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

Society Finches (Jushimatsu) 1790-1799 Japan. Color woodblock print; oban . Kitao Masayoshi (Kuwagara Keisai)

Envelope with two Manzai dancers, Hasegawa Settan, c. 1800 - c. 1850 print An envelope with a design by Manzai dancers. The turtle seal is complete when the envelope is folded shut. paper color woodcut dancing. adult man (+ two persons)

Black Crow for New Year Totoya Hokkei (Japanese, 1780-1850). , 1825. Woodblock print; surimono, deluxe with metals, 8 x 7 3/8in. (20.3 x 18.7cm). Asian Art 1825

Monk Selling Ceremonial Tea Whisks 1795-1807 Japan. Ink and light color on paper . Katsushika Hokusai

Cranes by the Shore, illustration for The Leg Shell (Ashigai), from the series "A Matching Game with Genroku-period Poem Shells (Genroku kasen kai awase)". Katsushika Hokusai ; Japanese, 1760-1849. Date: 1816-1826. Dimensions: 20.3 x 17.8 cm. Color woodblock print with metallic pigments; surimono shikishiban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

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

Court carriage, circa 1815, Tokyo, by Utagawa Toyohiro.

Maiden Voyage in the NewYear. Artist: Ry?ry?kyo Shinsai, Japanese, 1764-1820

Riverside Pavilion. Origin: China. Date: 1368-1644. Period: Ming dynasty. Album leaf; ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Cakes and Food Made of Seaweed. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/4 x 7 1/4 in. (21 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

A Standing Screen Depicting Narihira's Journey to the East. Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1799-1801. Dimensions: 19.8 x 49.0 cm. Color woodblock print; nagaban, surimono. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Viewing a Waterfall Kushiro Unsen Japanese 1793 A scholar in a white robe standing next to an aged pine tree on a rugged mountain ridge contemplates a distant waterfall. A scholar gazing upon a waterfall is an age-old painting theme throughout East Asia, which first emerged in Song dynasty painting. The Late Edo literati artist Unsen presents this conventional motif in a rustic setting, presumably inspired by the impressive brushstrokes of the Yuan-dynasty literati painters. Through his rapid, repetitive and sometimes eccentric brushwork, the scholar is framed in a precipitous gorge.An original couplet of Chinese verse by the artist is inscribed along with his signature above the pine tree. It reads: / A soaring waterfallharnesses the autumn air;Dangling vinespull in coolness to summer.(Translated by Tim Zhang)According to his signature, Unsen painted this work while based in Bitch province (present-day Okayama prefecture) as a guest of a local official. At a young age, Unsen studied

Japan, Kawaguchiya Shozo, Hiroshige (I), Utagawa, Quails and poppies, Two quails on a bright green slope near a pink and red flowering poppy; top left a poem., print, prints, Japan (collection), height 358 mm, width 129 mm, Japanese, 1797 - 1858, print maker, printmaker, 1830 - 1835, second quarter 19th century, paper, nishiki-e, colour woodcut, Publication (Event), Publication, publisher

Ming herbal (painting): Violet

Pages from Strange Tales of the Crescent Moon’. Katsushika Hokusai (Japan, 1760-1849). 1807-1811. Books. Double-page book illustration; black and white woodblock print

Designs for applied art - part 11, 1890 - 1900 book. magazine Part eleven; Pink cover with various emblems and image of a vase on which title; 10 magazines: one leaf, text; eight sheets, black and white designs and some color shows; Last sheet, Colophon. paper color woodcut

Terugkerende Zeilen Naar Yabase, Hiroshige (I), Utagawa, C. 1810 In a round cartouche, boats are depicted, which return to the port of Yabase. This image is often used in the series of eight faces of ômi (ômi Hakkei). With poems. Japan paper color woodcut In a round cartouche, boats are depicted, which return to the port of Yabase. This image is often used in the series of eight faces of ômi (ômi Hakkei). With poems. Japan paper color woodcut

Albumblad, Hui Nian, 1850 - 1900 Album magazine with a landscape. Belongs two albums with 24 landscapes in the style of various masters. China ink. paper Album magazine with a landscape. Belongs two albums with 24 landscapes in the style of various masters. China ink. paper

Sketches of People 1724 Kokan. Sketches of People. Kokan (late 17th-early 18th century). Japan. 1724. Ink on paper. Edo period (1615-1868). Illustrated Books

