Japanese Art: New Year and Nature

A collection of Japanese artworks featuring traditional themes like decorated fans, cherry blossoms, and calligraphy, showcasing elegant designs and natural motifs.

Writing table of the poet, A framed calligraphy rests against a writing table on which a pile of books, a painting with bamboo, a pot with peacock feathers and a writing box. Under the table you will find more books, a paint box and a flute wrapped in cloth. The calligraphy reads 'Tôjuen' which is the new name of the poet Yôjuen Kamikomaru. With two poems., Yashima Gakutei (mentioned on object), Japan, 1822, paper, colour woodcut, h 211 mm × w 189 mm

Decorated Fan for the New Year. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 1/2 x 7 3/8 in. (14 x 18.7 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Cherry Blossoms and Seal-box with Ink and Ruler 19th century Kubo Shunman Japanese. Cherry Blossoms and Seal-box with Ink and Ruler 54087

Butterfly and Rice Shaft , 1860 (Year of the Monkey). Woodblock print; horizontal Chûban yoko-e format, 7 1/16 x 9 3/4 in. (17.9 x 24.8 cm). Asian Art 1860 (Year of the Monkey)

Writing table of the poet, A framed calligraphy rests against a writing table on which a pile of books, a painting with bamboo, a pot with peacock feathers and a writing box. Under the table you will find more books, a paint box and a flute wrapped in cloth. The calligraphy reads 'Tôjuen' which is the new name of the poet Yôjuen Kamikomaru. With two poems., Yashima Gakutei (mentioned on object), Japan, 1822, paper, colour woodcut, h 211 mm × w 189 mm

The Three Friends (San-y Zu). Artist: S Shizan, Japanese, 1733-1805

Bamboo after Wen Tong. Artist: Ke Jiusi (Chinese, 1290-1343). Culture: China. Dimensions: Image: 42 3/8 x 18 3/4 in. (107.6 x 47.6 cm)Overall with mounting: 98 1/2 x 26 5/8 in. (250.2 x 67.6 cm)Overall with knobs: 98 1/2 x 30 in. (250.2 x 76.2 cm). Date: dated 1343.This dramatically cropped image of bamboo reveals neither the plant's base nor its tip; rather, the leaves and branches seem to defy gravity, giving the pendent bough a sense of dynamic movement and growth. The contrasting ink tones and thrusting brushstrokes that define the leaves add to the vitality of the image. Ke Jiusi, a leading connoisseur and curator of the imperial art collection, here demonstrates his scholarly approach to the study of antique models by freely copying a work by the Northern Song master Wen Tong (1019-1079), the patriarch of the monochrome bamboo genre. Museum: Metropolitan Museum of Art, New York, USA.

Squirrel and Grapes. Shen Yongling; Chinese, 1614-1698. Date: 1694. Dimensions: 33 1/5 × 12 1/4 in. (84.7 × 30.6 cm). Hanging scroll; ink and color on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Chickens and Drum Japan. Color woodblock print, surimono . Rintei

White elephant, A white elephant, with a blanket lying on three pillows. This is a reference to the idea that stroking a statue of an ox lying on a pillow brings luck. With two poems, one about an ox that turns into an elephant, and one about a mouse and the trunk of an elephant. Made following the end of the year of the Rat (mouse) and the beginning of the new year of the Ox, trunked animals: elephant, Kubota Shunman (mentioned on object), Japan, 1805, paper, colour woodcut, h 127 mm × w 174 mm

Japan, Shinsai, Ryûryûkyo, Genji monogatari, The Tale of Genji, Drum, court cap and flowers, A drum with court cap and flower branches. With three poems. The print is a b-copy., print, prent, surimono, prints, Japan (collection), height 210 mm, width 185 mm, Japanese, 1764 - 1825, print maker, printmaker, 1890 - 1900, paper, colour woodcut, blind embossing

Cuckoo, Pine Brach, and Full Moon 1838-1852 Japan. Color woodblock print; aitanzaku . Utagawa Hiroshige

Suisai amid Waves. Tachibana Morikuni (Japan, 1679-1748). Japan, circa 1740. Prints; woodblocks. Page from a woodblock printed book

Keg of sake and basket of oranges 1760-1849 Japan. Color woodblock print; surimono . Katsushika Hokusai

Hat, Deer-Horn and Plum Branch, Representing Jurojin, the God of Life. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 5 3/8 x 7 3/8 in. (13.7 x 18.7 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Shiro-gai, namima-gashiwa, makura-gai, iro-gai, aza-gai, sadae-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, FLORENCIA, USA.

