Japanese Floral and Wildlife Prints

Colorful prints depicting flora and fauna in Japan, showing the intricate relationship between nature and artistry through hand-colored woodblock techniques.

Kaido ni shokin, Small bird on a branch of Kaidozakura., Ando, Hiroshige, 1797-1858, artist, between 1844 and 1848, 1 print : woodcut, color ; 33.5 x 11.2 cm.

Lion and Peonies 1715-1730 Japan. Hand-colored woodblock print; hosoban, urushi-e . Okumura Masanobu

Peony and Swallow 1854 Tsubaki Chinzan Japanese. Peony and Swallow 49014

Winter, snow on the Sumida River, Hiroshige (I), Utagawa, 1833 - 1838 print Snow landscape; man on raft in river during snowfall; At the top left a poem. Japan paper color woodcut boat propelled by man or animal. snow. river Summida-kawa

Loquat and a ipittle bird /viet of Kotori HIROSHIGE, UTAGAWA (1797 1858)

New Sea of the Arts - 31; Shin Bijutsukai - Sanjuichi. Part 31 (of 35); orange with white cover with blue floral pattern; In the mid top in black, title; 11 sheets: 10 sheets with 20 pattern designs, of which on the first page a pattern of colored circles and windows against a blue-gray background; last sheet, advertisements; inside cover; Colophon.

Wagtail on a Rock mid-14th century Attributed to Taikyo Genju Near two barren tree branches and a moss-dotted boulder, a wagtail raises its head as if distracted by the poetic inscription abovean allegory on Zen training and the pursuit of enlightenment. Near two withered branches and a moss-pocked boulder, a scraggy wagtail raises his head as if distracted by the inscription above, which is an allegory on Zen training and the pursuit of enlightenment. Both painting and poem were composed by Taiko Genju, a monk and amateur painter who trained with the eminent Yaku? Tokken (1245-1320) at Kench?ji in Kamakura before journeying to Yuan-dynasty China to study with Chan (Japanese: Zen) masters like Lingshi Ruzhi (active first half 14th century) in Hangzhou. The poem reads:By a withered tree with no twigs or leaves, A wagtail pecks at a straggle of lichen. Within the rock is a block of jade. When will he manage to dig it out?Trans. Aaron RioThe pecking of the bird at the rock is compared t

Winter Landscape Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Winter Landscape. Woodblock print, color on paper, Image: 12 1/4 x 4 in., with frame: 19 1/8 x 8 1/2 in. Asian Art

Textile fragment, Anonymous, 1644 - 1648 Textile fragment, silver decoration of bamboo and sailing on pink sides long distance. Japan silk Textile fragment, silver decoration of bamboo and sailing on pink sides long distance. Japan silk

Kaido ni shokin, Small bird on a branch of Kaidozakura., Ando, Hiroshige, 1797-1858, artist, between 1844 and 1848, 1 print : woodcut, color ; 33.5 x 11.2 cm.

Flowers in Jardenierres Shibata Zeshin Japanese. Flowers in Jardenierres. Shibata Zeshin (Japanese, 1807-1891). Japan. Album leaf; lacquer on paper. Edo period (1615-1868). Paintings

Design on Paper Japan. Paper .

Fragment textiel, anonymous, 1624 - 1644 Textile fragment, embroidery and Shibori-Zome on black damask. (Traces of gold). Japan silk. gold (metal) Textile fragment, embroidery and Shibori-Zome on black damask. (Traces of gold). Japan silk. gold (metal)

Design on Paper Japan. Paper .

Sawamura Sojuro no Soga no Juro to Ichikawa Yaozo no Soga no Goro, The actors Sawamura Sojuro as Soga no Juro and Ichikawa Yaozo as Soga no Goro., Ishikawa, Toyonobu, 1711-1785, artist, between 1751 and 1764, 1 print : woodcut, color ; 31.0 x 14.1 cm., Print shows two actors (possibly Sawamura Sojuro, 1685-1756, and Ichikawa Yaozo) in the roles of two brothers who attempt to revenge their father's murder.

