Japanese Art and Poetry

Charming artworks combining traditional Japanese themes with poetry, depicting flowers, seals, and festive imagery in delicate colors and intricate designs.

Votive tables with flowers Ema (title on object) A series with horses (series title) Umazukushi (series title on object), Votive prints (ema) with golden dots in the form of a pagoda, and one with the image of a horse. In the background blossom branches and in the foreground a wrapped gift. With three poems about the beginning of spring in the year of the horse, horse, Katsushika Hokusai (mentioned on object), Japan, 1822, paper, colour woodcut, h 207 mm × w 183 mm

Peach Blossoms, a Seal and a Seal-box 19th century Kubo Shunman Japanese. Peach Blossoms, a Seal and a Seal-box 54088

Poem by Fujiwara no Okikaze with Underpainting of Clematis early 17th century Calligraphy by Shōkadō Shōjō 花堂昭乗 Japanese Tare o ka moshiru hito ni senTakasago nomatsu mo mukashi notomo naranaku niWho is there leftthat really knows me?Though the pines of Takasagohave always been there,I cannot call them “friends.”—Trans. John T. Carpenter. Poem by Fujiwara no Okikaze with Underpainting of Clematis 45334

Votive tables with flowers Ema (title on object) A series with horses (series title) Umazukushi (series title on object), Votive prints (ema) with golden dots in the form of a pagoda, and one with the image of a horse. In the background blossom branches and in the foreground a wrapped gift. With three poems about the beginning of spring in the year of the horse, horse, Katsushika Hokusai (mentioned on object), Japan, 1822, paper, colour woodcut, h 207 mm × w 183 mm

Surimono Calendar for the Dog Year, 1814. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 8 1/16 x 7 in. (20.5 x 17.8 cm). Date: 1814. Museum: Metropolitan Museum of Art, New York, USA.

Fourth Month” from Fujiwara no Teika’s Birds and Flowers of the Twelve Months” 1743 Ogata Kenzan Japanese Kenzan, brother of the painter and designer Ogata Kōrin (1658-1716), was born into a wealthy merchant family in Kyoto. He is best known for his ceramic wares, having studied with the great Kyoto potter Nonomura Ninsei (active ca. 1646-94), but he was also a gifted painter and calligrapher. He took these poems from the Shūigusō (Gleaning of Worthless Weeds), a collection of verse by the poet and calligrapher Fujiwara no Teika (1162-1241). They read: Robes of white clothshould be aired out, they say,just when summer arrivesand deutzia flowers in bloomcause the hedge to droop.In the village of Shinobuwhere the cuckoo dwells,its cry is now heard,while we await next monthwhen deutzia flowers bloom.. Fourth Month” from Fujiwara no Teika’s Birds and Flowers of the Twelve Months” 45275

Retired Plum ("Gabai") Totoya Hokkei (Japanese, 1780-1850). , 1822. Color woodblock print; deluxe surimono, 8 1/8 x 7 3/8in. (20.6 x 18.7cm). Asian Art 1822

New Sea of the Arts - 10, 1903 book Share ten (of 35); cover with diagonal pattern in pink, white and blue; Diagonal about the middle, title strip; 10 sheets with 20 pattern designs, of which a pattern of flowering plants against black with blue background on the first page; Inside cover; Colophon; Cover back, English text. paper. color woodcut

Minamoto no Yoshiie on horseback and a bird on a branch, from an untitled hexaptych depicting a pair of folding screens 1820-1830 Japan. Color woodblock print; sheet from shikishiban hexaptych, surimono . Ryuryukyo Shinsai

Fragment of a scroll of writing Keigaku, harada (FL. 1850 60)

New Sea of the Arts - 14, 1903 book Part of fourteen (of 35); green cover with double cloud motif; in the middle, title strip; 11 sheets: 10 sheets with 20 pattern designs, of which colored bulbs on the first page in a stylized tree against a black and brown background; Inside cover; Colophon; Cover back, English text. paper. color woodcut

Swallows, pleach blossoms, and full moon. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 37.2 x 16.7 cm (14 3/4 x 6 1/2 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Chopping Herbs, 1809 print A woman cuts herbs on a shelf that is supported by two wooden tons. A second woman watches with a bucket under her arm. In the background a village and people on the beach. The fuller block, used to felt substances to which the title of the print refers, is not present on the print. The chopping on the cutting board probably refers to it. With one poem. paper color woodcut water course (+ landscape with figures, staffage). preparation of food - CC - in the open air. adult woman (+ two persons)