Silver plum blossom, Totoya Hokkei, 1823 Toilet supplies, including a silver hairpin with decorated with plum blossom, a comb and a bowl with lip red; On the right plum blossom against a blue background. With four poems Japan paper color woodcut / nishiki-e plants; vegetation (+ flowers, blossom, blossoming)

Young Nobleman Playing Koto (Harp) 19th century Kubo Shunman Japanese. Young Nobleman Playing Koto (Harp) 54691

Reverberations of Taiga, Volume 2 (leaf 22), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Herdboy and Water Buffaloes Returning Home 1832 Takahashi Shei Takahashi Shei began studying painting with Tanomura Chikuden (1777-1835), a leading literati painter and fellow native of Bungo Province (modern-day Oita Prefecture) on the far western island of Kysh. Shei first encountered Chikuden in 1822 when the master visited Shei's hometown of Kitsuki from Kyoto. Soon thereafter, Shei took Chikuden as a teacher and returned with him to Kyoto, where he was quickly recognized as one of Chikuden's most promising students. Active thereafter primarily in Osaka, Shei was so highly regarded by Chikuden that in the master's Record of Painting Teachers and Friends of Chikuden-s (Chikudens shiy garoku), he is the only of Chikuden's disciples listed alongside many senior, leading artists of the day. However, by his mid-twenties, Shei had contracted an illness that forced him to spend most of his time back home in Bungo. Although his age at death, thirty-two, is known, there is some

Portion of a Poetry Anthology: Cicada, from "Shinsen Roeishu", late 1500s-early 1600s. Konoe Nobutada (Japanese, 1565-1614). Ink, color, gold, and silver on paper; overall: 20.7 x 17.9 cm (8 1/8 x 7 1/16 in.).

Kakinomoto Hitomaro and Tenbai Mountain, 1816, Katsushika Hokusai, Japanese, 1760 - 1849, 8 1/16 x 10 13/16 in. (20.5 x 27.5 cm) (sheet), From a woodblock printed book; ink and color on paper, Japan, 19th century

Surimono Shibata Zeshin (Japanese, 1807-1891). , 19th century. Color woodblock print on paper, 5 1/2 x 7 3/8 in. (14 x 18.7 cm). Asian Art 19th century

Pine and full moon. Octogonal print in album with 39 prints.

Illustration for lyrics du Fu; 1959-1962 (1959-00-00-1962-00-00);

Corn, Lotus Root, and WaterChestnut. Artist: Zou Yigui, Chinese, 1686-1772

Eighth Month Plum, from the Series for the HanazonoClub. Artist: Totoya Hokkei, Japanese, 1780-1850

Landscape with Trees in the Manner of Ni Zan (1301-1374) ca. 1622-25 Dong Qichang Chinese Dong Qichang revived the tenets of the scholar-painter: to follow the ancient models and to apply the principles of calligraphy to painting. In proposing a "great synthesis" of all ancient landscape idioms, Dong turned landscape forms into calligraphic abstractions. The most desirable element in painting, according to Dong, was brushwork rather than representation: "If one considers the wonders of brush and ink, real landscape can never equal painting."This painting is an interpretation of the Yuan master Ni Zan's (1306-1374) art. Dong Qichang regarded Ni's painting as a calligraphic abstraction of the tenth-century master Dong Yuan's style and used Dong Yuan's "hemp-fiber" texture strokes to re-create Ni Zan's brush landscape idiom.. Landscape with Trees in the Manner of Ni Zan (1301-1374) 48953

Bird and wild carnation. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1840. Dimensions: 19.1 x 12.6 cm (7 1/2 x 4 7/8 in.). Color woodblock print; yotsugiriban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Screen and Miscellaneous New Year Presents. Artist: Ishikawa Kazan (Japanese, active 1810-1823). Culture: Japan. Dimensions: 8 1/4 x 7 5/16 in. (21 x 18.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

