Japanese and Chinese Landscape Art

Traditional scenes featuring serene landscapes, flora, and fauna from Japan and China, characterized by soft tones and intricate brushwork.

White-robed Kannon, mid 19th century, Nakabayashi Chikkei, Japanese, 1816 - 1867, 40 5/8 × 12 9/16 in. (103.19 × 31.91 cm) (image)65 1/4 × 17 5/16 in. (165.74 × 43.97 cm) (mount, without roller), Ink on paper, Japan, 19th century

Bunch of Purple Lychees. Artist: Unidentified Artist; After Emperor Huizong (Chinese, 1082-1135; r. 1100-25). Culture: China. Dimensions: 9 x 9 1/4 in. (22.9 x 23.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Panel with immortals 17th-18th century China The Eight Immortals (baxian) and God of Longevity (Shoulao) in Chinese legend are always depicted in a group celebrating the birthday of the Queen Mother of the West. Here, six of the immortals stand in the foreground and two on the terrace alongside the God of Longevity. Together, they salute the Queen Mother, who rides a mythical bird (yuan) in the sky. This meticulously embroidered work would make an ideal gift for an important birthday celebration.. Panel with immortals. China. 17th-18th century. Silk and metal thread embroidered on silk ground. Qing dynasty (1644-1911). Textiles-Embroidered

Design for a booklet and flowers. Leaf 14 Recto from a sketchbook with 44 sheets.

PAISAJE DE JAPON - GRABADO - SIGLO XIX. Author: UTAGAWA HIROSHIGE O ANDO TOKUTARO. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Fawn at Play Unidentified artist. Fawn at Play. Unidentified artist. China. Hanging scroll. Qing dynasty (1644-1911). Paintings

Sorimachi 409, 1746, Osaka

The Gathering at the Orchid Pavilion. Tang Yin; Chinese, 1470-1523. Date: 1483. Dimensions: Upper width: 19 1/2 in.; lower width: 9 in.; rib length: 6 1/2 in. Album leaf (Fan); ink and colors and gold on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

The Poet Li Bo's Visit to Mount Emei 1875 Shiokawa Bunrin Japanese Watery ink and small gold flecks sprinkled among valleys and mist create a luminous night scene under a hazy moon. The gentleman riding in the boat on the right screen is the famous Chinese poet Li Bo (701-762), who was inspired by moonlit Mount Emei Sichuan to compose a poem. Four years later, he returned to the area and composed a longer poem. In Japan, the two poems became particularly famous. Shiokawa Bunrins training was in the realist school of Shij?, but he was also familiar with the aesthetics of other artistic circles, especially the literati painters. These screens demonstrate Bunrins knowledge of Western perspective, especially in his treatment of the valley stream.. The Poet Li Bo's Visit to Mount Emei. Shiokawa Bunrin (Japanese, 1808-1877). Japan. 1875. Pair of six-panel folding screens; ink and gold on paper. Meiji period (1868-1912). Screens

Two landscapes and pigeons (three sketches) unknown

Kisoji no SansenKiso Mountains in Snow. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: A and B (each): 14 5/8 x 10 in. (37.8 x 25.7 cm)C: 14 5/8 x 9 7/8 in. (37.8 x 25.1 cm). Date: 1857. Museum: Metropolitan Museum of Art, New York, USA.

The Thirty-Six Immortal Poets, Jakuchu, Ito (1716-1800)

Dragonfly and Bellflower. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 9 3/4 x 14 3/16 in. (24.8 x 36 cm). Date: late 1820s. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 67349

Orchids After a painting by Zhang Yujian Chinese printed 1922 View more. Orchids. After a painting by Zhang Yujian (Chinese, Qing dynasty, Qianlong period, (1736-1795)). China. printed 1922. Hanging scroll of polychrome woodblock print; ink and color on paper. Modern period. Prints

Love of Living in Tranquility, second half 19th century, Saitō Nansai, 14 11/16 × 23 11/16 in. (37.31 × 60.17 cm), Ink on paper, Japan, 19th century

Channel Buoys from Album of Illustrations for the Tale of Genji, 1600s. Japan, Edo period (1615-1868). Accordion album; ink, light color, and gold on paper; each leaf: 26.3 x 22 cm (10 3/8 x 8 11/16 in.); painting only: 17 x 20.6 cm (6 11/16 x 8 1/8 in.). This album contains illustrations for the classic literary work the Tale of Genji, authored in the 1000s by Murasaki Shikibu, an aristocrat of the Heian period (794-1185) court. The scenes are painted in the white drawing” (hakuby?) mode, in which a fine ink line is used to depict figures and spaces with great subtlety, punctuated only occasionally by traces of red pigment for a character’s lips, a detail of a garment, or a decorative element. These two scenes illustrate episodes from the chapters Thin Veil of Cloud” (Usugumo) and Barrier Gate” (Sekiya).