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo period (1615-1868). Textiles-Woven

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

Bush Warbler on a Plum Branch (Ume ni uguisu). Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 5 7/16 x 11 1/8 in. (13.8 x 28.3 cm). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Beni-gai, hora-gai, urauzu-gai, wasure-gai, chiyonohana-gai, and masuho-gai, from the illustrated book "Gifts from the Ebb Tide (Shiohi no tsuto)". Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1789. Dimensions: . Color woodblock print; double-page illustration from book. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Flowers and Goldfish 18th century S Shizan Japanese The profusion of flowers hanging from a kaido tree, ebulliently filling the frame, suggests fecundity. The auspicious and opulent qualities of this painting are enhanced by such exotic motifs as the basket, the finely crafted table, and the delicate glass fishbowl. The meticulous details and realistic coloring are in line with the decorative realism taught by S Shizan’s father, S Shiseki, who trained with the Chinese painter Song Ziyuan. His style is also influenced by the work of Shen Nanpin.. Flowers and Goldfish. S Shizan (Japanese, 1733-1805). Japan. 18th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Koto Met Pruimenbloesem in Pot, Keisai Eisen, 1830 A miniature plum blossom tree in pot decorated with a tiger. Behind it a koto (Japanese stringrum) and on a purple cloth the box in which the plectrums are stored for the koto. With four poems. Japan paper color woodcut tree: plum-tree

Table and Writing Set. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 3/16 x 7 1/8 in. (20.8 x 18.1 cm). Date: 19th century.Lacquer objects are often depicted on luxurious, limited-edition New Year's greeting cards (surimono). This print shows a small, red lacquer, maki-e decorated writing table with an unbrushed poem card (tanzaku) placed on it. Next to the table is a lacquer writing box. On the outside, it is decorated with gold and silver chrysanthemum maki-e, while the inside is red lacquer. It contains an inkstone, a water-dropper, an ink stick, and three brushes. The brushes are very fine, suitable for tanzaku calligraphy. The poems reveal that these are accoutrements to be used for practicing the "first calligraphy" (kakizome) of the year. Museum: Metropolitan Museum of Art, New York, USA.

Cat and Butterfly 19th century Xugu (Zhu Huairen) Chinese Zhu Xubai joined the Imperial Army in 1851, but finding that his sympathies lay with the Taiping, he deserted and became a monk, taking the name Xu Gu. Alienated and without roots, he traveled between Yangzhou, Suzhou and Shanghai selling his paintings. He had been trained in a portrait shop to paint the realistic ancestor images much in demand, but the majority of his paintings give little evidence of traditional training. His creativity lies in devising a light, fresh means of rendering the impression of things as they are seen.Xu Gu has invoked the 18th century Yangzhou Eccentric Hua Yen's (1682-1765) humorous animal subjects, though he has not attempted Hua's technical virtuosity. Active viewing is required to fuse the dotted outline suggesting the cat's fur and the impressionistic strokes of his landscape also seen in this exhibition. Cat and Butterfly. Xugu (Zhu Huairen) (Chinese, 1823-1896). China. 19th century. Hanging s

Japan: 'A Taoist Immortal', Edo Period silk painting by Isen'in Hoin Eishin (1775-1828), c. 1816-1828, after the manner of Liang Kai (1140-1210). Walters Art Museum, Baltimore

The Toy Seller, illustration for The Fresh-Water Clam (Shijimigai), from the series A Matching Game with Genroku-period Poem Shells (Genroku kasen kai awase) 1816-1826 Japan. Color woodblock print with metallic pigments; surimono shikishiban . Katsushika Hokusai

Pine and full moon, Octagonal print in album with 39 prints., Taki Katei (mentioned on object), Japan, 1880 - 1890, paper, colour woodcut, h 223 mm × w 287 mm

China, Woodcut depicting precious objects, Flower arrangement with scroll paintings and brushes in a pot., print, China (collection), height 357 mm, width 258 mm, maker, manufacturer, 1700 - 1799, paper, colour woodcut

Lady in waiting sitting with her hand raised over her head, board from the album: Thirty six poets /Nishiki zuri onna sanju e zukushi EISHI, CHOBUNSAI (1756 1829)