Landscape Unidentified artist. Landscape. Unidentified artist. China. Hanging scroll; ink on paper. Ming (1368-1644) or Qing dynasty (1644-1911). Paintings

September 1913, 1913 book. magazine Number 11 of Volume 16 (September 1913) of the literary monthly HOTOTOGISU: cover on which branch with orange 'lantern' fruits; Back, portrait of woman with headgear. paper letterpress printing

The Koya Jewel River in Kii Province (Kii Koya no Tamagawa), from an untitled series of Six Jewel Rivers 1780-1790 Japan. Color woodblock print; aiban . Rekisentei Eiri

Album Leaf Painting: Hunters Sessen (Japanese, flourished ca. 1820). Album Leaf Painting: Hunters, 18th century. Album leaf, ink on silk, Image: 9 3/8 x 11 1/2 in. (23.8 x 29.2 cm). Asian Art 18th century

Album of Landscape Paintings Illustrating Old Poems: Two Women Sit at a Table within a Circle Visible in a Landscape, 1700s. Hua Yan (Chinese, 1682-about 1765). Album leaf, ink and light color on paper; image: 11.2 x 13.1 cm (4 7/16 x 5 3/16 in.); album, closed: 15 x 18.5 cm (5 7/8 x 7 5/16 in.).

Dragonfly and begonia. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 37.5 x 13 cm (5 1/16 x 14 13/16 in.). Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Arrival of wild geese in Katada, board 6 from the series: Eight views of Omi /Omi Hakkei

Poem. Artist: Wang Heng (Chinese, 1561-1609). Culture: China. Dimensions: 7 1/2 x 22 1/4 in. (19.1 x 56.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Kasumigaseeki: water boiler and belt; Famous places in the eastern capital; Tôto Meisho Awase. A metal water boiler with a piece of woven material. The Kasumigaseeki mentioned in the title was a district in Edo (the current Tokyo) that was known to reside the many Daimyô and houses of the Upper Samurai. The objects depicted on this print probably refer to the rich inhabitants of Kasumigaseki. With one poem.

World of Arts - 10, Takeuchi Seihô, 1891 book Gray-white cover with silver colored image of bridge through irisveld and orange title strip; Inside cover, table of contents; 17 sheets, numbered: 1 text; 1-17, images of people, animals and landscapes and some pages text; Inside, colophon. Tokyo paper color woodcut

Preparatory Drawing: Summer: Women Bathing at the Daishōrō. Attributed to Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, circa 1883. Drawings. Ink on paper

Album of Poems and Paintings Album of Poems and Paintings, 19th century. Album leaves, ink and light color on paper, 8 7/16 x 6 in. (21.4 x 15.2 cm). Asian Art 19th century

China: 'Night-Shining White'. Zhao Ye Bai, a favourite horse of Emperor Xuanzong (712-56). Handscroll painting by Han Gan (706-783), c. 750 CE. Emperor Xuanzong of Tang (8 September 685-3 May 762), also commonly known as Emperor Ming of Tang (Tang Minghuang), personal name Li Longji, known as Wu Longji, was the seventh emperor of the Tang dynasty in China, reigning from 712 to 756. His reign of 43 years was the longest during the Tang Dynasty. In the early half of his reign he was a diligent and astute ruler, ably assisted by capable chancellors like Yao Chong and Song Jing.

Album Leaf Painting: Lady and Woodcutter Sessen (Japanese, flourished ca. 1820). Album Leaf Painting: Lady and Woodcutter, 18th century. Album leaf, ink on silk, Image: 9 5/8 x 11 1/2 in. (24.4 x 29.2 cm). Asian Art 18th century

Bamboo Branch with Berries and Birds. Artist: Unidentified Artist. Culture: China. Dimensions: 11 x 10 7/8 in. (27.9 x 27.6 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Landscape and Poems from an Album the Three Perfections Jiang Shijie (Chinese, 1647-1709). Landscape and Poems from an Album the Three Perfections, late 17th century. Ink on paper, 11 x 17 1/2 in. (27.9 x 44.5 cm). The three poems accompanying this simple scene express Jiang Shijies mourning for the Ming dynasty (defeated by the Manchus in 1644), his parting from a friend, and a return home at sunset after a leisurely drinking party. The verses infuse the image of a weeping willow and empty pavilion with a nostalgia that ranges in intensity from deep regret to light-hearted memories of a good time just past. Asian Art late 17th century

Ming herbal (painting): Thorn apple

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

Juntoku in, 1847-1848 print The masked spirit of the lion, with wild red wig, dancing along a bridge railing. Scene from a kabukitis piece. Poem by forail Keizer Juntoku. paper color woodcut actor (on the stage). spirit, ghost. stage costume

A man or monk seated, facing front, sleeping or meditating, between 1800 and 1850, 1 drawing.

