Japanese Calligraphy and Texts

Ink on paper calligraphic works from Japan, highlighting the artistic expression in written form during the Edo period.

On the Calligraphy of Emperor Saga, 1783, 3rd lunar month, Ryū Kōbi, Japanese, 1715 - 1792, 14 1/4 × 25 13/16 in. (36.2 × 65.56 cm) (image)51 7/8 × 29 3/4 in. (131.76 × 75.57 cm) (without roller), Ink on paper, Japan, 18th century, This text, written in 15 lines of standard script that was executed thinly and precisely, discusses how the Emperor Saga (r. 809-823) was the finest of the 'Three Brushes' (Sanpitsu), a group of three famous calligraphers of the Heian period (794-1185). The author, Confucian scholar Ryū Kōbi, laments that it is so difficult to see his genuine works.

On the Calligraphy of Emperor Saga, 1783, 3rd lunar month, Ryū Kōbi, Japanese, 1715 - 1792, 14 1/4 × 25 13/16 in. (36.2 × 65.56 cm) (image)51 7/8 × 29 3/4 in. (131.76 × 75.57 cm) (without roller), Ink on paper, Japan, 18th century, This text, written in 15 lines of standard script that was executed thinly and precisely, discusses how the Emperor Saga (r. 809-823) was the finest of the 'Three Brushes' (Sanpitsu), a group of three famous calligraphers of the Heian period (794-1185). The author, Confucian scholar Ryū Kōbi, laments that it is so difficult to see his genuine works.

Traces of Japanese Calligraphy (Nishiki no mizuguki の水茎), 1651, Endō Genkan, Japanese, active c. 1656-1702, 15 5/16 × 11 1/2 × 1 3/8 in. (38.89 × 29.21 × 3.49 cm), Woodblock printed book; ink and color on paper, Japan, 17th century

Letter late 15th or early 16th century Wang Ao Chinese Wang Ao was a gifted scholar from Suzhou who rose to become a Grand Secretary, one of the most prominent posts in the imperial bureaucracy. The text of this letter is decorous but almost completely devoid of content. Wang opens with an apology for not writing to the recipient more often and then quickly ends by saying that his boat is leaving so he cannot write more. Although the letter is perfunctory, the luxurious hydrangea-print stationery and the sinuous brushwork from a famous hand made this an object worth treasuring.. Letter 45748

Scene from The Kōrin Picture Book (Volume 1), 1800s. Nakamura Hōchū (Japanese, d. 1819). Color woodblock printed book; Ogata Korin (1658-1716) was one of the most admired artists of Rimpa, or "decorative school painting." These books by the charming later-generation Rimpa artist Hochu record Korin's inventive designs.

Reading at the Secluded Pine Studio (Song yinan). Artist: Yu Yue, Chinese, 1821-1906

Letter to Nancun. Artist: Wang Chong (Chinese, 1494-1533). Culture: China. Dimensions: 10 1/8 x 13 3/8 in. (25.7 x 34.0 cm). Museum: Metropolitan Museum of Art, New York, USA.

Letter to Shunkin Urakami (Uragami) Gyokud Japanese late 18th-early 19th century This letter, now mounted as a hanging scroll, is a personal missive from the Nanga (Literati) artist Gyokud to his son Shunkin (1779-1846), who was also a painter. Brushed in a combination of running and standard scripts, with the occasional cursive character, it has an informal quality but still exhibits the artists calligraphic skill. Here Gyokud eschewed the use of the carefully written, antiquated characters he often applied for his signatures and title inscriptions on paintings. The characters, both Chinese kanji and native Japanese kana, are in some places rich with dark ink, while in others they are pale, with breaks in the brushstrokes, indicating that the artist inked his brush and then wrote until his brush was nearly dry before re-inking it. Gykudborn to a high-ranking samurai family but determined to pursue the career of a painter, musician, and composeris one of the most important and idiosyn

Text. Fifteenth and sixteenth text page of part two from Utamaro`s book: Events in the Lusthuizen during the year.

Poem Composed on Tiger Hill on Mankind's Day Zhou Tianqiu Chinese. Poem Composed on Tiger Hill on Mankind's Day 48904

Inscription, from Album of Precious Works from Famous Early Modern Calligraphers and Painters, 1817. Rai Sanyō (Japanese, 1780-1832). Double album leaf; ink on silk, from one of two volumes of painting and calligraphy; each page: 25.9 x 18 cm (10 3/16 x 7 1/16 in.).

