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.

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

One of Eight Mortuary Tablets of So Yukyo (1755-1812). Seo Yongbo (Korea). Korea, Joseon (1392-1910), dated 1812. Furnishings; Serviceware. Slab-built porcelain with underglaze blue painted decoration and clear glaze

Wallpaper Panel with Birds and Flowering Trees 1775-1825 China. Hand-painted paper .

Dinner Service (Rousseau service): Swallow, Rooster and Flowers (no. 8), 1866. Félix Bracquemond (French, 1833-1914). Etching; sheet: 35.8 x 48.2 cm (14 1/8 x 19 in.); platemark: 27.5 x 42.6 cm (10 13/16 x 16 3/4 in.).

. .

Lacquer Paintings of Various Subjects: Stack of Rice and Dragonflies 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: Stack of Rice and Dragonflies. Shibata Zeshin (Japanese, 1807-1891). Japan. 1882. Lacquer on paper. Meiji period (1868-1912). Paintings

Laozi i Niebiański Król Li Qing. unknown, author

An Arrangement of Valerian (Ominaeshi) and Chinese Bell Flowers (Kikyo). Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1791-1801. Dimensions: 12 1/4 x 8 5/8 in. Color woodblock print; aiban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Kannon. Hakuin Ekaku (Japan, 1685-1768). no date. Paintings; scrolls. Hanging scroll; ink on paper

Geisha Carrying a Parasol under a Willow Tree. Torii Kiyonaga; Japanese, 1752-1815. Date: 1779-1789. Dimensions: 71.5 x 13.1 cm. Color woodblock print; hashira-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Segawa michisaburo, The actor Segawa Michisaburo., between 1804 and 1808, 1 print : woodcut, color ; 31.9 x 13.9 cm., Print shows the actor Segawa Michisaburo, full-length portrait, body turned to the right, facing left, holding a board in raised left hand, in an onnagata role.

Battaglia del medesimo re contro popoli d'Africa, rappresentata nel monumento medesimo. Il re sul carro seguito da due figli, saetta e fuga un esercito di nemici, che spaventati, o feriti, si rifugiano..... Angelelli, Giuseppe (1803-1848). Rosellini, Ippolito, 1800-1843. Prints, Illustrations. 1832 - 1844. General Research Division. Egypt , Antiquities, Nubia , Antiquities, Bow and arrow, Campaigns & battles , Egypt, Chariots, Monuments & memorials , Egypt, Ramses II, King of Egypt, Temples , Nubia, Africans

Shiei () on His Carp Totoya Hokkei Japanese. Shiei () on His Carp 54398

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

Oiran and Attendant out for a Stroll Isoda Korysai Japanese. Oiran and Attendant out for a Stroll. Isoda Korysai (Japanese, 1735-ca. 1790). Japan. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Calligraphy. Artist: Lu Yingyang (Chinese, active early 17th century). Culture: China. Dimensions: 5 15/16 x 18 3/8 in. (15.1 x 46.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

Indian Killing White Man (Vincent Price Ledger) ca. 1880 Arahapo. Indian Killing White Man (Vincent Price Ledger). Arahapo. ca. 1880. Pencil, colored pencil on paper. United States. Paper-Drawings

The goddess brought children; beginning of the 20th century (1901-00-00-1932-00-00);Jabłońska, Antonina (1901-1994), Jabłoński, Witold (1901-1957), Jabłoński, Witold (1901-1957)-collection, Chinese (culture), gift (provenance), Chinese art

Piece ca. 1750 British, London, Spitalfields Toward the middle of the eighteenth century English silks seem to have developed their own quite distinctive stylethe most popular with white ground, "open and airy" designs (in the words of a contemporary author), and fresh and lively colors.. Piece. British, London, Spitalfields. ca. 1750. Silk and metal thread. Textiles-Woven

Kintaro Captures the Carp (Kintaro rigyo o torau) 1885 Japan. Color woodblock prints; oban diptych . Tsukioka Yoshitoshi

Daruma in a Red Robe. Sakaki Hyakusen (Japan, 1697-1753). Japan, 18th century. Paintings; scrolls. Hanging scroll; ink and color on paper

Seller of Chinese roll paintings. .

