (kamishimo). His penetrating eyes and distinctive hooknose were features also captured by print artists throughout his career. The triple rice-measuring box (mimasu) crest used by the Ichikawa family of actors appears on his shoulders and sleeves. Omez specialized in leading man (tachiyaku) roles and flourished from the end of the eighteenth century. In 1858, long after the painting was created by Kunisada—probably for a memorial service for mezo’s twenty-seventh death anniversary—an inscription was added by Ichikawa Danjr VII (Ebiz V), certainly the most prominent Kabuki actor of his generation. As Danjr VII remarks in his inscription Omez recognized the younger actor’s talents early and encouraged the boy when he inh

Cranes, Pines, and Bamboo. Artist: Ogata Korin (Japanese, 1658-1716). Culture: Japan. Dimensions: Right screen (4-panel): 65 3/4 x 101 1/4 in. (167 x 257.2 cm)Left screen (6-panel): 65 3/4 x 151 1/4 in. (167 x 384.2 cm). Date: late 17th century. Museum: Metropolitan Museum of Art, New York, USA.

EVENTAIL. "Love and Psyche". Boarding on paper, wood. Paris, Carnavalet museum. 99079-17 Fashion accessory, Eventail

Screens within Screens. Culture: Japan. Dimensions: Image (each screen): 66 15/16 x 148 in. (170 x 376 cm). Date: 18th century.This pair of screens is unusual in its subject matter: the replicas of folding screens painted on the screens themselves offer a fanciful catalogue of workshop styles practiced during the Edo period. They relate to two categories of screens, one known as "Whose Sleeves" and another called "Scattered Fans." Screens of the first type feature representations of variously patterned robes draped over racks; those in the latter category are decorated with fans that have themselves been embellished with pictures or poems. In a nod to the "Scattered Fans" format, one of the replica screens seen here features fans decorated with a range of motifs, from vegetables and insects to episodes from courtly narratives. Each compositional type invites playful comparisons between objects that are alike in form but dissimilar in design or execution. The parade of styles on disp

Devil running like hell. Piotrowski, Antoni (1853-1924), draughtsman, cartoonist

Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Shower on Nihonbashi Bridge, from the series Famous Places in the Eastern Capital, ca. 1832. Color woodblock print on paper, 10 5/16 x 15 1/4in. (26.2 x 38.7cm). Given their quantity and availability, Japanese color woodblock prints played an especially important role in fostering Japonisme. This work exemplifies some of the formal characteristics that Western artists found so refreshingly different: compositions with strong diagonals or asymmetrical arrangements, dramatically foreshortened perspective, and an emphasis on flat, linear design. Hiroshiges prints were also admired for their high technical quality. The multiple blocks (a separate block was used for each color) had to be carved with exactitude in order to print in alignment, and they were hand-inked to create subtle gradations of hue and tone. Asian Art ca. 1832

Scroll 3, scene 12. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

Japanese navy department tests balloons in front of the American Consulate. by Utagawa, active 1850-1870, artist 1867 woodcut

Japan, Iseya Kanekichi, Yokogawa Takejiro, Mera Taichiro, Watanabe Shoemon, Kunisada (I), Utagawa, Tokaido gojusan no uchi, The 53 Stations of the Tokaido, Hakone Hatsuhana, under print - stamped, Actor in the female role of Hatsuhana, standing under the waterfall of the Hakone no Gongen temple; in the background on the right a mountain landscape., print, prints, Japan (collection), Hatsuhana in Hakone, Toyokuni ga, height 329 mm, width 243 mm, Japanese, 1786 - 1865, print maker, printmaker, 1852 - 1852, third quarter 19th century, paper, nishiki-e, colour woodcut, censor, block cutter, Publication (Event), Publication, publisher

A Fisherman Standing on a Rocky Promontory at Kajikazawa in Kai Province From the series "Thirty-Six Views of Mount Fuji" ca.1830-31 Katsushika Hokusai (1760-1849 Japanese) Woodblock print Christie's Images

Picture Book of Modern Figures of Fashion 1802 Utagawa Toyokuni I Japanese. Picture Book of Modern Figures of Fashion. Utagawa Toyokuni I (Japanese, 1769-1825). Japan. 1802. Set of two woodblock-printed books with hand-written names in volume two; ink and color on paper. Edo period (1615-1868). Illustrated Books

Person ; Person ; Person ; Person. Drawings. 1800 - 1899. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. China, Drawing, Chinese, Clothing and dress , China

Young Lady in Waiting 18th century Katsukawa Shunshō　川春章 Japanese Rose mallow (fuyō) and kerria (yamabuki) frame a ukiyo-e-style painting of a woman in court dress, her classic beauty as much a part of Japanese culture as that of the flowers. At his best, Shunshō, an Edo bon vivant, paired timelessness with an up-to-date sensibility. His works, both paintings and woodblock prints, were greatly admired in the artistic circles of his day.. Young Lady in Waiting 45232

Scenes of everyday life in China, detail of the Chinese wallpaper, Chinese cabinet, Hunting residence (UNESCO World Heritage Site, 1997), by Filippo Juvarra (1678-1736), Stupinigi, Piedmont, Italy, 18th century.

Second Floor, Northwest Gallery. Mural of Peace by Gari Melchers. Library of Congress Thomas Jefferson Building, Washington, D.C.

Design for Silk Brocade, Pastel, pen and brown ink squaring on bluish grey laid paper, Horizontal composition illustrating flowers executed in colored pastel at left, and a small Chinese landscape with bridges and pavilion has been sketched out in white pastel in the center. To the right are lightly sketched elements in black pastel. Squared in brown ink., France, ca. 1750, textile designs, Drawing, Drawing

Wang Da Guang, Summer in Peking, 20th century, Chinese

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

Japan: 'Takiyasha the Witch and the Skeleton Spectre'. Ukiyo-e triptych by Utagawa Kuniyoshi (1798-1861)

Japanese Print (Snowy Day) Japanese Art David David Gallery, Philadelphia

Engraving with a hut to show quan and sisek, ca 1810. Japanese civilization, 19th century.

Asia, China, Beijing. Summer palace, paintings of Oriole birds at the Grande Theater (Editorial Usage Only)

Frederick II or Frederick the Great, 1712 - 1786, King of Prussia and Elector of Brandenburg from the royal house of Hohenzollern, in his last days on the terrace of Sanssouci Palace, Potsdam, Germany, historical painting from the 19th century, Europe

Tokyo, Watanabe Shôzaburô, Japan, Shunsen, Natori, The actor Sawada Shojiro as Hayashi Buhei, Bust portrait of the actor Sawada Shojiro in the role of Hayashi Buhei, his sword crossed with that of an opponent., print, prints, Japan (collection), height 396 mm, width 274 mm, Japanese, 1886 - 1960, print maker, printmaker, 1927 - 1927, second quarter 20th century, second quarter of the 20th century, paper, colour woodcut, Publication (Event), Publication, 1885 - 1962, publisher

Mongolia, Ulaanbaatar, Museum Of Mongolian History, Painting Chinggis Khaan (Genghis Khan)

Illustrated handscroll of the Boy from Ibuki. Folk tales (otogi) were handed down through the centuries by travelling minstrels. Dated 17th Century

Drawing - Hi-Dsi-Mach (the Sender) Lach Sael (Ravencrest) of Kitsegukla B. C. W. Langdon Kihn (1898-1957)

Thailand, Bangkok. Wall mural detail at the Grand Palace.

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