Landscapes and Poems Album, 1800, Totoki Baigai, Japanese, 1733 - 1804, 1 3/16 × 9 13/16 × 13 1/16 in. (3.02 × 24.92 × 33.18 cm), Ink and colors on paper, Japan, 19th century

Landscape after Dong Yuan, 1775, Wang Chen, 1720 - 1797, 39 x 18 7/16 in. (99.06 x 46.83 cm) (image), Ink on paper, China, 18th century, Wang Chen was born in Tai Cang, Jiangsu province in 1720. He was a sixth generation descendant of the orthodox master Wang shimin (1592-1680) and the grandson of Wang Yuanchi (1642-1715). Wang passed the second-degree provincial exams in 1760 and later served as the prefect of Yongzhou in Hunan province. As a painter, Wang Chen carried on the well-established orthodox tradition of his family lineage which was derived from the Four Great Masters of the Yuan (1280-1368). Wang Chen was eventually classified along with Wang Yu, Wang Su, and Wang Jiu as the Four Lesser Wangs of the Qing dynasty.

Lacquer Paintings of Various Subjects: Grasshopper on Gourd Vine 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: Grasshopper on Gourd Vine 57188

Finch on a Citrus Branch, c. 1300, 10 3/4 x 11 1/2 in. (27.31 x 29.21 cm) (oval), Ink and color on silk, China, 12th-13th century, A finch, intensely focused on a moth, readies to strike its prey. It is perched on a citrus branch whose grapefruit and decaying leaves, like the bird and insect, have been rendered with naturalistic colors and impeccable detail. This style of painting, based on direct observation, is credited to the bird and flower painters of the Northern Song Academy, especially as it developed under the leadership of emperor Hui Zong (r. 1100-1125). These artists' small fan and album paintings demonstrate a balance of form, description, and decorative charm. Their technique generally rejects the use of ink outline and relies on the use of color alone (mu-ku or 'boneless method'). The exact portrayal of closely observed objects drawn from life persisted in bird and flower painting into the early Ming period. The Chinese elevated plants and animals to artistic themes cent

A watercolor by Oskar Laske depicting the interior of a coffee house, created in 1910 with cover colors and ink, focusing on spatial arrangement, figures, and atmosphere.

Illustrated Book of Filial Piety 1813 Keisai Japanese. Illustrated Book of Filial Piety. Keisai (Japanese, active ca. 1890-1900) (of Edo). Japan. 1813. Monochrome woodblock print; ink on paper. Edo period (1615-1868). Illustrated Books

Geese, Reeds and Water, 1800s. Yamamoto Baiitsu (Japanese, 1783-1856). One of a pair of four-panel folding screens; ink, color, and cut gold foil on paper; image: 169 x 350.5 cm (66 9/16 x 138 in.). This bybu composition differs from most in that it comprises two four-panel screens, rather than two six-panel units. Since the current mounting is modern, it is impossible to determine whether its present configuration represents its original design. Some panels may have been removed to help the screens better fit into a modern interior space. Baiitsu worked almost exclusively in monochromatic ink tones and favored classical Chinese painting themes.

Havik on Boomstronk, Anonymous, Isoda Kôryûsai (Possible), c. 1790 print paper

Lacquer Paintings of Various Subjects: Peonies 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: Peonies 57193

Zen painting and calligraphy, Miura Jōten, 1872 - 1958 Rice pounder. paper. ink calligraphy Rice pounder. paper. ink calligraphy

Quatrain on Snow-covered West Lake ca. 1250-60 Emperor Lizong Chinese This fan is not dated, but the style of the writing is very close to that of Lizong's inscription accompanying Landscape at Sunset (Nezu Museum, Tokyo), a painting by the court artist Ma Lin (active ca. 1180-after 1256) that is dated 1254. The poem probably describes the scenery around West Lake in Hangzhou, the capital of the Southern Song dynasty: On the lake, a bright frozen mist lingers;On the lake, brilliant sights beckon.From the pavilion, I gaze at the mountain peaks;The color of snow and a hazy vapor shine in mywinecup.(Wen C. Fong, trans., in Beyond Representation:Chinese Painting and Calligraphy, 8th-14th CenturyNew York: The Metropolitan Museum of Art,1992, p. 239). Quatrain on Snow-covered West Lake 40107