White Crane Mountain datable to 1654-55 Ye Xin Chinese This painting and its accompanying inscription belonged to an album made for the noted Nanjing collector and high official Zhou Lianggong (1612-1672). A leading patron of contemporary artists, Zhou assembled a number of these albums during the last twenty-five years of his life, when his career required him to travel extensively. Such collaborative works have long been a means for a group of artists to commemorate special occasions, but Zhous albums, which sometimes encompassed hundreds of contributions, fulfilled a different function: they included works by professionals and scholar-amateurs, Ming loyalists and Qing officials, traditionalist orthodox painters and innovative individualists. By inviting a wide spectrum of artists to both view and contribute to these albums, Zhou created a unique forum for artists to learn from and appraise one anothers productions.. White Crane Mountain 36090

Album of Miscellaneous Subjects, Leaf 10, early 1650s. Fan Qi (Chinese, 1616-aft 1694). Album leaf, ink and color on silk; image: 12.6 x 17.3 cm (4 15/16 x 6 13/16 in.); overall: 21 x 22 cm (8 1/4 x 8 11/16 in.).

Palace interior and beach, from an untitled hexaptych depicting a pair of folding screens. Ryuryukyo Shinsai; Japanese, c. 1764-1820. Date: 1820-1830. Dimensions: 20.1 x 18.6 cm. Color woodblock print; sheet from shikishiban hexaptych, surimono. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Natane Flower 19th century Unidentified artist. Natane Flower 54027

Chrysanthemums Shûtei Tanaka (Japanese, 1810-1858). , ca. 1855. Woodblock print; horizontal Chûban yoko-e format, 7 1/8 x 9 7/8 in. (18.1 x 25.1 cm). Asian Art ca. 1855

The Three Heroes of Shoku (Shu): Emperor Ryubi (Liu Fei) and His Friends Kwan-u (Kwan Yu) and Chohi (Chang Fei) first half of the 19th century Yashima Gakutei Japanese. The Three Heroes of Shoku (Shu): Emperor Ryubi (Liu Fei) and His Friends Kwan-u (Kwan Yu) and Chohi (Chang Fei). Yashima Gakutei (Japanese, 1786-1868). Japan. first half of the 19th century. Triptych of woodblock prints(surimono); gold, copper and silver on paper. Edo period (1615-1868). Prints

Samples of Patterned Cloth, 1796 print Two pieces of fabric with different motifs. In elongated cartouches are the names of the substances that are depicted. With two poems. paper color woodcut dragon

Egoyomi with mushrooms such as Falli, Anonymous, 1861 print Japanese paper (handmade paper) color woodcut Penis, Phallus. Fungi

Hagi No Tamagawa, from the series: The six jewel rivers. .

Kinugawa YoEmon with a poem by Harumichi No Tsuraki, No. 32 from the series "Imitation of the collection from Ogura - one poem from a hundred poets" (Ogura Nazora Hyakunin Isshu)Dembiński, Stanisław (1891-1940)-collection, Orikoshi Nanikashi, decorative boards according to the anthology of a hundred poets, cycle, gift (provenance), Japanese (culture), Oban, Japanese art, Ukiyo-e

Illustrated Books and an Incense Burner 19th century Ryūryūkyo Shinsai Japanese. Illustrated Books and an Incense Burner 54002

Courtier and Lady with a Young Woman Poling a Boat 1796 Kubo Shunman Japanese This scene evokes the famous scene from Chapter 51, A Boat Cast Away” (Ukifune), of the The Tale of Genji. The setting is the New Year, the beginning of spring in the lunar calendar, when the plum trees are about to burst into bloom, the warbler is poised to sing its first song (hatsune) of the year, and pine saplings—ready to be plucked—for the Ne no hi (First Day of the Rat) ceremony adorn the shores of a winding stream. At a tumultuous point in her life Ukifune finds herself falling in love with competing suitors, Kaoru and Niou. The far-and-away most commonly depicted scene set a bit later in spring after a heavy snowfall when the moon is in the morning sky and Niou joins Ukifune for boat ride on the Uji river to the Isle of Oranges (Tachibana no kojima) accompanied, according to the tale, by her maid and a boatman. In most depictions, however, the maid and boatman are omitted from the scene to focus on

Freshly-Picked Flowers in a Travelers Hat, illustration for The Thousand-grasses Shell (Chigusagai), 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

Kiyomidzu Temple in Kyoto. Artist: Hishikawa Moronobu (Japanese, died 1694). Culture: Japan. Dimensions: 10 1/4 x 16 3/4 in. (26 x 42.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

A Chinese philosopher and landscape with willows; A series of ten prints for the Honchôren; Honchôren Jûbantsuzuki. In a range-shaped cartouche, a Chinese philosopher is pictured, wine drinking from a large barrel, against a background of chrysanthemums on a mountain. The square cartouche shows a landscape with willows and a pavilion. With one poem.