Plums and Biwa 1860-1869 Japan. This print features a New Year design with a biwa (a musical instrument) resting against white and red plum branches, symbols of the New Year. Tanomura Shosaiís signature also reads shihitsu (ìthe first painting of the yearî).The design on the biwa was added by a different artist. Signed Jomu in an immature hand, it may have been done by a young apprentice or son of the artist. The New Year was traditionally a time for beginnings, and new artists were introduced to the wider world at this time, usually accompanied by an older, more established figure. This print may mark the debut of a new artist.. Color woodblock print; surimono . Tanomura Shosai

Two Children by a Well Curb. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 7 3/8 x 6 3/4 in. (18.7 x 17.1 cm). Date: 1796, year of the dragon.This is an early example of a surimono in the shikishiban (square) format. Surimono with these proportions did not become popular until the 1810s. Museum: Metropolitan Museum of Art, New York, USA.

Kleur Schelp, Katsushika Hokusai, 1821 Toilet supplies such as a reversed bowl for liprouge, a pocket mirror, two bundles of paper strips used for the hairstyle and a packet of facial powder. The shell to which the title refers is depicted in the fan -shaped cartouche. With three poems. Japan paper color woodcut

Keramiek UIT Sôma, Katsushika Hokusai, 1822 print Still life with teapot, a porcelain pot with lid and a cup with a galloping horse on it. The iron sticks are used to poke the charcoal when boiling the water for tea. Sôma is a village in Mutsu province, known for its ceramics. With one poem. Japanese paper (handmade paper) color woodcut / polishing tea-pot; samovar

Bellflowers in Basket 18th century Ogata Kenzan Japanese. Bellflowers in Basket. Ogata Kenzan (Japanese, 1663-1743). Japan. 18th century. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Setsubun, 1773 - 1842 Hanging roll painting in box Japan paper Hanging roll painting in box Japan paper

Votive with a portrait of Bandô Mitsugorô III, A votive (ema) containing a portrait of actor Bandô Mitsugorô III (1775-1832) in the role of Sasaki Takatsuna in the play Koe kakete hikeya Takatsuna. At the bottom is information about the fortunate and bad days of the year. With one poem: Takatsuna is like a spring breeze from Fukiya Street, causing a fog that reaches the mountains, actor (on the stage), plants, vegetation (flowers, blossom, blossoming), Hiroshige (I), Utagawa (mentioned on object), Japan, 1821, paper, colour woodcut, h 212 mm × w 184 mm

Man with a small doll Katsushika, hokusai (1760 1849)

Spring Rain Collection (Harusame shu), vol. 3: Swallows and Peonies. Artist: Teisai Hokuba (Japanese, 1771-1844). Culture: Japan. Dimensions: 8 1/4 x 7 1/16 in. (21 x 17.9 cm). Date: ca. 1820.Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Year's greeting card. The poems, most commonly kyoka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.All four compositions on these leaves (JP2362-2365) come from the same set of prints, Six Bird-and-flower Prints for Utsunomiya in Shimotsuke Province (Kacho rokuban no uchi, Shimotsuke Utsunomiya). The series was commissioned by a branch of the Asakusa kyoka poetry group based in the city of Utsunomiya, north of Edo (prese

The waterless shell; Minasegai; A comparison of Genroku poems and shells; Genroku Kasen Kaiawase. Frogs sitting on stones in a cage. After a room screen with the image of a man on horseback accompanied by servants. The three books on the ground refer to a collection of poems from the 15th century. The image on the room screen refers to General Minamoto No Yoshiie at the IDE river. The frogs that are not in the water, but on stones, refer to the title of the print. With two poems.

KATOENVERWERKER MET ZADEL, KATSUSHIKA HOKUSAI, 1822 A saddle with a cotton processor, a plum blossom branch and a tobacco set. With three poems. Japan paper color woodcut

The Fishermen of Katase Hauling in Their Nets: The Purple Shell (Murasakigai). Katsushika Hokusai ; Japanese, 1760-1849. Date: 1816-1833. Dimensions: 18.2 x 17.2 cm. Color woodblock print with metallic pigments; surimono shikishiban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Woman Carrying a Wooden Box, UTAGAWA TOYOKUNI (I), C. 1810 -C. 1815 print A woman stands on a veranda with a box containing cards for a memory game. Behind her a folding screen. On the ground is the book "A hundred poems by a hundred poets", on which the memory game is based. With one poem. paper color woodcut jewel-box. screen, folding screen