Monkeys, early 1800s. Mori Sosen (Japanese, 1747-1821). Hanging scroll; ink and light color on silk; painting only: 34.2 x 45.2 cm (13 7/16 x 17 13/16 in.); including mounting: 115.5 x 62.1 cm (45 1/2 x 24 7/16 in.).

Piece from a Robe (Kosode) with Cherry Blossoms and Monkeys with Palanquin. Culture: Japan. Dimensions: H. 31 7/8 in. (81 cm); W. 11 7/16 in. (29 cm). Date: 18th century.When the designs of Japanese robes and theatrical costumes evoke scenes from stories, they do so without depicting the actual characters. Inanimate characteristics that provide the setting of a famous episode--landmarks, seasonal flowers, accoutrements associated with characters and events--serve as a shorthand for the entire episode.This extremely rare piece, a fragment of a garment, is a remarkable exception. Overtly represented here next to a palanquin and under a blossoming cherry tree are two monkeys. Complete with clothing, postures, and facial expressions that suggest relative rank and even personality, the animals are clearly characters in a story. Unfortunately, because the garment is not complete, the story cannot be unambiguously identified; however, this textile probably shows a detail from the story Fuji

Album Leaf Painting: Farmer, Wife and Child Album Leaf Painting: Farmer, Wife and Child, 18th century. Album leaf, ink on silk, Image: 9 1/2 x 11 3/8 in. (24.1 x 28.9 cm). Asian Art 18th century

Peonies. Date/Period: 17th-18th century. Painting. Ink and color on silk. Height: 1,604 mm (63.14 in); Width: 763 mm (30.03 in). Author: UNKNOWN.

korean hieroglyph painted on old paper

Seiryu Gongen. Culture: Japan. Dimensions: Image: 35 13/16 × 17 5/8 in. (91 × 44.7 cm)Overall with mounting: 68 7/8 × 24 13/16 in. (175 × 63 cm)Overall with knobs: 68 7/8 × 25 7/8 in. (175 × 65.8 cm). Date: mid-14th century.The Shinto goddess Seiryu Gongen appears here in a domestic interior befitting an aristocratic occupant. She wears courtly vestments and carries a wish-fulfilling jewel (Sanskrit: chintamani) in her right hand. Just outside her chamber stands a young girl to whom she has given a book, the Records of Miraculous Medicine (Koyaku no shirushi bumi). The goddess towers majestically over her young companion. The name Seiryu Gongen can be written in two ways: depending on the characters used, Seiryu means either "pure waterfall" or "blue dragon"; gongen is an honorific title that can mean "god" or "goddess." The goddess was believed originally to have been the titulary deity at Blue Dragon Temple (Chinese: Qinglongsi) in Chang'an (modern Xian), China. She is said to ha

Scenic (China); hand painted on handmade paper; 282 x 92.5 cm (111 x 36 7/16 in. )

Mei 1908, 1908 book. magazine Number 8 of volume 11 (May 1908) of the literary monthly magazine Hototogisu: cover on which stylized flowers in Art Nouveau style; Inside a titet lobe of a woman who draws water from a bridge; Back on which children who hold a wrestling (Sumo) competition. paper letterpress printing / color woodcut

Reclamekaart van A. Sinkel met Japanse vrouw.A Japanese woman with a range and her arm above her head. On the left the text 'A Sinkinken'.

Chrysanthemums, mid 1600s. Kitagawa Sōsetsu (Japanese, active 1639-50). Hanging scroll; ink and color on paper; image: 127 x 57.2 cm (50 x 22 1/2 in.); overall: 190 x 65 cm (74 13/16 x 25 9/16 in.).

Two textile fragments. Two textile jacks, embroidery and press sepia and beige damask background.