Son goku, The monkey Songoku from travels to the west., Kubo, Shunman, 1757-1820, artist, 1812., 1 print : woodcut, color ; 21 x 13.7 cm., Print shows a monkey on a cloud dressed as a samurai warrior.

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

Lake and Causeway. Artist: Hashimoto Gaho (Japanese, 1835-1908). Culture: Japan. Dimensions: Image: 14 in. × 10 1/2 in. (35.6 × 26.7 cm)Mat: 22 7/8 × 15 1/2 in. (58.1 × 39.4 cm). Date: ca. 1885-89. Museum: Metropolitan Museum of Art, New York, USA.

Woman making a net. Akasaka, from the series: Fifty Fifty three stops on the Tokaido highway /Tokaido gojusan tsugi Katsushika, hokusai (1760 1849)

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

Seahorses; Kaiba; A series with horses; Umazukushi. Paper folder with a few dried seahorses and box with two beetles. Both beetles and seahorses were seen as a powerful aphrodisiac, but soapors were also used as a amulet in births. With two poems.

Purple Magnolia and Hornbill. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 3/5 x 4 29/32 in. (37.1 x 12.5 cm). Date: ca. 1830. Museum: Metropolitan Museum of Art, New York, USA.

An Old Man Walking by a Stream, with Distant Mountains Wu Li (Chinese, 1632-1718). An Old Man Walking by a Stream, with Distant Mountains, 1706. Ink and color on paper, image: 50 3/4 x 13 1/2 in. (128.9 x 34.3 cm). Wu Li, an acclaimed Qing dynasty painter, expressed himself through the styles of a select lineage of past artists. Here, sparse trees and an empty pavilion allude to Ni Zan (1301-1374), but Wu Li has reworked the dry, sketchy style of the Yuan dynasty master by incorporating loose, moist brushstrokes to create a richer tonality. Wu Lis reinterpretation may have been influenced by an increasing awareness of Western artistic techniques, such as chiaroscuro and one-point perspective. Wu Li converted to Christianity in the 1670s, allowing him close contact with the missionaries who brought new images and skills to China from the West. Asian Art 1706

Spring Rain Collection (Harusame shū), vol. 1: Books from Kanazawa Library” (Kanazawa Bunko) and Foreign Cat of Shōmyōji Temple” (Shōmyōji no kara neko), from the series History of Kamakura (Kamakura shi) early to mid-1810s Kubo Shunman Japanese 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 kyōka (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.As on the print on the facing page, the inspiration for this design was a chronicle of Kamakura. Both places alluded to in the title are in nearby Yokohama, which served as the eastern gateway of the ancient military capital. Both the Kanazawa Library and the Shōmyōji Te

Spring Arriving in the Han Palace. Yuan Jiang; Chinese, active c. 1690-1724. Date: 1712-1722. Dimensions: 65 × 39 in. (165 × 99 cm). Hanging scroll; ink and slight color on silk. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Flowers and Birds in a Spring Landscape, 1500s. Attributed to Kano Motonobu (Japanese, c. 1476-1559). One of a set of sliding door panels mounted as hanging scrolls; ink and color on paper; painting only: 177.1 x 137.1 cm (69 3/4 x 54 in.); including mounting: 259.1 x 151.1 cm (102 x 59 1/2 in.).

Still Life with a Writing-table, Totoya Hokkei, c. 1832 print View of a room with a writing table, a few books, a lamp and a vase with peacock springs. Next to the table is a KUMFOOR. With two poems. paper color woodcut writing accessories

Lake box and cloth. A still life of a lacquer box decorated with bamboo, a cloth with the image of a sneaking tiger and blind plum blossom and decorative strips (Noshi Awabi). With three poems.

Freshwater mussel and Japanese Sun-Man Mantelschelp, Totoya Hokkei, 1821 A Japanese jacket with a freshwater mussel and some seaweed. The sun and mantle shell is red on the outside and white on the inside. With two poems. Japan paper color woodcut molluscs (+ shell, snail-shell etc.)