Kyōsai's Treatise on Painting, volume 2. Kawanabe Kyōsai (Japan, 1831-1889). Japan, 1887. Books. Color woodblock printed books; four volumes covered with a slip cover having woodblock printed illustration adhered to cloth

Text, 1804 Text page 21 and 22 of part two of Utamaro`s book: Events in the pleasure houses during the year. Or paper

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

Gareki zakko, Vol. 2 (notes on miscellaneous rubble) 1815 Japan. Gareki zakko, Vol. 2 (notes on miscellaneous rubble). Japan. 1815. Woodblock-printed book. Illustrated Books

Paintings after Ancient Masters: Calligraphy, 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.).

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

Famous landscape gardens in Kyoto, 1799 book Three parts (of six) with faces on famous gardens in Kyoto. Kyoto paper

Chinese tongue diagnosis diagram: 'Red star' tongue

text. Third and fourth text page of part two from Utamaro`s book: Events in the Lusthuizen during the year.

Poem, early to mid-1800s. Nukina Kaioku (Japanese, 1778-1863). Album leaf; ink on silk; sheet: 26.1 x 17.2 cm (10 1/4 x 6 3/4 in.).

Poems on Paintings, Written for Ma Yueguan dated 1754 Jin Nong Chinese In this album Jin Nong transcribed thirty-eight poems that he had recently composed. It begins with a set of twenty-four quatrains on the topic of earlier painters from the Tang (618-907) through the Yuan (1271-1368) period, followed by three poems on his self-portrait and others inspired by specific occasions. Jin dedicated this work to Ma Yueguan (1688-1755), a wealthy salt merchant and respected bibliophile in Yangzhou whose coterie included numerous eminent artists and scholars.First known as a talented poet and then as an eccentric calligrapher, Jin Nong had, by this time, also begun to make a name for himself as a painter. His exact, angular brushstrokes, derived from ancient inscriptions carved on stones and bronzes, mellowed slightly in his old age, as here. More than representative of Jin's late writing style, the album alludes to his attainment of the "Three Perfections": poetry, calligraphy, and painting.

Kaiho, Geka chochoki

Reading at the Secluded Pine Studio (Song yinan). Artist: Miao Chaoquan, Chinese, active 1860s

Index; Flowers of one hundred worlds; Momoyogusa, dl. 1. Table of contents with the titles of all 20 prints from part 1 of the Momoyogusa album. Extremely right The Series Title: Momoyogusa Daiichikan Mokuji (Momoyogusa Part 1 Table of contents). The table of contents follows the preface and precedes the first of the 20 prints.

Text, 1804 Third and fourth text page of part two of Utamaro`s book: Events in the pleasure houses during the year. Or paper

Plum Tree, Hasegawa Settan, c. 1800 - c. 1805 print Flowering plum tree; With 11 haiku poems. paper color woodcut plants; vegetation (+ flowers, blossom, blossoming)

Japanese manuscript on smallpox, c. 1720

Poem, early 1800s. Rai Shunpū (Japanese, 1753-1825). Album leaf; ink on buff paper; sheet: 26.1 x 18.8 cm (10 1/4 x 7 3/8 in.).

Text. Last page of part one of Utamaro`s book: Events in the Lusthuizen during the year.

Letter to Yao Zhi Wen Jia Chinese In this letter, Wen Jia thanks his recently departed guest, Yao Zhi, for visiting the day before, and he expresses hope that the subsequent rainstorm did not cause Yao too much trouble. When they met, the two men must have discussed an exchange of art objects, because Wen teasingly continues the negotiations, asking for a little more than previously agreed upon. According to the text of Wens letter, it was delivered to Yao by personal messenger dispatched after the visit.. Letter to Yao Zhi 48879