Books and Scholars Objects (Chaekgeori), 19th century, Unknown Korean, 68 1/4 x 172 x 5/8 in. (173.36 x 436.88 x 1.59 cm), Ink and color on paper, Korea, 19th century, During the Confucian dominated Choson dynasty, folding screens showing books and objects related to scholarly pursuits became popular among Korea's educated elite, as well as among those who aspired to that social class. As with this example, they typically featured stacks of bound books and the 'four treasures of the scholar's studio' (brush, paper, inkstone and inksticks). Artists also depicted rare objects that reflected the owner's interest in antiquities, including bronze vessels and ceramics, and interspersed these with auspicious plants and fruits.

Detail of Japanese textile print

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

Rocks, one of four, 19th century, Zhou Tong, Chinese, 1809 - 1876, 46 3/16 x 11 15/16 in. (117.32 x 30.32 cm) (image), Ink and color on silk, China, 19th century

Painting, Anonymous, 1300 - 1500 Taoist print representing Chang tao-ling. Rubbing partially worked with watercolor. China ink. dye. silk Taoist print representing Chang tao-ling. Rubbing partially worked with watercolor. China ink. dye. silk

Autumn Flowers in a Bamboo Basket 1760s Yosa Buson An informal bouquet of autumn flowers stands in a tall Chinese-style bamboo basket with an elegant rounded handle. Chrysanthemums (kiku), Chinese bellflowers (kiky), and rose mallows (fuy) are all associated in traditional Japanese poetry with autumn, their season of full bloom. The Nanga-school artist Yosa Buson styles himself “Chk” in his signature, indicating that he painted this in his mid- to late forties. He used a technique for rendering the flowers called sumi-nijimi, or “ink blurring,” in which the artist applies brushstrokes to the surface of ink washes before they have dried, creating an evocative, soft texturing effect. This contrasts with the short horizontal strokes in dark ink used to convey the texture of the plaited bamboo.. Autumn Flowers in a Bamboo Basket. Yosa Buson (Japanese, 1716-1783). Japan. 1760s. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

Tortures. Watercolours by a Japanese artist.

Kiso Gorge in the Snow Utagawa Hiroshige Japanese. Kiso Gorge in the Snow 56682

Landscapes in the Styles of OldMasters. Artist: Cheng Gong, Chinese, active 1675-1706

Illustrated book 1893 Japan. Illustrated book. Japan. 1893. Ink on paper. Meiji period (1868-1912). Illustrated Books

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

Roses ca. 1843 Utagawa Hiroshige Japanese. Roses. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1843. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Piece 18th-19th century China (). Piece. China (). 18th-19th century. Silk. Qing dynasty (1644-1911). Textiles-Woven

Wapaable Seitia (N.1851 - D.1918), GUEGTPPE SURE UNUIT THE CATALPA; Luch expansion at a sure ur monuace player Ferchanau page on 1916logisturier polychrovgers. Museum Certernaryi, Museum Des Arts The L'Asie The Lavile The Lavy The Paris

Illustrated book After Kano Tan'yū Japanese. Illustrated book. After Kano Tan'yū (Japanese, 1602-1674). Japan. Monochrome woodblock print; ink on paper. Edo period (1615-1868). Illustrated Books

Landscape, 1626. Shao Gao (Chinese, c. 1595-c. 1643). Folding fan, ink and color on gold paper; open and extended: 17.5 x 54 cm (6 7/8 x 21 1/4 in.).

Scene 4a. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

Mallows, 17th - 19th century, Tosa School, Japanese, active early 15th - 19th century, 8 7/8 × 18 3/8 in. (22.54 × 46.67 cm) (image)52 1/4 × 28 3/16 in. (132.72 × 71.6 cm) (mount, without roller), Hanging scroll; color on paper, Japan, 17th-19th century

Japan, Asakuraan, New Year's decorations with a tiger, A bronze statue of a tiger stands in a niche (tokonoma) with New Year's decorations, including strips of paper and fern leaf, and a painting with calligraphy. The tiger refers to the New Year of the Tiger (1806), and the red characters between the calligraphy on the painting represent the long months for that year., print, surimono, egoyomi (calendar sheet), prints, Japan (collection), height 208 mm, width 96 mm, print maker, printmaker, 1806 - 1806, first quarter 19th century, paper, colour woodcut, blind printing, Japanese, poet

Japan, Katei, Taki, Crab and lotus plant, endpaper - stamped, Octogonal print from album with 39 prints., album page, print, prints, Japan (collection), height 223 mm, width 287 mm, 1830 - 1901, print maker, 1880 - 1890, fourth quarter 19th century, paper, color woodcut