Fragment, Medium: cotton on bast fiber Technique: embroidered, Europe, 19th century, embroidery & stitching, Fragment

Two excerpts textile, anonymous, 1673 - 1681 Textile fragments, two, embroidery, Shibori-Zome on damask silk. Japan silk Textile fragments, two, embroidery, Shibori-Zome on damask silk. Japan silk

Zen painting and calligraphy, Sōzan Genkyō, 1779 - 1868 Fukurokujū. paper. ink calligraphy Fukurokujū. paper. ink calligraphy

Budai Opening His Sack, mid 18th century, Hakuin Ekaku, Japanese, 1685 - 1769, 21 3/4 × 50 15/16 in. (55.25 × 129.38 cm) (image)59 × 53 1/2 in. (149.86 × 135.89 cm) (without roller), Ink on paper, Japan, 18th century, Hakuin Ekaku (1685-1769), a Zen priest and prolific amateur painter, is credited with reviving the Rinzai sect of Japanese Zen Buddhism after a long period of decline. Hakuin focused on meditation and paradoxical anecdotes or dialogues called kōan, the contemplation of which may lead to spontaneous awakening. Hakuins bold, sometimes humorous, and altogether unprecedented paintings were an important vehicle for his teachings, which spread far beyond the monasteries and captured the minds of laypeople. This painting represents one of Hakuins unique and humorous takes on the popular Buddhist figure called Budai, an eccentric wandering monk who is nearly always shown carrying a large cloth sack that holds all of his belongings. Here, he holds the big cloth sack open for us,

DE DICHTER YAMABE NO AKAHITO KIJKEND NAAR DE BERG FUJI, SUZUKI Harunobu, 1761-1765 print Man in Heian Hofkleding (YamaBe No Akahito) standing with young servant on the beach, under pine, looking up to Mount Fuji. Japan paper color woodcut writer, poet, author. trees: pine. mountains Fuji

Textile (Germany); cotton

Kiku Jid (Chrysanthemum Boy) 18th century Tsukioka Sessai. Kiku Jid (Chrysanthemum Boy). Tsukioka Sessai (Japanese, 1761-1839). Japan. 18th century. Hanging scroll; ink on silk. Edo period (1615-1868). Paintings

Fragment textiel, anonymous, 1801 - 1804 Textile fragment, embroidery and pressure from fruits and leaves on damask-like background. Japan silk Textile fragment, embroidery and pressure from fruits and leaves on damask-like background. Japan silk

Drawing, Floral field and border; France; white on glazed paper

Textile fragment, Anonymous, 1751 - 1764 Textile fragment, embroidery and pressure from chrysanthemums and leaves on beige damask background. Japan silk Textile fragment, embroidery and pressure from chrysanthemums and leaves on beige damask background. Japan silk

A. Sinkel advertising card with Japanese wife, Mathieu Lauweriks, After Anonymous, 1874 - 1932 print A Japanese woman with a fan and her arm above her head. On the left the text 'A Sinkel'. Japanese paper (handmade paper) Japanese. fan

The Actors Ichikawa Yaozo II and Segawa Kikunojo III as Shibaraku Katsukawa Shunsho (Japanese, 1726-1793). The Actors Ichikawa Yaozo II and Segawa Kikunojo III as Shibaraku, 1774. Color woodblock print on paper, 11 11/16 x 5 3/8 in. (29.8 x 13.7 cm). Asian Art 1774

December 1910, 1910 book. magazine Number 4 of volume 14 (December 1910) of the literary monthly HOTOTOGISU: Cover on which berry branches against yellow background; Back, image of two people working on the beach. paper letterpress printing / color woodcut

God of Longevity (Shoulao) and boy 19th century China Representations of immortals in Chinese art commonly include children. The boy in this tapestry hanging scroll is an immortal servant. The bald old man with a prominent forehead is the God of Longevity (Shoulao), and the plate of peaches in the boys hands a symbol of immortality.. God of Longevity (Shoulao) and boy. China. 19th century. Hanging scroll; silk tapestry (kesi). Qing dynasty (1644-1911). Textiles-Tapestries

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk, metallic thread. Textiles-Woven

Two daffodils. Draughtsman: Carel Adolph Lion Cachet. Dating: 1874 - 1945. Measurements: h 263 mm × w 214 mm. Museum: Rijksmuseum, Amsterdam.