Fishing Under a Pine Tree, 14th century, attributed to Zhao Mengfu, Chinese, 1254 - 1322, 9 13/16 x 9 11/16 in. (24.92 x 24.61 cm), Ink and color on silk, China, 14th century, This clearly executed fan painting depicts a solitary scholar fishing in the shade of a large serpentine pine tree along a river bank. The work bears the signature and seals of the artist Zi'ang. Zi'ang is the style name of Zhao Mengfu (1254-1322), a descendent of the first emperor of the Song who rose to high office under Kublai Khan. The signature and seals were added later, however, out of reverence for the famous artist.

Color shell Irogai (title on object) A comparison of Genroku poems and shells (series title) Genroku kasen kaiawase (series title on object), Toiletries such as an inverted bowl for liprouge, a pocket mirror, two bundles of paper strips used for the hairstyle and a pack of face powder. The shell to which the title refers is depicted in the fan-shaped cartouche. With three poems., Katsushika Hokusai (mentioned on object), Japan, 1821, paper, colour woodcut, h 201 mm × w 177 mm

The Actor Nakamura Kojuro VI in a Daisho no Mai (Sword Dance), in the Play Gion Nyogo, Performed at the Nakamura Theater in the Tenth Month, 1786 1781-1791 Japan. Color woodblock print; hosoban . Katsukawa Shunsho

Three Fish Leap from Rolling Waves , ca. 1860. Woodblock print; horizontal Chûban yoko-e format, 7 1/16 x 9 7/8 in. (17.9 x 25.1 cm). Asian Art ca. 1860

Cuckoo and Azaleas (Hototogisu, satsuki) 1829-1839 Japan. Color woodblock print; chuban . Katsushika Hokusai

Designs for Leather. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 5 9/16 x 7 1/4 in. (14.1 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Grapevines, late 19th century, Unknown Korean, 31 3/4 × 119 1/2 in. (80.65 × 303.53 cm) (image)67 1/2 × 129 1/2 × 5/8 in. (171.45 × 328.93 × 1.59 cm) (outer frame), Ink on paper, Korea, 19th century, An enormous tangle of grapevines emerges at center left and trails up and away across the eight panels of this folding screen. The vines, depicted only in monochrome ink, are loaded with globular fruits and adorned with myriad spiraling tendrils. Although grapes lack the rich symbolic associations of the so-called Four Gentlemen (plum, orchid, chrysanthemum, and bamboo), paintings of grapevines are nevertheless common in all East Asian cultures, beginning with artists active in China during the Southern Song dynasty (1127-1279). Grapes and grapevines became a favored pictorial subject among Korean scholar-painters after the 1500s and remained popular throughout the Joseon dynasty.

The immortal (sennin) Ôkyô A parody of biographies of wise men by courtesans: a series of seven prints (series title) Keisei mitate ressenden - nanaban no uchi (series title on object), A highly placed courtesan is holding onto a kimono rack, while the two geese under her feet carry her through the air. The immortal Ôkyô was of royal descent, but left his family to become a monk on a mountain. His family was only allowed to visit him on the seventh day of the seventh month. When his family arrived at the mountain, they saw him fly away on a white crane. This series expresses immortal men (sennin) by portraying them as courtesans, courtesan, hetaera, Yashima Gakutei (mentioned on object), Japan, 1821 - 1822, paper, colour woodcut, h 206 mm × w 183 mm

Horses slippers; Komageta; A series with horses; Umazukushi. A still life of a Uzume mask, a kite with the image of a rising horse, a half-opened golden impeller, two wooden sandals and a wooden pestle with strips of paper. Uzume is the goddess of the prosperity. The so-called 'horses slippers' (Komageta) are made from one piece of wood and worn by Maiko and Geisha. With two poems.