Panther Head’ Lin Chong Kills Officer Lu Outside the Mountain Temple, April 1886, Tsukioka Yoshitoshi; Publisher: Matsui Eikichi; Carver: Takimoto Chokuzan, Japanese, 1839 - 1892, 15 1/8 × 10 1/8 in. (38.42 × 25.72 cm) (sheet, each, approx., vertical ōban, upright diptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

View of a Shrine, Katsushika Hokusai, 1760 - 1849, Woodblock print in colored ink on paper, A scene of a shrine, protected by a forest of trees and bushes, is lush and covered with green. The bright pink outline of a tree suggests that it might be springtime. Below the torii entrance are two people entering the spiritual place. On the left side of the page is a man potentially gardening or maintaining the landscape of the shrine., Japan, 1760-1849, landscapes, Print, Print

Painting

The Shu River. ink on paper. Origin: China. Date: 13th century. Period: Southern Song dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A Maharana and His Retinue Hunting Boar early 18th century Western India, Rajasthan, Udaipur A Rajput ruler, identified by a radiating halo framing his head, oversees a hunt in which courtiers on horseback and on foot pursue packs of boars. Rolling hills mark the horizon, and at upper left is a Hindu shrine, likely a sanctuary dedicated to Shiva where the royal family worshiped. The ruler, attended by standard bearers, appears twice in the composition, enacting different stages in the hunt. The aerial view, fluid action, and confidently executed figures are characteristic of early eighteenth-century painting in the Mewar court. This drawing, probably sketched from life in the field, depicts a narrative that is fully elaborated in the painting Maharana Jagat Singh Hawks for Cranes (1996.100.3) and likely served as a study or preparatory drawing for such a finished work.. A Maharana and His Retinue Hunting Boar 74725

A female figure, garden rocks, and peonies. Origin: China. Period: Qing dynasty. Ink on silk. Date: 18th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Tsuki to Ume (Moon and Plum Blossoms), with haikupoem. Artist: Matsuo Bash?, Japanese, 1644-1694

Landscape with Walled Town Made 1620-1786 France. Black chalk on rust laid paper, laid down on cream laid paper . Claude Lorrain

Piece 17th century Japan. Piece 71153

Textile fragment, Anonymous, 1804 - 1818 Textile fragment, pressure from mountain landscape with autumn leaves and bamboo on pink background. Japan silk Textile fragment, pressure from mountain landscape with autumn leaves and bamboo on pink background. Japan silk

Cherry and Maple Trees early 1820s Sakai Hitsu This pair of screens, painted in vivid colors on a brilliant gold-leaf background, presents a budding willow and a cherry tree in full bloom alongside two maple trees at the peak of their crimson glory. The compositions are distinctive for their array of related springtime and autumnal plants and flowers, all with poetic significance in haiku of the period. While hanging-scroll paintings by Sakai Hitsu abound, only a half dozen or so pairs of screens in this six-panel format are known to survive, and these in particular stand out for their originality of composition, strong visual impact, and projection of lyrical elegance.This work can be dated to late in Hitsu’s career, when he was joined in his studio by his closest and most talented pupil, Suzuki Kiitsu (1796-1858).. Cherry and Maple Trees. Sakai Hitsu (Japanese, 1761-1828). Japan. early 1820s. Pair of six-panel folding screens; ink, color, and gold leaf on paper. Edo period (1615-

Red and White Poppies early 17th century Traditionally attributed to Tosa Mitsumochi Japanese The summer motif of red and white poppies arrayed across the gold-leaf surface of the screen is a decorative formula that developed during the seventeenth century and was taken up by various schools throughout the Edo period. An unusual feature of this painting is the pattern of family crests that decorates the lattice fence. In the lower right corner an inscription by Ogata Kōrin (1658-1716) attributes the work to the court painter Tosa Mitsumochi, who died a century before the celebrated Rinpa artist was born. The attribution, however, is speculative; based on its style, the work probably dates to the early seventeenth century. Nevertheless, the screen reveals the kind of court paintings that Kōrin, famous for formalized depictions of natural themes, had direct access to and would have studied.. Red and White Poppies 44914

Album of Birds and Flowers and Other Subjects late 17th century Attributed to Tosa Mitsunari Japanese. Album of Birds and Flowers and Other Subjects. Attributed to Tosa Mitsunari (Japanese, 1646-1710). Japan. late 17th century. Accordion album; ink and color on silk. Edo period (1615-1868). Illustrated Books

Monkey Bridge in Kai Province (Koyo Saruhashi no zu) 1836-1847 Japan. Color woodblock print; vertical oban diptych . Utagawa Hiroshige

Panel, Pictorial early 19th century China. Panel, Pictorial 70195

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 4 1 satin weave with supplementary patterning wefts bound in weft-float faced 1 4 satin interlacings; label silk, plain weave; painted in ink; glued over paper .

Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 7 (Denshin kaishu: Hokusai manga, nanahen). Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: Overall: 9 × 6 × 3/8 in. (22.9 × 15.2 × 1 cm). Date: 1819. Museum: Metropolitan Museum of Art, New York, USA.

A Branch of loquats and a bird. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Suikoden Heroes Riki and Chôjun in An underwater strugGle, TSUKIOKA YOSHITOSHI, 1887 print The tattooed sugars hero Riki fights under water with fish seller Chôjun. On the bottom, between the seaweed, an octopus. Chôjun, with red pants, was a good swimmer and caught stealing fish. The two get into fight and fall into the water. Riki could not swim and was saved by his sugars comrades. Because of his heroism, Chôjun can then join the sugars. (vertical diptych) paper color woodcut fighting. water course

Collection of Drawings-Models for Artisans, 1828, Eisen, Japanese, 1790 - 1848, 5/16 x 6 x 8 11/16 in. (0.8 x 15.3 x 22 cm), Woodblock printed book; ink and color on paper, Japan, 19th century

Landscape right of a triptych of White-Robed Kannon with Landscapes, late 15th century, attributed to Kenkō Shōkei, Japanese, active before 1478-ca. 1523, 38 5/16 × 12 7/8 in. (97.31 × 32.7 cm) (image)70 1/4 × 17 3/16 in. (178.44 × 43.66 cm) (without rollers), Ink and color on paper, Japan, 15th century, Buddhist monks, particularly those of the Zen school, were devoted landscape painters. Like calligraphy, painting was considered part of the spiritual training necessary for enlightenment. Zen monks favored monochrome ink painting due to its simplicity and straightforwardness. The priest Kenkō Shōkei, who served as secretary at Kenchōji Temple in Kamakura, studied Chinese paintings from the Song (960-1279) and Yuan (1279-1368) dynasties and became a key figure in the ink-painting circles of Japan

White Lotus Society. Artist: Unidentified Artist; In the Style of Li Gonglin (Chinese, ca. 1041-1106). Culture: China. Dimensions: 11 7/8 in. × 19 ft. 5 1/2 in. (30.2 × 593.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Paul Klee color work on paper with verso drawing on cardboard showing artistic composition, color use, and abstract elements.

Arrangements of Irises and Morning Glories. Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1780-1790. Dimensions: 33 x 22.9 cm (13 x 9 in.). Color woodblock print, aiban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Pu Xian on Elephant Unidentified artist. Pu Xian on Elephant. Unidentified artist. China. Hanging scroll, fragment; ink and color on paper. Ming dynasty () (1368-1644). Paintings

Drawing, Textile Design: Goldstickerei (Gold Embroidery); Designed by Maria Likarz-Strauss (Austrian, b. Poland, 1893-1971); Made for Wiener Werkstätte (Austria); graphite on paper; 24.1 × 20.3 cm (9 1/2 in. × 8 in.) Mat: 71.1 × 54.6 cm (28 in. × 21 1/2 in.)

Horsewhip, bridle, headstall Shuzan

this Mary Magdalena; Masieski, Jan (Fl. Ca 1750-1800); II PO. 18th century (1751-00-00-1800-00-00);

Village and Temples in Jiangnan. Artist: Unidentified Artist. Culture: China. Dimensions: Image: 9 9/16 x 10 3/16 in. (24.3 x 25.9 cm). Date: early 15th century.Gold, azurite, and malachite are perfectly suited to this depiction of the verdant Jiangnan ("South of the Yangzi River") landscape. In theforeground is a small village where travelers arriving by boat bow to one another or enjoy the view from a pavilion across a stream. Towering above the white-washed houses is the two-story hall of a temple; in the distance, other temples, one with a pagoda and freshly dyed red walls, nestle in the foothills. Museum: Metropolitan Museum of Art, New York, USA.