Classic of Spiritual Flight ca. 738 Attributed to Zhong Shaojing Chinese The copying of sutras, the sacred texts of Buddhism and Daoism, was an act of devotion as well as a means of propagating the faith. It required a special brush, paper of a conventional size with a vertical grid, and the use of the strictest, most formal script. This hallowed fragment of a Daoist religious text meets all of those requirements yet has an elegance and fluency that elevate it beyond normal sutra writing. Commissioned in 738 by Princess Yuzhen, a daughter of Emperor Xuanzong (r. 712-56), this writing exemplifies the sophisticated court style of the High Tang period. The small script is balanced and harmonious, with every hook, stroke, and dot perfectly defined and executed. Applied with a stiff, long-pointed brush, each stroke shows clean, crisp movements and graceful, saber-sharp turns. Individual characters are straight, upright, and firmly built, with a rectangular frame of supports and walls. The c

Text, 1804 Pages 50 and 51 of part one of Utamaro`s book: Events in the pleasure houses during the year. Or paper

Cherry-Blossom at Horinji, second half 19th century, Tanomura Chokunyū, Japanese, 1814 - 1907, 8 5/16 × 6 7/16 in. (21.11 × 16.35 cm) (sheet)17 1/16 × 11 11/16 in. (43.34 × 29.69 cm) (mount), Ink on paper, Japan, 19th century

Weng Sen's poem in running script, 16th century, Wen Zhengming, Chinese, 1470 - 1559, 10 1/4 × 12 5/8 in. (26.04 × 32.07 cm) (image)12 3/4 × 14 1/4 in. (32.39 × 36.2 cm) (mount, bottom half of mount, from fold downward), Ink on paper, China, 16th century, During the Ming period, members of the elite who gained fame for their calligraphy were often equally famous for their achievements in painting. Within elite society, calligraphy was equally admired as painting. It was viewed as quintessential yet functional, rather than as merely an independent visual art form or means of self-expression and cultivation. Many artists in the Ming dynasty were not only good at painting, but also excelled in composing poems and calligraphy. These three arts are known as the sanjue, or the 'Three Perfections.' Both Wen Zhengming and Zhu Yunming are regarded as great masters with skills of the 'Three Perfections.'

Index. The gateway to the Yoshiwara pleasure district, in which the table of contents of Utamaro`s book: Events in the Lusthuizen during the year (first part).

Japanese manuscript on smallpox, c. 1720

Text. Page 32 and 33 of part one of Utamaro`s book: Events in the Lusthuizen during the year.

Edo, Ikku, Jippensha, Afterword, Text page 23 and 24 of part two of Utamaro`s book: Events in the pleasure houses during the year., page, prints, Japan (collection), height 226 mm, width 158 mm, Japanese, 1765 - 1831, writer, 1804 - 1804, first quarter 19th century, paper, woodcut

Letter Wang Zhideng Chinese A child prodigy, Wang Zhideng could do large character calligraphy at the age of six and compose poetry at ten. Best known for his monumental clerical or seal-script frontispieces for handscrolls, he wrote this letter to a friend in the more informal running-cursive script. In the letter, Wang relates that he has fulfilled the friend's request for a colophon to enhance the appeal of a certain scroll and, in addition, was presenting him with a gift of six carp to help him recover from illness. Wang's affection for his friend is underscored by the fact that he wrote this letter in the freezing cold on a snowy day when he was ill himself.Wang, who spent most of his life in Suzhou, here follows the calligraphic style of Wen Zhengming (1470-1559), the influential leader of Suzhou's artistic circle of two generations earlier. Wang's characters are tall and slightly pinched. Lacking the strength and bold rhythmic gestures of his model, his brushwork nonetheless imp

Poem and Colophon to the Album of Paintings, "Clouds and Spring Trees at Dusk". Artist: Pan Zenggui (Chinese, active late 19th century). Culture: China. Dimensions: 9 3/4 x 13 1/2 in. (24.8 x 34.3 cm). Date: ca. late 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Views of the World (Bankoku ōrai 国往来), 1871, Yomo Shunsui, 8 11/16 × 6 × 3/8 in. (22.07 × 15.24 × 0.95 cm), Woodblock printed book; ink and color on paper, Japan, 19th century

Daihannya-Gyo Sutra (Yakushi-ji Version). Date/Period: 700/800. Ink on paper. Width: 1034 cm. Height: 27.7 cm. Author: Attributed to Zhang Sengyao.

Three Poems from the "Later Collection of Japanese Poems" (Gosen wakashu), or "Shirakawa Fragment" (Shirakawa-gire). Artist: Traditionally attributed to Monk Saigyo (Japanese, 1118-1190). Culture: Japan. Dimensions: Image: 6 7/8 × 5 11/16 in. (17.4 × 14.5 cm)Overall with mounting: 51 5/16 × 14 1/2 in. (130.3 × 36.8 cm)Overall with knobs: 51 5/16 × 16 1/4 in. (130.3 × 41.2 cm). Date: late 12th century. Museum: Metropolitan Museum of Art, New York, USA.