Hotei, the landscape and the an inscription

"Refined Elegance in the Four Seasons" (Shiji seiga), Album of Flower Paintings 1844 Yamamoto Baiitsu. "Refined Elegance in the Four Seasons" (Shiji seiga), Album of Flower Paintings. Yamamoto Baiitsu (Japanese, 1783-1856). Japan. 1844. Album of twelve leaves; ink on paper. Edo period (1615-1868). Paintings

Courtesan as Daruma ca. 1800; inscription ca. 1810 Attributed to Utagawa Toyoharu At first glance one assumes this is a painting of a beautiful young woman in a red cape and cowl, but anyone familiar with the history of Buddhist painting in East Asia will recognize that it also conjures up associations with traditional imagery of Bodhidharma, the legendary founder of Chan (Zen) Buddhism, who is also often depicted with a similar red cloak. The painting here, unsigned but most likely by the master Utagawa Toyoharu, is intended as a parodic depiction of a Yoshiwara courtesan. Part visual punning here derives from the fact that in Edo-period slang prostitutes were nicknamed daruma, since according to a cruel but humorous observation they were like roly-poly daruma dolls that if knocked down, immediately bounce back into an upright position.This tradition of juxtaposing portraits of courtesans with texts or images alluding to Bodhidharma or other Zen Buddhist themes becomes quite common in

Self-Portrait of Danjuro VII in a Shibaraku Performance Ichikawa Danjūrō VII Japanese Ichikawa Danjūrō VII portrayed himself in a "Shibaraku!" performance. "Shibaraku!" was customarily performed as part of the annual November "showing-faces" (kaomise) production to introduce a company of actors to the public. The bombastic shout of "Shibaraku!" was believed to ward off evil. Three poems are inscribed above the picture, including Danjūrō's poem at the center. Dominating the picture is the famous family crest of three nested squares (mimasu), seen both on the sleeves of the character's kimono and as the print's frame.. Self-Portrait of Danjuro VII in a Shibaraku Performance 42651

Kannon on a Lotus Petal Painting by Shzan Geny Japanese Inscription by Yinyuan Longqui (Ingen Ryki) Chinese Inscription by Muan Xingtao (Mokuan Sht) Chinese 1672 This painting of Guanyin (Kannon, in Japan) encapsulates the remarkable history of the baku school of Zen, which was brought from China to Japan in the seventeenth century. The schools religious and political influence would grow to hold sway even in the imperial palace in Kyoto. The painting is by an imperial princess, daughter of the highly cultured and spiritually inclined Emperor Go-Mizunoo. Geny trained in Zen teachings and meditation practice in her youth, and then encouraged her father to support Ingen and his baku sect. The two inscriptions on this painting are by Yinyuan (on the left) and his top pupil Muan. View more. Kannon on a Lotus Petal. Painting by Shzan Geny (Japanese, 1634-1727). Japan. 1672. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Lady's toilette articles, 1805 - 1825, Woodcuts, Surimono

Kaishien gaden = The mustard seed garden painting manual., 1753, Wang, Gai, active 1677-1705, Kyoto, Woodcuts

Eight Views of the Genji Story: Still Life. Artist: Yashima Gakutei (Japanese, 1786-1868). Culture: Japan. Dimensions: 7 3/16 x 6 1/2 in. (18.3 x 16.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

A Lacquered Letterbox, 1798 print A gold lacquer box for letters, decorated with a 'noshi' pattern (tied strips of paper) decoration. In addition to the box, a partially rolled out letter with poem. The box with the loose cords symbolizes a horse; This Surimono was therefore published in honor of the year of the horse. paper color woodcut wooden container: barrel, cask, bucket

Kogo no Tsubone, from the series Framed Pictures of Women for the Katsushika Circle (Katsushikaren gakumen fujin awase) 1817-1827 Japan. Color woodblock print; shikishiban, surimono . Yashima Gakutei