It's good to hire a woman Yometoriyoshi A series for the Hanazono poetry association Hanazono bantsuzuki (series title), A standing woman next to a miniature landscape on a table with the figures Jô and Uba, together the symbol for a long and happy married life. With two poems. The prints from this series are in line with the belief that the first activities of the new year were extra special. The red cartouche on the prints refers to almanacs in which it was indicated which activities could or could not be undertaken on certain days by people born in a certain year., Totoya Hokkei (mentioned on object), Japan, 1822 - 1825, paper, colour woodcut, h 203 mm × w 176 mm

Two Girls Collect New Year's Herbs 1797 Kubo Shunman Japanese. Two Girls Collect New Year's Herbs. Kubo Shunman (Japanese, 1757-1820). Japan. 1797. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Retired Emperor Gotoba, Unknown Japanese, 9 1/4 × 7 1/8 in. (23.5 × 18.1 cm) (image)52 5/8 × 16 in. (133.67 × 40.64 cm) (mount, without roller), Ink and color on paper, Japan

Daoist immortal Li Tieguai (Japanese Tekkai) 1825-1849 Japan. Color woodblock print; section of harimaze sheet . Katsushika Taito II

AGAAT, Katsushika Hokusai, 1822 In a paint pot filled with small stones are two branches of red coral. On the ground next to it, a rough and a polished piece of agate. With three poems. Literally translated, the Japanese title of this print means 'Horse brain stone' (hence this design for this print series), but it means agate by it. From the beginning of the 19th century, poetry groups held meetings where they showed each other special valuables, such as the objects in this still life. Japan paper color woodcut / polishing coelenterata: coral

A Lady and Servant by a Waterfall, 1799 print A lady and a temple knaap stand for a brick terrace including a stream. The lady's kimono is decorated with hares, but the print comes from the year of goat. With one poem. Japanese paper (handmade paper) color woodcut landscapes (+ landscape with figures, staffage). adult woman. boy (child between toddler and youth)

Calligraphy and Magnolia, 18th century, Ike Taiga, Japanese, 1723 - 1776, 12 3/8 × 21 1/4 in. (31.43 × 53.98 cm) (image)45 5/8 × 22 5/8 in. (115.89 × 57.47 cm) (mount, without roller), Ink on paper, Japan, 18th century

Above: calligraphy by Saigō Takamori; below, an extravagant peony and branch with berries, by Taki Katei. Colour woodcut, 1880/1881.

A Giant Radish (daikon), Chrysanthemums and Ferns 1815-1825 Japan. Color woodblock print, surimono . Ryuryukyo Shinsai

Shells under Water 1790 Kitagawa Utamaro Japanese. Shells under Water 37299

Plum. Artist: Chen Hengke (Chinese, 1876-1923). Culture: China. Dimensions: 11 x 17 1/4 in. (27.9 x 43.8 cm). Date: early 20th century.The strong interplay of color and ink, decorative appeal and calligraphy updates the tradition of flower painting that had evolved in the 17th, 18th and 19th centuries. Chen's freer brushwork and bright color mark a direction that Chinese painting would take in the succeeding decades, and his influential position as a teacher and mentor served to carve out that path. Museum: Metropolitan Museum of Art, New York, USA.

Flowers and Birds /Momiji ni kotori, kikeu ni suzume HIROSHIGE, Ichiryusai (1797 1858)

Lion and Peonies. Okumura Masanobu; Japanese, 1686-1764. Date: 1715-1730. Dimensions: 33.8 x 15.7 cm. Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The salt shell; Shiogai; A comparison of Genroku poems and shells; Genroku Kasen Kaiawase. A box with salty cookies in the form of plum blossom. Behind it a pipe in case and tobacco bag with Netsuke. At the left rear a blue-white porcelain pot with a bonsai pine and fukujuso. The shell to which the title refers is depicted in the fan shower. With one poem by Toshigaki Maharu.

Copy of Chinzans 'Peach Blossoms', 1852, Kokubu Bunyū, Japanese, 1823 - 1900, 46 7/8 × 14 1/2 in. (119.06 × 36.83 cm) (image)58 3/4 × 15 3/16 in. (149.23 × 38.58 cm) (mount), Ink and color on sketch paper, Japan, 19th century

Still Life: Double Cherry-Blossom Branch, Telescope, Sweet Fish, and Tissue Case. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 8 1/8 x 10 11/16 in. (20.6 x 27.1 cm). Date: ca. 1804-13.The two poems in the upper part of the print were composed by Asakusa-an (1755-1821) and his contemporary Teika-an on the theme of cherry blossoms. In this pleasing composition, the motifs are limited to double cherry blossoms, a telescope, a pair of sweet fish, and a tissue case. The combination of such objects in a pictorial image is mysteriously suggestive.Hokusai's signature reads Gakyojin Hokusai ga ("painted by the madman of painting, Hokusai"). Museum: Metropolitan Museum of Art, New York, USA.