Poem and Colophon to the Album of Paintings, "Clouds and Spring Trees at Dusk" ca. late 19th century Pan Zenggui Chinese. Poem and Colophon to the Album of Paintings, "Clouds and Spring Trees at Dusk" 44570

Four-Line Poem in Cursive Script, mid 19th century, Hitotsuyanagi Kihō, Japanese, 1804 - 1855, 6 1/8 × 6 7/16 in. (15.56 × 16.35 cm), Ink on paper, Japan, 19th century

Collection of modern fast drawings - Spring, 1915 book Part one (of four); light brown cover with white title strip in the middle; Red wrapper; 33 magazines: first page, title page; two pages, preface; three pages, table of contents; 28 performances of persons and landscapes in the spring; two pages, afterword; Inside cover, colophon. paper color woodcut

Draft panel in standard script, second half 18th century, Attributed to Kimura Kenkadō, Japanese, 1736 - 1802, 10 7/8 × 20 1/2 in. (27.62 × 52.07 cm) (image)46 13/16 × 24 7/8 in. (118.9 × 63.18 cm) (mount, without roller), Ink on paper, Japan, 18th century, Kimura Kenkadō was a scholar of natural sciences, painter, and calligrapher. Originally from a family of sake brewers, he had to leave this business at age 55 when he was accused of excessive alcohol production. He was very famous as a collector of objects dart including specimens from fauna and flora and a central figure in the literati world.

Patterns of plum blossoms from Osaka, 1886 book Three parts (complete) with dust designs for kimonos. paper color woodcut

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

Poem which Accompanies a Ceremonial Robe. Culture: Japan. Dimensions: 12 3/4 x 67 1/2 in. (32.4 x 171.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Tokyo, Akiyama Buemon, Japan, Yoshitoshi, Tsukioka, Tsuki hyakushi, One Hundred Aspects of the Moon, Preface to the series One Hundred Aspects of the Moon., verso - stamped, Eight columns of Japanese calligraphed text, in red frame., print, prints, Japan (collection), height 328 mm, width 210 mm, height 361 mm, width 246 mm, Japanese, 1839 - 1892, print maker, printmaker, 1885 - 1892, fourth quarter 19th century, paper, colour woodcut, Publication (Event), Publication, publisher

Japanese manuscript on smallpox, c. 1720

Letter to Chen Jiru (1558-1635) Dong Qichang Chinese. Letter to Chen Jiru (1558-1635) 48956

Poem, late 1700s-early 1800s. Rai Kyōhei (Japanese, 1756-1834). Album leaf; ink on buff paper; sheet: 26.4 x 19.1 cm (10 3/8 x 7 1/2 in.).

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

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

Poem on Early Spring 19th-20th century Unidentified artist. Poem on Early Spring 51898

Sketches of Hokusai - Part 11; Hokusai Manga; Katsushika Iitsu Iboku Hokusai Manga Juichihen. Part 11 (of 15); orange cover, top left red-white title strip; Deck leaf, ads for publisher TOHEKIDO; 30 sheets, numbered; 0, title page; 1, preface; 2-29, images of people and weapons; Deck leaf, colophon.

Prayer texts; beginning of the 20th century (1900-00-00-1920-00-00);

Japanese manuscript on smallpox, c. 1720

Biographies of Lian Po and Lin Xiangru ca. 1095 Huang Tingjian Chinese Poet, calligrapher, and Chan (Zen) Buddhist adept, Huang Tingjian believed that calligraphy should be spontaneous and self-expressive“a picture of the mind.” Containing nearly twelve hundred characters, this handscroll is a masterpiece of cursive-script writing. It transcribes an account of a rivalry between two officials: Lian Po, a distinguished general; and Lin Xiangru, a skilled strategist. Huang’s transcription ends abruptly with Lin’s words: “When two tigers fight, one must perish. I behave as I do because I put our country’s fate before private feuds.” Read in the context of Song political infighting, Huang’s transcription becomes a powerful indictment of the partisanship that led to his own banishment in 1094. Listen to experts illuminate this artwork's story Listen Play or pause #7450. Biographies of Lian Po and Lin Xiangru Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio t