The Washing Moon, continued, part two, Tsukioka Yoshitoshi, 1883 book Book from a ten -part series about the adventures of the legendary warrior Tametomo, illustrated with 26 prints signed by Tsukioka Yoshitoshi. The prints are executed in a combination of woodcut and lithography and printed in black with a gray tone block. In original tires with blind pressure. paper

Landscapes Painted for Yuweng dated 1673 Fan Qi Chinese Fan Qi worked in an unusually precise and realistic style. He was also among those painters most clearly influenced by Western landscape techniques, which were imported to Nanjing through the prints, books, and paintings brought by Jesuit missionaries. In this album Fan's interest in describing the changing seasons, times of day, and differing qualities of light and atmosphere recalls the descriptive goals of Song painting. In contrast to Song landscapes, Fan's minutely described scenery, his accurate use of foreshortening, and his interest in the coloristic effects of sunlight result in an almost documentary quality. Listen to experts illuminate this artwork's story Listen Play or pause #7630. Landscapes Painted for Yuweng Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Landscapes Painted for Yuweng 491

Drifting in a Boat, 1847. Tsubaki Chinzan (Japanese, 1801-1854). Album leaf; ink and color on silk; each leaf: 41 x 31.5 cm (16 1/8 x 12 3/8 in.). Japanese painters were frequently influenced by paintings from China and Korea that they saw in private and temple collections throughout the country. Japan has a long history of interest in its continental neighbors.

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

Hives with Wasps, and a Box with a Spoon for Honey 19th century Kubo Shunman Japanese. Hives with Wasps, and a Box with a Spoon for Honey 54920

River creeps with Sake Kom, Sakuragawa Jihinari, 1823 A crayfish next to a rice wine (sake) cup and a pine branch; All references to New Year. The Japanese script for 'Lang Life' (Kotobuki) is visible on the bottom of the head. The images are printed without a linub. With three poems and an introduction. Japan Japanese paper (handmade paper) color woodcut A crayfish next to a rice wine (sake) cup and a pine branch; All references to New Year. The Japanese script for 'Lang Life' (Kotobuki) is visible on the bottom of the head. The images are printed without a linub. With three poems and an introduction. Japan Japanese paper (handmade paper) color woodcut

Landscape After Huang Kung-wang, 1670, Wang Shimin, Chinese, 1592-1680, 44-3/4 x 23-1/4 in. (113.7 x 59.1 cm), Ink and color on paper, China, 17th century, Because of his father's meritorious service to the Ming court, Wang Shimin was admitted to government office in 1614 as a secretary. By 1636, he had risen to the position of vice-minister of the court of Imperial Sacrifices. Following the Manchu conquest in 1644, he retired to Taichang where he pursued artistic activities. His integrity and social stature insured his family's continued prominence and his son Wang Shan became grand secretary under the Kangxi emperor. Wang Shimin became the leader of the so-called Qing orthodox school of painting and, together with Wang Jian, Wang Hui, and Wang Yuanqi formed the mainstream literati group known as the Four Wangs.

Illustrations of Honorable Anecdotes of Japan and China 1850 Katsushika Hokusai Japanese. Illustrations of Honorable Anecdotes of Japan and China. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1850. Ink on paper. Edo period (1615-1868). Illustrated Books

Sutra Cover Made 1590-1599 China. Silk and gold-leaf-over-lacquered-paper-strips, satin damask weave with patterning and brocading; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink .

Lacquer Paintings of Various Subjects: Snow Shelter for a Tree with Sparrow 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: Snow Shelter for a Tree with Sparrow 57190

Camellia and Blue-Headed Bird. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 9 7/8 x 4 11/16 in. (25.1 x 11.9 cm). Date: ca. 1833. Museum: Metropolitan Museum of Art, New York, USA.