Woods and Valleys of Mount Yu dated 1372 Ni Zan Chinese In 1366, Ni Zan abandoned his home to escape marauding soldiers. Even after the establishment of the Ming dynasty in 1368, Ni continued the life of a wanderer, visiting old haunts that he had not seen for twenty or thirty years. According to his epitaph writer, Zhou Nanlao (1308-1383), "in his late years, he became quieter and more withdrawn than ever. Having lost or given away everything he ever owned, he did his best to forget his worries. Wearing a yellow Daoist cap and country clothes, he roamed the lakes and mountains, leading a recluse's life."Woods and Valleys of Mount Yu, executed two years before Ni Zan's death, expresses the painter's contentment in the life of a recluse. The poem ends with the lines:We watch the clouds and daub with our brushesWe drink wine and write poems.The joyous feelings of this dayWill linger long after we have parted.The dry but tender brushwork is aloof and restrained. There is a tranquil lumi

Cabinet for the Toilet and Bedclothes 19th century Ryūryūkyo Shinsai Japanese. Cabinet for the Toilet and Bedclothes 54035

The Bijin Kinko ca. 1766 Suzuki Harunobu Japanese. The Bijin Kinko 54543

A Floating World Version of Saigyo at the Village of Eguchi (Ukiyo Saigyo Eguchi no sato) 1710-1720 Japan. Hand-colored woodblock print; oban, sumizuri-e . Okumura Masanobu

Ibaraki | Library of Congress

Farewell by a Stream on a Clear Day second half 14th century Zhao Yuan Chinese Zhao Yuan was a member of Suzhou literary circles and a close friend of many late Yuan scholar-painters, including Ni Zan (1306-1374) and Wang Meng (ca. 1308-1385).Farewell by a Stream on a Clear Day is painted in a style similar to that of Wang Meng. Wang's powerfully expressive brushwork here becomes a vivacious pictorial surface. Zhao's use of dots is especially remarkable; varying in size, shape, darkness, and touch, they not only serve a representational function but also effectively control the overall texture and tonality of the painting. Zhao Yuan's career, like that of many other notable Jiangnan painters, was cut short by the first Ming emperor (r. 1368-98), a man of humble origins who was deeply suspicious of the Suzhou intelligentsia. After summoning Zhao to Nanjing to serve as a painter, the emperor took offense at something Zhao did and had him executed. Listen to experts illuminate this artwor

Shasei sōka moyō (Patterns of Grasses and Flowers Drawn from Life). Furuya Kōrin (Japan, 1875-1910). 1907. Books. Two-volume set of color woodblock print books

A Grape Vine, 19th century, Aiseki, Japanese, active 1804 - 1829, 51 1/4 x 18 1/8 in. (130.18 x 46.04 cm), Hanging scroll; ink on paper, Japan, 19th century

Rocks. Artist: Yosa Buson (Japanese, 1716-1783). Culture: Japan. Dimensions: Image: 12 3/16 × 18 3/4 in. (31 × 47.7 cm)Overall with mounting: 44 5/16 × 21 3/16 in. (112.5 × 53.8 cm)Overall with knobs: 44 5/16 × 24 13/16 in. (112.5 × 63 cm). Museum: Metropolitan Museum of Art, New York, USA.

Seated Priest, late 1500s-1650. Japan, Momoyama period (1573-1615) to Edo period (1615-1858). Hanging scroll; ink on paper; overall: 58.2 x 30.3 cm (22 15/16 x 11 15/16 in.).

The seven lucky gods in a boat, Sanfu (Possible), c. 1840 Japan paper color woodcut Japan paper color woodcut

Reverberations of Taiga, Volume 2 (leaf 1), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Artist: Wang Chen, Chinese, 1720-1797, Landscape After Huang Gongwang with Calligraphy by ShiZhili, Hanging scroll, ink on paper, without mounting (Painting): 22 5/16 × 32 5/8 in.(56.7 × 82.9 cm), China, Chinese, Qing dynasty(1644-1911), Paintings