Print, poster, lithograph, colour, shows a girl in traditional (Czech) costume in a field of flowers;near her is the dove of peace. Text : subscribe to the 7th War Loan! Zivnostenska Banka branch office, Vienna. Artist Minka Podhajska. Dated 1918

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

FlyingCrane

Vase with floral motifs, Theo Nieuwenhuis, 1876 - 1951 drawing paper. ink pen container of ceramics: jar, jug, pot, vase. work of applied art (+ ceramics ~ arts). flowers ~ ornament

Numazu, section of sheet no 3 from the series Cutout Pictures of the Tokaido (Tokaido harimaze zue) 1842-1857 Japan. Color woodblock print; section of harimaze sheet (uncut sheet 1939.1291) . Utagawa Hiroshige

Breadth of Woven Textile early 18th century China. Breadth of Woven Textile 44579

Kimono, Medium: silk and gilded paper thread embroidery on cotton foundation Technique: stencil-printed and embroidered in satin and couching stitches, White 'grass cloth' kimono, printed in blue and brown ink and embroidered in colored silks and metallic yarns with pine trees, bamboo, plum blossoms, clouds, a stream crossed by a bridge, birds, etc. Lined in silk., Japan, 19th century, costume & accessories, Kimono

The Actor Ichikawa Danjuro II as Fujiwara no Kanemichi in the play Otomo no Matori, performed at the Nakamura Theater in the third month, 1726 1726 Japan. Hand-colored woodblock print; hosoban, urushi-e . Tsunekawa Shigenobu

Squash Unidentified artist. Squash 51397

Parody of Act VII of "The Storehouse of Loyal Retainers (Chushingura)". Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1763-1770. Dimensions: 25 3/4 x 4 1/2 in. Color woodblock print; hashira-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Flowers of a Hundred Worlds (Momoyogusa): Peonies (Fukamigusa), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This print from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

A Scholar and His Wife in Their Garden Ren Xun. A Scholar and His Wife in Their Garden, 19th century. Handscroll; ink on paper, image: 13 1/8 × 51 1/8 in. (33.3 × 129.9 cm). Asian Art 19th century

Examining Antiques at Literati Gathering 18th century Wang Li Mu. Examining Antiques at Literati Gathering 40441

Rock, Peony and Bamboo. After Tosa Mitsushige (Japan, 1496-circa 1559). Japan, circa 1750. Prints; woodblocks. Page from a woodblock printed book

Design for a certificate of the Dutch Society for Industry and Trade, with angels and industry -related objects, Carel Adolph Lion Cachet, 1921 print Amsterdam paper angels. industries

Men carrying goods by Katsushika Hokusai, color woodcut, circa 1830, 1760-1849, Russia, St. Petersburg, State Hermitage,

Calligraphy Obaku Kosen (Japanese, 1633-1695). , 17th century. Hanging scroll, ink on paper, Image: 44 1/2 x 12 1/2 in. (113 x 31.8 cm). Asian Art 17th century

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

The Three Stars. Date: 16th century. Origin: China. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

TAK MET Rode Camelia, Utagawa Kuniyoshi, 1808-1861 drawing paper. watercolor (paint) brush

Rose mallow. Date: probably 19th century. Origin: Japan. Period: Edo period. Ink, mineral pigments, and gold on clay-loaded paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Two Girls Talking Near the Hibachi (Fire-Pot) ca. 1785 Torii Kiyonaga Japanese. Two Girls Talking Near the Hibachi (Fire-Pot) 36613

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.5 × 12.2 cm (13 5/8 × 4 3/4 in.)Repeat: 23.8 × 10.8 cm (9 3/8 × 4 1/4 in.). Silk and gold-leaf-over-lacquered-paper strip, gauze weave with supplementary patterning wefts; label: silk, plain weave; painted with ink; over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

UN DESPERTAR SIN IMAGEN - DIBUJO - GRAFITO Y ACUARELA SOBRE PAPEL JAPONES - 2002 - 50x50. Author: JOSE MARIA SICILIA. Location: GALERIA SOLEDAD LORENZO. MADRID. SPAIN.

Aizen Myoo. Date/Period: 14th century; Nambokucho Period (1333-1392). Painting. Colors and cut gold on silk; mounted as a hanging scroll Colors and cut gold on silk; mounted as a hanging scroll. Height: 1,143.76 mm (45.02 in); Width: 705.36 mm (27.77 in). Author: Japanese unknown.