Calligraphy in Running Script, mid 19th century, Murase Tōjō, Japanese, 1790 - 1853, 10 1/16 × 12 3/4 in. (25.56 × 32.39 cm), Ink on paper, Japan, 19th century

Paediatric finger diagnosis chart: 'Water Graph' vein pattern

Poem Zha Sheng Chinese. Poem. China. Hanging scroll; ink on silk. Qing dynasty (1644-1911). Calligraphy

Poem Accompanying an Overrobe (Uchikake) with Bamboo. Artist: Rai San'yo (1780-1832). Culture: Japan. Dimensions: 11 7/8 x 116 3/4 in. (30.2 x 296.5 cm). Date: dated 1824.Long sleeves of twilled silk from Wu,as white as snow.Upon them painted bamboo thrustsas if alive.Madam Shimomura, from the north hallof the Karakane family,In her wedding trousseau, preciouswithout compare.Carefully wrapped up at the bottom of achest, no one dared wear it.Her grandmother's thing, handed downby her mother.Who could have painted such beautifulbamboo?The record states: by Gion knownas Yoichi.Ah, Nankai, was it he or not?For the one in the ladies' chamber, hepainted the skirt of the robe.At that time, old man Karakane wasa dilettante.On famous gardens, he composedsplendid poems.Once he persuaded the masterNankai to stay at his mansion.The whole household rejoiced, waitedupon him, and surrounded himlike a human screen.At times, with wine at his side, hedipped into the ink

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

Rubbings of the Li Ssu-hsun, 13th century, Li Yung, Chinese, 678 - 747, 3/4 x 6 3/16 x 13 1/8 in. (1.91 x 15.72 x 33.34 cm), Ink on paper, China, 13th century, This album of rubbings was made during the thirteenth century from a stone tablet engraved in 720 by Li Yung, one of the most popular Tang dynasty calligraphers. The running script (hsing-shu) text is taken from the memorial tablet of the famous general Li Ssu-shun. Li Yung specialized in memorial engraving, completing more than 800 in his lifetime and amassing a small fortune in the process. The earlier calligraphies of the great Wang Hsi-chih (4th century) served as the main source for his style which, in turn, influenced Mi Fu (11th century) and ultimately the great Ming literatus, Tung Ch'i-ch'ang.

Surviving Paintings and Calligraphy of Sengai 1894 After Sengai Gibon Japanese. Surviving Paintings and Calligraphy of Sengai. After Sengai Gibon (Japanese, 1750-1837). Japan. 1894. Woodblock printed book; ink on paper. Meiji period (1868-1912). Illustrated Books

Japanese manuscript on smallpox, c. 1720

Japanese manuscript on smallpox, c. 1720

Japanese characters, Anonymous, c. 1800 - c. 1840 print Japanese characters in 2 rows; In the middle of 2 red stamps. paper color woodcut writing and letters

Collected covers, anonymous, c. 1800 - c. 1850 album Light brown cover with blind pressure pattern; Handwritten title strip in the middle; 43 sheets with a few Harimaze (Knipprentjes) and various covers of press series and illustrated booklets. paper color woodcut

Kaiho, Geka chochoki

Detailed large map of Edo, Anonymous, 1866 book Light blue cover with blind pressure pattern; yellow title strip in the middle; Expandable city map of EDO, with all neighborhoods, temples, palaces and an almanac in which for the entire year the holidays, tides, stand of the stars etc. Or paper color woodcut

Paediatric finger diagnosis chart: The 'Three Passes'

Su Dongpo Laughing Suzuki Shnen Japanese 1892 The famous Chinese poet Su Dongpo (Su Shi, 1037-1101) of the Song dynasty and three richly clad women stand in a space filled with the ideal accoutrements and furnishings of a scholar-gentleman: carved bookcases littered with books, flowers, and ornamental objects, small tables displaying more decorative objects, a carpeted dais, and the convoluted and perforated rocks, often called Lake Tai rocks, with which scholars loved to ornament their studies. The poet converses with the woman facing him, while the other two ladies speak with each other. There appears to be a narrative element to this image, and it is possible that it represents a popular story about the poet, his verbal exchange with a Chan (Zen) Buddhist monk named Foyin, and his laughter when he returned home and recounted the meeting to his sister. It may also reference an anecdote in which Su Dongpo asked his concubine and maid servants if they knew what his belly was full of.