Reverberations of Taiga, Volume 2 (leaf 4), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Wine-Set 19th century Ryūryūkyo Shinsai Japanese. Wine-Set 54767 Artist: Ryuryukyo Shinsai, Japanese, active ca. 17991823, Wine-Set, 19th century, Polychrome woodblock print (surimono); ink and color on paper, 8 5/8 x 11 1/4 in. (21.9 x 28.6 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP2018)

Carp and Waterweeds. Artist: Yogetsu (Japanese, active late 15th century); Inscribed by Mokumoku Dojin (Japanese, active late 15th century). Culture: Japan. Dimensions: Image: 33 7/16 × 13 7/8 in. (85 × 35.2 cm)Overall with mounting: 65 3/4 × 19 1/16 in. (167 × 48.4 cm)Overall with knobs: 65 3/4 × 20 7/8 in. (167 × 53 cm). Date: late 15th century.Little is known about Yogetsu, who was active as a monk in the mountains northeast of the ancient capital of Nara. He is sometimes cited as a follower of the master painter Sesshu Toyo (1420-1506). Above Yogetsu's auspicious image of a pair of fish swimming in a pond, Mokumoku Dojin, about whom little is also known, has inscribed a poem that recalls the carp's role as a vehicle of the Daoist immortal Qingao: Wind whips the grass alongthe riverbank, frigid at dusk.A single ray of brilliant redilluminates the white shoal.If Qingao were here,he would not be riding a crane--He'd have his carp shaking their headsand snapping their tails,spinning wa

Jacket, waves and blossoms, shôtei, c. 1890 - c. 1900 print Waves, blossoms and a short jacket (Jinbaori) are worn over a harness. This print is an invitation for two Kabuki plays called: Yoshitsune Sissbakura and Ichinotani Futabagunki. With general texts. paper color woodcut plants; vegetation (+ flowers, blossom, blossoming). tidal wave - HH - ideal landscapes

Japanese flower arrangement with daffodil, vase and tray. Handcoloured woodblock engraving hanga from a book of the Shinshintei school of Ikebana, 1835.

Women of Ōhara, second half 19th century, Murase Taiitsu, Japanese, 1803 - 1881, 49 7/8 × 12 9/16 in. (126.68 × 31.91 cm) (image)76 × 17 5/16 in. (193.04 × 43.97 cm) (without roller), Ink on paper, Japan, 19th century

Kingfisher and Irises 1832-34 Utagawa Hiroshige Japanese As part of the Boys Day celebration, on the fifth day of the fifth month of the lunar year, irises (ayame) were attached to the eaves of a familys house. The anonymous poet here suggests that the fragrance is transferred to the garments of those standing below:雨垂に　袖もあやめに　匂ひけりAmadare ni sode mo ayame ni nioi keri Rain dripping from the eaves drenches our kimono sleeveswith the fragrance of irises.—Trans. John T. Carpenter. Kingfisher and Irises 56943

FU WEN. "Buffle and child". 1740-1765. Ink and colors on paper. China. Paris, Cernuschi museum. On back, tree, buffalo, calligraphy, calligraphic writing, child, paper, animal

Crane and waves 1830-1834 Japan. Color woodblock print; otanzaku . Utagawa Hiroshige

Bowl with Black Shells and Udo Plant 18th-19th century Unidentified artist. Bowl with Black Shells and Udo Plant 55098

Toasted Mochi (a kind of rice food used during the New Year season) 19th century Yashima Gakutei Japanese. Toasted Mochi (a kind of rice food used during the New Year season). Yashima Gakutei (Japanese, 1786-1868). Japan. 19th century. Part of an album of woodblock prints (surimono); ink and color on paper. Prints

Camellia on cup with horse. Camellia flower in a porcelain cup decorated with a horse. Surimono in Shijo style with multiple poems.

Tenmangū,” Sugawara no Michizane as Tenjin Traveling to China early 19th century Sengai Gibon This spontaneously sketched image of a Japanese courtier by the Rinzai Zen monk Sengai Gibon alludes to the famous story of Tenjin traveling to Tang-dynasty China. Tenjin is the name given to Heian-period statesman Sugawara Michizane (845-903) after he died in exile and was posthumously recognized as a Shinto deity. The three highly-cursive characters to the left of the figure read Tenmangū,” which is the name of shrines created in Tenjin’s honor. By extension, Tenmangū” can also be used to refer to Tenjin or Michizane himself, as here. The plum was Michizane's favorite flower and he is often represented holding a branch of blossoming prunus. This theme was particularly popular with artists inspired by Zen Buddhism, for instance, see the version created by Konoe Nobutada (2015. 300.72).. Tenmangū,” Sugawara no Michizane as Tenjin Traveling to China 78055