Crab-apple Blossom from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in Jiaxing, a city in northeastern China. When the Manchu invasion reached Jiaxing, in 1645, many of Xiangs friends and relatives died in a vain attempt to save their city. His homestead was destroyed and his familys art collections lost. Following this upheaval, Xiangs painting changed from an amateur, literati pursuit, becoming a source of income. Xiang was at the height of his technical and expressive powers when he created this album, featuring a wide range of flowers including wintersweet, cockscomb, apricot, pear, daylily, and cassia. He worked here in pure color without ink outlines and in shaded brushstrokes, which give the impression of three-dimensional modeling.

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

Utagawa Kunisada; Wakasaya Yoichi / 'Ilustración para la novela de Tamegawa Shunsui Jidai kagami (La era del espejo)', 1860, Japanese School, Paper, 176 mm x 117 mm, G05691. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Old Woman on an Ox, 1813, Okada Beisanjin, Japanese, 1744 - 1820, 39 7/8 × 13 3/16 in. (101.28 × 33.5 cm) (image)67 × 19 3/8 in. (170.18 × 49.21 cm) (mount, without roller), Ink on silk, Japan, 19th century

Shunga album. Spring songs - part one; Shunei Shochikabai - Jo. Part one (of three); cover with cloud pattern and white flowers; Above left red title strip with pattern of plum blossom, bamboo and pine branches; Deck leaf, title page; 14 sheets: first page, image of a pine; Two page text; 7 performances with love-winged couple; 12 pages, text.

Shrimp (Ebi) ca. 1890-92 Seki Shūkō Japanese. Shrimp (Ebi) 54753

Lampion and Blossom, Anonymous, 1850 - 1860 print A red lantern and blossom, with a laughing text with the 'Dancersjaier'. paper color woodcut lantern. oriental ideographic script (Chinese, Korean, Japanese)

Joint Work of Birds and Flowers, c. 1874, Nakanishi Kōseki, Japanese, 1807 - 1884, 55 9/16 × 16 11/16 in. (141.13 × 42.39 cm) (image)71 7/16 × 21 1/4 in. (181.45 × 53.98 cm) (mount, without roller), Ink and colors on silk, Japan, 19th century

Rolls of Fabric, c. 1820 print Crepe silk in different colors, partially rolled out and partly on roll. With four poems. paper color woodcut textile fabric, cloth

"Bow, Arrows, Target, and Other Outfits for Archery," from the series Ise Calendars for the Asakusa Group (Asakusa-gawa Ise goyomi)From the Spring Rain Collection (Harusame shu), vol. 2. Artist: Kubo Shunman (Japanese, 1757-1820) (). Culture: Japan. Dimensions: 8 1/4 x 7 5/16 in. (21 x 18.6 cm). Date: ca. 1814.Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Year's greeting card. The poems, most commonly kyoka (witty thirty-one-syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.This album forms part of a set of three containing more than four hundred surimono. The prints are arranged on facing leaves according to themes or in a way that creates an attractive arrangement of designs,

Fire, Totoya Hokkei, c. 1820 print A fire pot of brass wrapped with crepe paper with a pattern of chrysanthemums. The spring (habôki) is used to sweep axle out of the pot. With one poem about the beginning of spring. Japan paper color woodcut kitchen-utensils: pot

Illustrated Books and an Incense Burner. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 8 1/4 x 10 15/16 in. (21 x 27.8 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Paintings after Ancient Masters: Chrysanthemum and Rock, 1598-1652. Chen Hongshou (Chinese, 1598/99-1652). Album leaf, ink and color on silk; overall: 30.2 x 26.7 cm (11 7/8 x 10 1/2 in.).