Woodblock Print, Two Actors; Kikugana Eizan; Japan; woodblock print (ukiyo-e) on mulberry paper (washi)

Peonies Kuang Xü Chinese After a painting by Empress Dowager Cixi printed 1922 View more. Peonies. Kuang Xü (Chinese, 1874-1909). China. printed 1922. Hanging scroll of polychrome woodblock print; ink and color on paper. Modern period. Prints

Hotei and a Child dated 1624 (Genna 10) Ono no Oz (Ono no Ts) . Hotei and a Child. Ono no Oz (Ono no Ts) (Japanese, 1559/68-1631). Japan. dated 1624 (Genna 10). Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Three Purities, 1800s. Zhang Xiong (Chinese, 1803-1886). Hanging scroll, ink and color on paper; overall: 168 x 44 cm (66 1/8 x 17 5/16 in.).

Artist: Edwin Austin Abbey, American, 1852-1911, M.A., 1897, Sketch of leafing treebranches, Graphite, pastel, Green wove, 50.3 × 35 cm (19 13/16 × 13 3/4in.), Made in United States, American, 19thcentury, Works on Paper - Drawings andWatercolors

Sparrow dancers, from A Set of Six for the Katsushika Circle (Katsushika rokuban tsuzuki) 1822-1833 Japan. Color woodblock print; bottom three sheets of shikishiban hexaptych, surimono . Yashima Gakutei

Rice Planters, Suzuki Harunobu, 1763 - 1767 print Three people working in a rice field, a fourth on the dike standing at a basket; woman with child on the left hand, walking with basket on head; Mount Fuji in the background. Japan paper color woodcut sawahs, rice paddies. farmers. mountains Fuji

Sketch of a Noh theater scene, second half 19th century, Attributed to Kawanabe Kyōsai, Japanese, 1831 - 1889, 6 1/8 × 5 5/8 in. (15.56 × 14.29 cm) (sight)14 3/4 × 33 5/16 × 1 7/8 in. (37.47 × 84.61 × 4.76 cm), Ink and color on paper, Japan, 19th century

Lingzhi and Pomergranates. Wu Changshuo (1844-1927). Hanging Scroll, ink and colour on paper. Dated 1906. 89.5 x 47.3cm.

Portrait of M. X (Portrait de M. X). Dated: 1898. Medium: drypoint. Museum: National Gallery of Art, Washington DC. Author: Henri de Toulouse-Lautrec.

A Hawk Capturing a Crane in Flight. Attributed to Torii Kiyomasu I; Japanese, active c. 1704-18 (). Date: 1710-1718. Dimensions: 56.0 x 28.5 cm. Hand-colored woodblock print; vertical o-oban, tan-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Woman in raincoat with stylized butterfly pattern, opening an umbrella facing downwards., Ishikawa Toyonobu (mentioned on object), 1740 - 1745, paper, colour woodcut, h 710 mm × w 160 mm

Wisteria Maiden (Fuji Musume), 1615-99. Japan, Edo period (1615-1868). Hanging scroll; ink and color on paper; with mount: 154.9 x 28.9 cm (61 x 11 3/8 in.); painting only: 71 x 25.2 cm (27 15/16 x 9 15/16 in.).

Bamboo, 1900s. Korea. Hanging scroll; ink on silk; painting only: 95.3 x 55.9 cm (37 1/2 x 22 in.); overall: 189.1 x 70.5 cm (74 7/16 x 27 3/4 in.).

Two Male Figures With a Toad. Date: 17th century. Origin: China. Period: Ming or Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Piece 18th century Japan. Piece 71842

Shikishi (square calligraphy paper) Box with Design of Flowers and Praying Mantis. Culture: Japan. Dimensions: H. 9 3/4 (24.8 cm); W. 8 in. (20.3 cm); D. 1 1/2 in. (3.8 cm). Date: second half of the19th century.Writing boxes were produced in large numbers from the seventeenth to the nineteenth century--a testament to the rise of literacy in Japan. As is typical of such boxes, the interior of this piece has a different but related design and holds an inkstone and other implements for writing and ink making. The box's surface, richly decorated with an image of a praying mantis beneath a basket of strawberry geraniums, is typical of the art of the Meiji period. In Japanese lacquers intended for domestic use, pearl shell plays a secondary role in the decoration; here, it outlines the edges of the flower basket. Museum: Metropolitan Museum of Art, New York, USA.

The Crossing of the Tanabata Boat (Tanabata no towataru fune) 1710-1720 Japan. Woodblock print; oban, sumizuri-e . Okumura Masanobu

Clouds and Waves at the Wu Gorge, c. 1547-67. Xie Shichen (Chinese, 1487-after 1567). Hanging scroll, ink and light color on paper; painting: 243.1 x 90 cm (95 11/16 x 35 7/16 in.); overall with knobs: 295.6 x 115 cm (116 3/8 x 45 1/4 in.).