Gardens of Somei, from an untitled series of Famous Places in Edo Kitao Shigemasa (Japanese, 1739-1820). Gardens of Somei, from an untitled series of Famous Places in Edo, ca. 1770. Color woodblock print on paper, 8 1/2 x 6 1/8 in. (21.6 x 15.5 cm). Asian Art ca. 1770

Bird cage and flowers 1800-1820 Japan. Color woodblock print; shikishiban, surimono . Ryuryukyo Shinsai

Chinese woodcut: Breast tumour

Various things, places, and people. Paintings by a Japanese () painter.

Rat on a Fuchin, Ornament with a Design of Egoyomi (Pictorial Calendar). Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 5 9/16 x 5 1/2 in. (14.1 x 14 cm). Date: 1816. Museum: Metropolitan Museum of Art, New York, USA.

Rock, early 19th century, Nagamachi Chikuseki; Artist: Ishikawa Gengaku, Japanese, 1747 - 1806, 14 3/8 × 16 5/8 in. (36.51 × 42.23 cm) (image)45 13/16 × 21 in. (116.36 × 53.34 cm) (mount, without roller), Ink on silk, Japan, 19th century

The Actors Ichimura Kamezo I as Kume no Sennin, Onoe Kikugoro I as Goi-no-suke Takenari, and Otani Hiroji II as Hata no Kawakatsu in the play "Keisei Asakusa no Kane," performed at the Ichimura Theater in the eleventh month, 1754. Torii Kiyomitsu I; Japanese, 1735-1785. Date: 1754. Dimensions: 31.5 x 14.5 cm (12 3/8 x 5 11/16 in.). Color woodblock print; hosoban, benizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The pillow shell Makuragai (title on object) A comparison of Genroku poems and shells (series title) Genroku kasen kaiawase (series title on object), A still life with a wooden pillow with softer material on top. In the opened drawer a cup of sand, used to burn incense. Under the wooden cushion a print with the image of the Ship full of Treasures, with which the seven lucky gods on New Year's Day sail into the harbor. In the foreground a round box. Placing an image of the Ship full of Treasures under the pillow at the start of the new year would create a dream about the lucky symbols: Mount Fuji, a falcon and aubergines, the most fortunate dream possible. These lucky symbols are also hidden in the surimono itself: the pillow depicts the Fuji, with the white pillow as a snowy top, Fuji, a falcon and two aubergines are depicted on the label of the round box, which contains preserved pieces of aubegines. With two poems, pillow, Katsushika Hokusai (mentioned on object), Japan, 1821, paper,

Sake Party with No Light, late 1800s-early 1900s. Tomioka Tessai (Japanese, 1836-1924). Hanging scroll; ink on paper; painting only: 23.5 x 33.8 cm (9 1/4 x 13 5/16 in.); including mounting: 110.5 x 49 cm (43 1/2 x 19 5/16 in.).

Samisen and mokkin., 1805 - 1825. Woodcuts., Surimono

Phoenix Flying Over Waves in front of Morning Sun. Isoda Koryusai; Japanese, 1735-1790. Date: 1767-1777. Dimensions: 27.2 x 20.2 cm (10 3/4 x 7 7/8 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Kaishien gaden = The mustard seed garden painting manual.. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

River Landscape: fishermen in boats. Origin: China. Date: 15th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Fuwa Banzaemon. Artist: Utagawa Toyokuni II (Japanese, 1777-1835). Culture: Japan. Dimensions: Image: 15 7/8 × 21 7/16 in. (40.3 × 54.4 cm)Overall with mounting: 44 11/16 × 25 5/16 in. (113.5 × 64.3 cm)Overall with knobs: 44 11/16 × 27 3/8 in. (113.5 × 69.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

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

Sake Flasks and Carpenter's Tools, Ryûryûkyo Shinsai, c. 1800 - c. 1805 A still life of sake bottles and carpenter's tools, among others, from Zwart Lacquer. These ritual objects were probably used in a ceremony prior to the construction work. The client of this print lived in Mokuzaichôgashi (Houtstraat). With one poem. Japan paper color woodcut

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