Japan, Hokkei, Totoya, Basket of eggplants, With two poems. The print is a b-copy., print, prent, surimono, prints, Japan (collection), height 210 mm, width 185 mm, Work conception, Japanese, 1790 - 1850, after print by, 1890 - 1900, paper, colour woodcut

Halberd, Brocade Robe and Seal 19th century Japan. Halberd, Brocade Robe and Seal 54533

Four textile fragments on a leaf, embroidery on silk, anonymous, 1600 - 1625 Japan silk Japan silk

Picture Books and Coin Purse 1824 Japan. Color woodblock print; shikishiban, surimono . Utagawa (Ichiosai) Kunimitsu I

Piece 17th century Japan. Piece 71323

Water Buffalo and Herd BoyAsleep. Artist, attributed to: Han Huang, Chinese, 723-787 CE

Swallow and Lotus, mid-1200s. Attributed to Fachang Muqi (Chinese, 1220-1280). Hanging scroll, ink on silk; image: 91.8 x 47 cm (36 1/8 x 18 1/2 in.); mounted: 195.5 x 63.6 cm (76 15/16 x 25 1/16 in.).

Objects Representing the Ceremony of Exorcising Demons, One of the New Year Performances. Artist: Kubo Shunman (Japanese, 1757-1820) (). Culture: Japan. Dimensions: 7 15/16 x 7 1/8 in. (20.2 x 18.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

A Snowy Gorge on the Fuji River. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1837-1847. Dimensions: 28 5/8 x 9 5/8 in. Color woodblock print; vertical oban diptych. Origin: Japan. Museum: The Chicago Art Institute, USA.

Agate; Menôseki; A series with horses; Umazukushi. In a varnish pot, filled with small stones are two branches of red coral. On the floor next to it, a rough and polished piece agate. With three poems. Literally translated, the Japanese title of this print "horsehopen stone" means (hence this design for this retention), but Agate is meant by. From the beginning of the 19th century, closer groups held meetings where they showed each other special valuables, such as the objects in this still life.

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

Pauw En Pioenrozen, HIROSHIGE (I), Utagawa, 1833-1837 print Pauw under lush flowering peonies; At the top left a poem. Japan paper color woodcut ornamental birds: peacock. plants and herbs: peony

Jiang Tingxi (1669-1732). "Birds and flowers". 1701. Ink and colors on silk. Paris, Cernuschi museum. 38967-7 Color on silk, ink, Chinese print, flower, bird

Fruits, vegetables, flowers, and insects. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Phoenix Flying Over Waves in front of Morning Sun 1767-1777 Japan. Color woodblock print; chuban . Isoda Koryusai

Flowers and Bees 18th century Unidentified artist. Flowers and Bees 51410

SHôgi Stenen, Katsushika Hokusai, 1822 Pot with spring anemones and dwarf spiding blossom standing on a playing board of a Japanese variant of chess, Shôgi. The stones in this game are also called 'horses', hence this design in this print series, published for the new year of the horse in 1822. With two poems. Japan paper color woodcut

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Egrets, Peonies, and Willows. Artist: Yamamoto Baiitsu (Japanese, 1783-1856). Culture: Japan. Dimensions: Image: 57 1/2 x 28 3/16 in. (146.1 x 71.6 cm)Overall: 88 3/4 x 37 1/4 in. (225.4 x 94.6 cm). Date: early 19th century.A pair of herons pause in shallow water beneath a drooping willow branch and tall stems of flowering plants, painted in the "boneless" manner, with limited ink outline and pale wash. Yamamoto Baiitsu mingled with Kyoto literati circles but also sought varied artistic influences in the work of Chinese painter Shen Nanpin (Shen Quan, 1682-1758), who worked in Japan from 1731 to 1733, and other Chinese artists known in Japan. He transformed what he learned into an idiosyncratic style characterized by a sensuous surface quality and serene clarity. Distinctive to his technique was an inclination to use ink in the same manner in which colors were customarily applied--not only for linear brushwork but also for soft washes. Skillfully combining ink wash with washes of col

Traces of Kenzan's Brush 1823 Japan. Traces of Kenzan's Brush. Japan. 1823. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Heating Sake with Maple Leaves (Kanzake momijigari), no 9 from a series of 12 prints depicting parodies of plays 1711-1740 Japan. Hand-colored woodblock print; oban, sumizuri-e . Okumura Masanobu

Nagoya in Owari Province, section of sheet no. 4 from the series "Cutout Pictures of the Provinces (Kunizukushi harimaze zue)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1852. Dimensions: 29.9 x 9.8 cm (8 1/8 x 13/16 in.). Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, USA.

Two excerpts textile, anonymous, 1673 - 1681 Textile fragments, two, embroidery of flowers and trees on silk. Japan silk Textile fragments, two, embroidery of flowers and trees on silk. Japan silk

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