Illustration from a Japanese anatomical and medical text 'Complete notes on the dissection of cadavers' by Shinnin Kawaguchi, 1736-1811. Illustration by Shukuya Aoki published 1772.

Picture book with theater fan, 1770 book Part three (of three); beige cover with diamond pattern; Title strip at the top left; 21 magazines; 16 sheets with fan -shaped portraits of Kabuki actors, against a yellow background; Three magazines, numbered: 1-3, Haiku poems; one magazine, postscript; penultimate page, poems; Last page, Colophon. Or paper color woodcut portrait of actor, actress

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

Japanese manuscript on smallpox, c. 1720

Poem at Age 67, 1871, Miyake Ryūjō, 8 5/16 × 7 1/8 in. (21.11 × 18.1 cm), Ink on paper, Japan, 19th century

Scroll 1, scene 12. text. Illustrations, Manuscripts. 1600 - 1625. Spencer Collection

Plum tree. Flowering plum tree; With 11 haiku poems.

C14 Chinese medication chart: Heatstroke etc.

Letter early 17th century Song Jue Chinese In this letter, Song Jue mentions his friend Cheng Jiasui, another painter working in the Songjiang region, who apparently made a painting for the letters recipient. Song goes on to say that he is looking forward to showing off his newborn son and asks for some fine silks to have clothes made for the boy.. Letter 49009

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

Kyoka album. Two incomplete kyoka books as one part bound: blue cover; in the mid top black label on which in white the title and red and white frame with flower pattern; Deck leaf, title page, dated; 24 sheets; First book, numbered: 5-26 (many missing sheets), text and images of persons within a decorated framework; Second book, numbered: 1-12, text and landscapes.

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

Chinese woodcut: Types of knives and needles (4)

Poem (The Hermit Does Not Sleep at Night). Jakugon Teijō (Japan, 1702-1771). Japan, 18th century. Drawings; calligraphy. Hanging scroll; ink on silk

Picture book with theater fan, 1770 book Part one (of three); beige cover with diamond pattern; Title strip at the top left; 21 sheets, numbered: 1-2a, preface; 2b-3, second preface; 19 sheets, fan -shaped portraits of Kabuki actors, against a yellow background. Or paper color woodcut portrait of actor, actress

Part one (of six), blue cover, top left yellow title page, cover page, detached, 33 pages, numbered: 39-70, text and images of gardens and festivals, Famous landscape gardens in Kyoto - part one Miyako princes meisho zue - ichi, print maker: Sakuma Soen Akira, (mentioned on object), print maker: Oku Bunmei Minamoto Sadaaki, (mentioned on object), print maker: Nishimura Chuwa, (mentioned on object), Kyoto, 1799, paper, h 258 mm × w 177 mm

Illustrated Spiegel der Valken - Part four, Watanabe Kyosai, 1877 - 1879 book Part four; yellow cover; Red and white title strip left; gray -green cover, title page; 10 sheets, numbered: 1, text; 2-10; Images of Valkeniers with their bird and during hunting. paper

Introduction, 1804 Fourth and fifth text page of part one of Utamaro`s book: Events in the Lusthuizen during the year. Or paper

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

Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, first volume (Denshin kaishu: Hokusai manga, shohen) after 1828 Katsushika Hokusai Japanese. Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, first volume (Denshin kaishu: Hokusai manga, shohen) 57679

Lu Tong's Tea Song, first half 19th century, Maki Ryōko, Japanese, 1777 - 1843, 14 7/16 × 20 3/16 in. (36.67 × 51.28 cm) (image), Ink on silk, Japan, Clerical script (reisho), This is a rendering of the famous Song of Tea that the Chinese poet Lu Tong (790-835) composed to share his sensation about tea.

Album of Calligraphy and Paintings, 18th Century. Bian Shoumin (Chinese, 1684-1752). Album leaf; ink and color on paper; overall: 18.5 x 27.5 cm (7 5/16 x 10 13/16 in.).

Jikji, Selected Teachings of Buddhist Sages and Seon Masters, the earliest known book printed with movable metal type. Printed in Korea, 1377

C14 Chinese medication chart: Excess wind etc.

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