Three figural scenes - Dignitaries. unknown, graphic artist

Calligraphy painting, from a set of four, c. 1900, Pu Hua, Chinese, 1830 - 1911, 90 1/2 x 20 in. (229.87 x 50.8 cm) (image)114 9/16 x 25 in. (290.99 x 63.5 cm) (without roller), Ink on paper, China, 19th-20th century

Gibbon snatching sake pot from flower-viewing party 1767-1777 Japan. Color woodblock print; hashira-e . Isoda Koryusai

Trips on osio; ZHU, DA (CA 1626-1705); XVII/19th century (1601-00-00-1900-00-00);Kutyłowski, Roman (1895-1976), Kutyłowski, Roman (1895-1976)-collection, Chinese (culture), donkey (iconogr.), Chinese art, purchase (provenance)

The Actor Nakayama Kojuro VI as Ko no Moronao in the Play Kanadehon Chushingura, Performed at the Nakamura Theater in the Fifth Month, 1786 1781-1791 Japan. Color woodblock print; hosoban . Katsukawa Shunsho

Moses Bank, Wall Paper, 1934 Wall Paper

Prosperity Throughout the City during the Tanabata Festival (One Hundred Famous Views of Edo) by Hiroshige, Utagawa (1797-1858) State Hermitage, St. Petersburg 1856-1858 Japan Colour woodcut Graphic arts Landscape

Nishiki brocade with cherry blossoms and wave designs on red background - digital file from original drawing | Library of Congress

Bird on a Lotus Bud, 1600s. Kano Tanyū (Japanese, 1602-1674). Hanging scroll, ink on paper; painting only: 89 x 21.5 cm (35 1/16 x 8 7/16 in.); including mounting: 154.5 x 27.5 cm (60 13/16 x 10 13/16 in.).

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

Lu Chi Shen in dronken woede de poortwachter van de Godaizan vernielend; Rochishin ransui dakai Godaizan kongojin no zu.The tattooed Lu Chi Shen destroyed a fence at the giant image of the guardian of the Godaizan Temple.

Image of Daikoku and the Artist's Seals 1755-1799 Japan. Hanging scroll, ink and color on paper . Nagasawa Rosetsu

Wave Katsushika Hokusai Japanese. Wave 56186

Kintarō Seizes the Carp. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1885. Prints; woodblocks. Diptych; color woodblock print

Designs for borders and corners, acanthus 1830-1904 Robert William Hume British. Designs for borders and corners, acanthus. Robert William Hume (British, London 1816-1904 Long Island City). 1830-1904. Pen and ink, graphite

Panel (For a Screen) Made 1875-1900 China. Silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, slit tapestry weaves; painted details; border silk, warp-float faced 7 1 satin weave with supplementary patterning wefts; inner and outer edges silk, warp-float faced 4 1 satin weave; lined with linen, plain weave .

Poem by Fujiwara no Ietaka (1158-1237) on Decorated Paper with Bush Clover. Artist: Ogata Soken (Japanese, 1621-1687). Culture: Japan. Dimensions: Image: 8 3/8 × 7 5/8 in. (21.2 × 19.4 cm)Overall with mounting (b): 38 1/4 × 11 15/16 in. (97.2 × 30.4 cm)Overall with knobs (b): 38 1/4 × 13 7/8 in. (97.2 × 35.3 cm). Date: mid- to late 17th century.Ogata Soken was scion of a Kyoto merchant family with clients among the capital's aristocracy. While he trained and achieved competency in traditional styles of Japanese painting and calligraphy, he is best known for siring Korin and Kenzan, two of the greatest artists in the chronicles of Japanese art. Here, he has transcribed a travel poem by the courtier-poet Fujiwara no Ietaka. The poem reads: Chigiranedo hitoyo wa suginuKiyomigatanami ni wakaruruakatsuki no soraNo vows were made, but we spent the night at Kiyomi Bay,as the dawn sky breaks over the swell of waves.-Trans. John T. Carpenter. Museum: Metropolitan Museum of Art, Ne

Sketch with Detail of Fūdō Threatening Yūten with his Sword. Attributed to Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, circa 1885. Drawings. Ink on paper