Painting Instruction, second half 19th century, Tanomura Chokunyū, Japanese, 1814 - 1907, 11 5/8 × 154 3/4 in. (29.53 × 393.07 cm) (image)13 1/16 × 162 5/8 in. (33.18 × 413.07 cm) (mount, without roller), Ink on paper, Japan, 19th century

Piece 18th-19th century Japan. Piece 67729

Pheasant Caught by a Snake. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 7/8 in. (36.2 x 27.6 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Couplet from the Chinese Poem Grasses” by Bai Juyi 15th century Motsurin J?t? (Bokusai) A scroll with boldly inscribed Chinese characters by or attributed to a prominent Zen monk such as Motsurin J?t? would have been used for display in an alcove during a tea ceremony. Motsurin J?t?, or Bokusai, was a close disciple of the famous Zen monk Ikky? (1394-1481) of Daitokuji. Because of this close connection, Motsurin’s briskly brushed calligraphy closely resembles that of his master. Here he has brushed a couplet by the Tang poet Bai Juyi (772-846): Wild grasses spread out far across the plains. Each year they wither, only to flourish again. —Trans. John T. Carpenter. Couplet from the Chinese Poem Grasses” by Bai Juyi. Motsurin J?t? (Bokusai) (Japanese, died 1491). Japan. 15th century. Hanging scroll; ink on paper. Muromachi period (1392-1573). Calligraphy

Shimejitake and shimeji mushrooms. Handcoloured woodblock print from Iwasaki Kan'en's "Honzo Zufu" (Illustrated Guide to Plants), Japan, 1916.

Sutra Cover Made 1590-1599 China. Silk, gauze weave with supplementary patterning wefts; label silk, plain weave; painted with ink; glued over paper .

Books of Flowers and a Writing Brush. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 8 x 7 1/4 in. (20.3 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Land Snail (Katatsumuri); Giant Katydid (Kutsuwamushi), from the Picture Book of Crawling Creatures (Ehon mushi erami). Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 10 1/2 x 7 7/32 in. (26.7 x 18.4 cm). Date: 1788.Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Juzaburo , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyoka poets of the day were invited to contribute. Museum: Metropolitan Museum of Art, New York, USA.

Four Chinese rank badges, incorporating a Chinese leopard, phoenix, and two Chinese kilins. Gouache painting.

Swallow, yellow bird, and wisteria. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1849. Dimensions: 26.5 x 18.9 cm (10 1/2 x 7 3/8 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Poetic couplet 19th century China The couplet embroidered on these two panels suggests they were meant for the birthday celebration of an official who earned great honors from the imperial court. Poetic couplet 69868

Hiroshige's monument at Akihajinsha, Japan, 1882 (1925). Artist: Unknown

Album with Japanese dip peaks, utagawa kunisada (i), 1853 - 1856 Two leporello albums in which prints from different artists are collected. When the albums are laid next to each other, the prints are always dipper. Save in liver -colored chitsu (folding box). paper color woodcut

Mei 1909, 1907 book. magazine Number 27 (1909) of the magazine Fujin Gaho: cover with blue Wisteria against a yellow background; Inside, frontispies on which woman in field with irises. paper letterpress printing

Lacquer Paintings of Various Subjects: Stack of Rice and Dragonflies. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 7 1/2 x 6 1/2 in. (19.1 x 16.5 cm). Date: 1882.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 colors--black, brown, vermillion, green, and yellow--which determined the color palette of Zeshin's lacquer paintings. Museum: Metropolitan Museum of Art, New York, USA.

Sorimachi 409, 1746, 1746, Osaka

Iris at Horikiri Village (Horikiri no sato hanashobu), section of a sheet from the series "Cutout Pictures of Famous Places in Edo (Edo meisho harimaze zue)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1857. Dimensions: 20 x 10.2 cm. Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, USA.

Falcon on a Pine Tree with the Rising Sun. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1840. Dimensions: 38.4 x 17.5 cm (15 x 6 3/4 in.). Color woodblock print, otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Watanabe Genji Tsuna on a Horse in the Rain. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1865, 2nd month. Prints; woodblocks. Color woodblock print

Eitai Bridge, Nakasu, and Mitsumata (Eitaibashi Nakasu Mitsumata), section of a sheet from the series "Cutouts of Famous Places in Edo (Harimaze Koto meisho)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1852. Dimensions: 16.4 x 10 cm (6 3/8 x 3 7/8 in.). Color woodblock print; section of harimaze sheet (uncut sheet: 1939.1288). Origin: Japan. Museum: The Chicago Art Institute, USA.

Sanki fukaku katachi o kuzusu no fuji, Measuring the shape of Mount Fuji., Katsushika, Hokusai, 1760-1849, artist, ca. 1836, 1 print : woodcut ; 21 x 14.1 cm., Print shows two men carrying swords, one also carries a rifle, stopping on a path to light their pipes, view of Mount Fuji in the background.

Fragment Made 1775-1825 Japan. Single plain compound cloth, silk. .