Wooded Mountains at Dusk dated 1666 Kuncan Chinese Born on the Buddha's birthday, Kuncan took Buddhist monastic vows at age twenty-six and became an ardent Chan (Zen) follower. After the establishment of the Qing dynasty, he lived in Nanjing, where his friends included poet-painters who considered themselves loyal "leftover subjects" of the vanquished Ming dynasty. In 1659 he visited Yellow Mountain in southern Anhui Province and, inspired by the beauty of the site, decided to devote himself to painting. For Kuncan, painting was a path to the self, and he brought to his art the importance of selfhood espoused by later Chan practitioners.Kuncan's landscapes, painted in the densely textured style of the Yuan master Wang Meng (ca. 1308-1385), are often accompanied by inscriptions that describe a physical, as well as spiritual, mountain journey. In Wooded Mountains at Dusk the artist depicts himself as a wandering pilgrim seated beneath a natural rock bridge:I want to go farther,But my leg

Willow, Cherry Blossoms, Sparrows and Swallow, 1870s, Utagawa Hiroshige III, Japanese, 1843-1894, 13 1/16 x 8 5/8 in. (33.1 x 21.9 cm) (image, sheet), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Bullfinch and Weeping Cherry (Uso, shidarezakura), from an untitled series of flowers and birds. Katsushika Hokusai ; Japanese, 1760-1849. Date: 1829-1839. Dimensions: 25.5 x 17.1 cm. Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Landscape after Wu Zhen (1280-1354), from the Mustard Seed Garden Manual of Painting First edition, 1679 Designed by Wang Gai In 1679, the author Li Yu published a primer for aspiring landscape painters called the Mustard Seed Garden Manual of Painting, and he commissioned the versatile painter Wang Gai to provide designs for the illustrations. The first edition features volumes on the components of landscape paintingtrees, rocks, and human figureswith instructions on how to draw different types of each. It also includes two volumes of landscapes in the styles of old masters, which show readers how to transform what they have learned into their own historically minded compositions.The manual transmitted the fashion for studying old masters' styles beyond the rarified elite circles that had given rise to the practice, and it went on to become the most widely used introduction to painting not only in China, but in Korea and Japan as well. Subsequent editions added flowers as a subject

Hanging scroll, mid 19th century, Kikuchi Gozan, Japanese, 1769 - 1849, 59 3/8 × 17 1/4 in. (150.81 × 43.82 cm) (image)78 7/8 × 22 1/4 in. (200.34 × 56.52 cm) (mount, without roller), Ink on paper, Japan, 19th century

FlyingCrane, Hanging scroll: ink and color on silk, ivory rollers, without mounting: 14 5/16 × 21 1/2 in. (36.3 × 54.6 cm), China, Chinese, Ming dynasty(1368-1644), Paintings

Birds among flowering branches against clouds. Culture: China. Dimensions: Overall (a): 51 3/4 x 22 1/4 in. (131.44 x 56.52 cm)Overall (b): 31 1/2 x 10 1/4 in. (80 x 26 cm). Date: 17th century.In this exuberant composition, various birds and plants are juxtaposed with cloud formations in colorful combinations. This tapestry was probably part of a larger decorative panel with hundreds of birds and a phoenix, a symbol of a group of loyal officials with a righteous ruler. Museum: Metropolitan Museum of Art, New York, USA.

An Oiran Seated upon a Bed, Writing a Letter ca. 1769 Suzuki Harunobu Japanese. An Oiran Seated upon a Bed, Writing a Letter 54570

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Wren and two snipes, Mallard and kingfisher, Seventh and eighth pages of Utamaro's bird book., page, prints, images, Japan (collection), height 251 mm, width 187 mm, Japanese, 1753 - 1806, print maker, printmaker, 1794 - 1798, fourth quarter 18th century, paper, colour woodcut, Publication (Event), Publication, publisher

Roller painting, Anonymous, 1923 Vertical roller painting representing bamboo and text. In wooden box. China ink. paper Vertical roller painting representing bamboo and text. In wooden box. China ink. paper

Dramatic Picture of Sakura Utagawa Hiroshige II Japanese View more. Dramatic Picture of Sakura. Utagawa Hiroshige II (Japanese, 1826-1869). Japan. Ink on paper. Illustrated Books

Abe-no-Nakamaro Writing Nostalgic Poem While Moon-viewing. Date/Period: 1918. Japanese Painting. Color on silk. Height: 1,452 mm (57.16 in); Width: 520 mm (20.47 in). Author: TOMIOKA TESSAI.

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