Cloth Fuller. Ōtagaki Rengetsu (Japan, 1791-1875). no date. Paintings; scrolls. Hanging scroll; ink and color on paper

Falcon Perched on a Tree. Attributed to Isoda Koryusai; Japanese, 1735-1790. Date: 1780-1790. Dimensions: 28 3/4 x 11 1/2 in. Hand-colored woodblock print; kakemono-e, shomen-ban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Sutra Cover with Pattern of Flowers with Scrolling Stems and Auspicious Motifs 16th century China Sutra cover with incomplete repeating pattern of various flowers with scrolling stems and scattered auspicious motifs; shades of red, blue, purple, and green with gold metallic-thread stems and outlines on a dark blue background. While the pattern repeats, the colors do not necessarily repeat. Silk satin with supplementary-weft patterning in silk and metallic thread.. Sutra Cover with Pattern of Flowers with Scrolling Stems and Auspicious Motifs 76600

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

Shunkan Watching Enviously from Kikai Island as Yasuyori Returns to the Capitol after Being Unexpectedly Pardoned (Shunkan sozu Kikaigashima ni oite tamatama Yasuyori no shamen senbo kito no zu). Tsukioka Yoshitoshi; Japanese, 1839-1892. Date: 1886. Dimensions: 73.1 x 24.2 cm (28 3/4 x 9 1/2 in.). Color woodblock print; vertical oban diptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

An Oiran standing by a plum tree. Date: mid 19th century. Origin: Japan. Period: Edo period. Color and gold on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Scene from the noh theater piece "Suehirogari". Actor with impeller in right hand, followed by parasol carrier. In the drawing instructions regarding color and details. Boarding for a color wood section.

Katsushika Hokusai (1760-1849) was a renowned arist and ukyo-e painter of the late Edo Period. Born in Edo, Hokusai was from an artisan family and bore the childhood name of Tokitaro. As he grew and became an artist, he would use more than thirty names throughout his lifetime, exceeding that of any other major Japanese artist. His best known work was the series 'Thirty-six Views of Mount Fuji', which secured his fame not only in Japan but also overseas. Though he had a long career, his most important work was arguably produced after he turned 60, when his work transformed the artwork of ukiyo-e from not just focusing on courtesans and actors to also portraying landscapes, animals and plants.

Sutra Cover. China. Date: 1590-1599. Dimensions: 33.6 × 11.8 cm (13 1/4 × 4 5/8 in.)Repeat: 13 × 11.2 cm (5 1/8 × 4 3/8 in.). Silk, satin weave with patterning wefts; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

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

Thirty-six Views of Mount Fuji (Fuji Sanju-Rokkei) is the title of two series of woodblock prints by the Japanese ukiyo-e artist Andi Hiroshige, depicting Mount Fuji in differing seasons and weather conditions from a variety of different places and distances. The 1852 series are in landscape orientation; the 1858 series are in portrait orientation. Utagawa Hiroshige (1797 October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andi Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyusai Hiroshige.

Flowering Crabapple and Pair of Birds. Artist: Shen Quan (Chinese, 1682-after 1762). Culture: China. Dimensions: 37 x 42 1/4 in. (94.0 x 107.3 cm). Date: dated 1744. Museum: Metropolitan Museum of Art, New York, USA. Author: Shen Quan.

Design for a Silk Brocade. Date/Period: Ca. 1750. Drawing. Pastel, pen and brown ink squaring on bluish grey laid paper. Author: UNKNOWN.

A Painting Made of Shells, anonymous, 1797 print A framed painting of shells and flowers, on the right an asterblad, cherry blossom and shells laid in the form of an iris. On the left shells laid in the form of golden rain and another flower. The poem is written on an envelope. This print is also a calendar leaf, the shells display the long months (1, 3, 5, 8, 10, 11 and 12) of the year 1797. paper color woodcut flowers. scallop, shell ~ ornament

Fragments, ; Spain; silk embroidery on silk

Artist: Utagawa Hiroshige, Japanese, 1797-1858, Birds on a CherryBranch, mid-1840s, Ukiyo-e: polychrome woodblock print, sheet: 10 3/8 × 7 3/8 in. (26.4 × 18.7cm), Japan, Japanese, Edo period(1615-1868), Works on Paper -Prints