Vier VISSEN, Kitao Masayoshi, 1775-1824 print Four fish, above which text. Page 24 (right) and 25 (left), stuck together, from a Japanese book. Japan paper color woodcut fishes

Shunga album. Murasaki from Edo and Genji from Yoshiwara; Edo Murasaki Yoshiwara Genji. Part one (of three); White cover with blue gene logos; Deck leaf, title page with image of two prints; 14 sheets: three pages, text against background with cloud pattern; 7 Erotic images of love-winged couple; 11 pages, text.

One of Eight Views of Xiao and Xiang Rivers, 1788. Tani Bunchō (Japanese, 1763-1841). Sections of a handscroll mounted as hanging scrolls; ink and color on paper; image: 29.5 x 49 cm (11 5/8 x 19 5/16 in.); overall: 129 x 67 cm (50 13/16 x 26 3/8 in.).

'Saz'-style Drawing of a Dragon amid Foliage. Artist: Shah Quli (Turkish, born Tabriz, Iran, active ca. mid-16th century). Dimensions: Painting: H. 6 13/16 in. (17.3 cm)W. 10 11/16in. (27.2cm)Mat: H. 16 in. (40.6 cm) W. 22 in. (55.9 cm)Frame : H. 17 in. (43.2 cm)W. 23 in. (58.4 cm). Date: ca. 1540-50.The mid-sixteenth century saw the flourishing of the so-called saz style--characterized by the depiction of stylized, serrated leaf foliage, often paired with fantastic creatures including dragons and phoenixes. This imagery appears on Ottoman art in a variety of media, including textiles. This magnificent dragon drawing is ascribed to the master of the style, Shah Quli, an artist who emigrated from Iran to Istanbul and became head of the royal atelier under Sultan Suleiman the Magnificent. Museum: Metropolitan Museum of Art, New York, USA.

Japanese hand coloured woodcut. This print depicts an American naval soldier with a Japanese male figure. C 1800.

Calligraphy. Artist: Zhou Tianqiu (Chinese, 1514-1595). Culture: China. Dimensions: 7 3/16 x 21 1/8 in. (18.3 x 53.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

Recording the Recent Move of the "Stone Classics" to the Academy in the Capital 20th century China. Recording the Recent Move of the "Stone Classics" to the Academy in the Capital. China. 20th century. Ink on paper. Rubbing

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

Teapot and cups, section of a sheet from a series of untitled harimaze prints 1850-1859 Japan. Color woodblock print; section of harimaze sheet . Utagawa Hiroshige

Huang Gongwangs (1269-1354) Emerald Streams and Verdant Cliffs, as interpreted by Sheng Dan (active 17th century), 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 painting—trees, rocks, and human figures—with 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,

Pattern to cut and glue on a lantern with eight views of Edo HIROSHIGE, Ichiryusai (1797 1858)

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Squirrels Gathering Chestnuts. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 3/4 in. (36.2 x 27.3 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Itomichi, Karindô, Shimokage, Seiundai, Hokuju, Shôtei, Kettle on stove, A still life of a copper kettle on a wooden stove with a basket of charcoal next to it. The print is printed on crepe paper. With two poems., print, surimono, prints, Japan (collection), height 140 mm, width 180 mm, Japanese, 1763 - 1824, print maker, printmaker, 1800 - 1810, first quarter 19th century, Japanese paper (handmade paper), Japanese paper, colour woodcut, colour woodblock print, poet

Zen painting and calligraphy, gōyō gūkei, 1859 - 1944 DARUMA. paper. ink calligraphy DARUMA. paper. ink calligraphy

Piece 18th-19th century Japan. Piece 66730

Poetry Cards from the One Hundred Poems by One Hundred Poets. Utagawa Hiroshige (Japan, Edo, 1797-1858). Japan, 1833. Prints; woodblocks. Surimono; color woodblock print

Japan, Shûtei, Tanaka, Still life for the new year, verso - handwritten, On the right in the foreground lies a tobacco pouch or hakoseko, and behind it seven tied sticks. The bag is decorated with strips of fabric in different colours and the flap features flying cranes and pine branches (New Year's symbols)., print, picture, surimono, prints, pictures, Japan (collection), height 182 mm, width 230 mm, Japanese, 1810 - 1858, print maker, printmaker, 1850 - 1855, paper, colour woodcut

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