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

Textile, Medium: silk Technique: plain weave with supplementary weft, Polychrome flowers and fruit facing in alternate directions on a pink background., 1700-1750, woven textiles, Textile

Isle of the Immortals. Suzuki Kiitsu (Japan, 1796-1858). Japan, 19th century. Paintings; scrolls. Hanging scroll; gold on indigo dyed silk

Dragon and tiger. Isoda Koryusai; Japanese, 1735-1790. Date: 1775-1785. Dimensions: 33 x 12 in. Hand-colored woodblock print; vertical oban diptych, shomen-ban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Fox with Staff (Hakuzsu) after 1848 Eiraku Hozen A Kyoto potter with close ties to the literati in his city and a similar taste for Chinese styles, Hozen was known for his highly colored wares and for his use of gold. A different side of his urbanity comes through in this rather personal painting, perhaps tempered by the business failures he experienced in his later years. A few economic brush strokes create the figure of a fox-priest, the protagonist in the comic kygen play The Fox Trapper (Kirigitsune). The enigmatic poem cautions:Beware of those who have renounced the worldalthough they wear the robes of priestsat heart they are foxes still.. Fox with Staff (Hakuzsu). Eiraku Hozen (Japanese, 1795-1854). Japan. after 1848. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Owl on a Pine Branch. Artist: Soga Nichokuan (Japanese, active mid-17th century). Culture: Japan. Dimensions: Image: 45 3/16 x 20 3/16 in. (114.8 x 51.2 cm)Overall with mounting: 81 5/16 x 21 1/8 in. (206.5 x 53.7 cm)Overall with knobs: 22 13/16 in. (58 cm). Date: early 17th century.A solitary owl, alert and eyes wide open, is perched on the bough of an aged pine. Behind it a full moon, rendered in reserve, signals that the setting is evening. The owl, with its head turned slightly, stares directly at the viewer, creating an effect that is at once startling and humorous. Painted entirely in ink, the texture of feathers is effectively conveyed through layered brushwork in various tones. Museum: Metropolitan Museum of Art, New York, USA.

Koyurugi Beach of Sagami Province. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 13 15/16 x 21 7/16 in. (35.4 x 54.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Carnations and Amaranthus. Artist: Yun Shouping (Chinese, 1633-1690). Culture: China. Dimensions: 6 11/16 x 20 in. (17 x 50.8 cm).Bringing emotion, history, inspiration, and a lofty mind to the task of painting flowers, Yun Shouping explored ideas of beauty, color, grace, and sensual romanticism. This playful presentation of Amaranthus gangeticus, which the Chinese call "old youth," and Dianthus chinensis, a species of pink, or carnation, illustrates Yun Shouping's "boneless" style. Museum: Metropolitan Museum of Art, New York, USA.

Lady seated in a room for a table on which two books and writing utensils lie. .

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.8 × 12.2 cm (13 3/4 × 4 3/4 in.)Repeat: 20.2 × 10.1 cm (8 × 4 3/8 in.). Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 4:1 satin weave with supplementary patterning wefts bound in weft-float faced 1:4 satin interlacings; label: silk, plain weave; painted with ink, glued over paper;. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Ohka no oiran, Oiran beneath cherry blossoms., between 1800 and 1868, 1 print : woodcut, color ; 22.2 x 14.2 cm., Print shows a view from behind of a courtesan seated beneath a branch of cherry blossoms.

Piece 18th century Japan. Piece 71839

Piece 18th-19th century Japan. Piece 66728

Sutra Cover. China. Date: 1590-1599. Dimensions: 33 × 11.7 cm (13 × 4 5/8 in.)Repeat: 17.8 × 10.8 cm (7 1/8 × 4 1/4 in.). Silk and gold-leaf-over-lacquered-paper strips, gauze weave with supplementary patterning wefts; label: silk, plain weave; painted; over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

The Chinese Taoist Immortals, Han-shan and Shih-te (Kanzan and Jittoku). Date: 1886. Origin: Japan. Period: Meiji era. Ink and slight tint on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Two women in front of a tea house. Kameyama, from the series: Fifty Fifty three stops on the Tokaido highway /Tokaido gojusan tsugi Katsushika, hokusai (1760 1849)

Hishinohana or Japanese water caltrop flower, Trapa japonica. Handcoloured woodblock print by Kono Bairei from Senshu no Hana (One Thousand Varieties of Flowers), Bunkyudo, Kyoto, 1889.

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