Peacock with Flowers and Fantastic Rocks, 17th century, 53 5/8 x 33 1/2 in. (136.21 x 85.09 cm) (image)66 11/16 x 34 1/4 in. (169.39 x 87 cm) (without roller)68 1/8 x 38 3/4 in. (173.04 x 98.43 cm) (with roller), Ink and color and gold on silk, China, 17th century, With tail feathers spread in full array, a peacock strolls in a garden resplendent with blossoms and bamboo. The contorted and pierced forms of the fantastical blue-green taihu rocks were greatly admired by artist-scholars. The flowers were standard motifs associated with good fortune during both the Ming and Qing dynasties (1300s-1800s). The peacock, however, reflects a new layer of meaning brought about by the Manchu conquest of 1644. The new rulers from the north of China presented themselves as protectors of Chinese culture in the face of social and political chaos. They adopted the image of Mahamayuri, the 'Peacock Mother of the Buddha' and 'Protectress of the North' as one of their political emblems.

And an independent exhibition. Litographic Zak Aureliusz Pruszcz

Love Scene from the Rasikapriya 18th century. Love Scene from the Rasikapriya 452805

The Sumida River in Winter Snow (Fuyu Sumidagawa no yuki), from the series Famous Places in Edo in the Four Seasons (Shiki Koto meisho) 1834-1835 Japan. Color woodblock print; chu-tanzaku . Utagawa Hiroshige

Japan, Zeshin, Shibata, Seven Seasick Gods of Fortune, The seven Japanese gods of fortune, looking unhappy, on board their ship (takarabune, a New Year's symbol), with a poem on either side referring to seasickness; a mythological long-haired turtle (minogame) climbs aboard from the waves; top left a rising sun and a crane, which like the minogame are symbols of a long life., print, prent, prints, Japan (collection), height 239 mm, width 250 mm, Japanese, 1807 - 1891, print maker, prentmaker, 1887 - 1888, fourth quarter 19th century, paper, colour woodcut

Mabel Ritter, Chair Cover, c 1937 Chair Cover

Toyohara Kunichika (30 June 1835 - 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, which are woodblock prints of kabuki actors and scenes from popular plays of the time. A drinker and womanizer, Kunichika also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.

Ama No Hashidate in Tango Province from the Series Three Views of Japan (Nihon Sankei) Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Ama No Hashidate in Tango Province from the Series Three Views of Japan (Nihon Sankei), ca. 1855 (design); later impression. Color woodblock print on paper, Other (Width): 11 1/2 in. (29.2 cm). Asian Art ca. 1855 (design); later impression

Tokyo Earthquake, Japan 1st September 1923 - the earthquake and typhoon killed an estimated 99,300 people (1/9). Date: 1923

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

Spring center left from the set Rice Farming in the Four Seasons, 1620s, Attributed to Kano Sanraku, Japanese, 1559 - 1635, 39 x 37 x 3 1/2 in. (99.06 x 93.98 x 8.89 cm), Ink, light color, and gold on paper, Japan, 17th century, These sliding door panels are part of a group of sixteen, which originally formed the four sides of a small reception chamber at Daikakuji, a Buddhist temple in northwest Kyoto. The paintings show the process of rice cultivation across four seasons. A person seated in the room would have seen the scene unfold from north, beginning with winter and moving clockwise. Spring, the second in order, would have been on the eastern side.

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

Chasing Fireflies 1755-1769 Japan. Color woodblock print; hashira-e, benizuri-e . Torii Kiyomitsu I

A Hawk on a Kiri Tree. Okumura Masanobu; Japanese, 1686-1764. Date: 1715-1730. Dimensions: 31.2 x 14.7 cm (12 1/4 x 5 3/4 in.). Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Decoration designs for court celebrations; after. XIX-the beginning of the 20th century (1846-00-00-1855-00-00);

Autumn View, first half 18th century, Gion Nankai, Japanese, 1677 - 1751, 49 11/16 × 16 1/4 in. (126.21 × 41.28 cm) (image), Hanging scroll; ink on paper, Japan, 18th century, 'An Autumn View from a Boat on the Ki River

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu). Katsushika Hokusai ; Japanese, 1760-1849. Date: 1809-1819. Dimensions: 33.9 x 22.6 cm. Color woodblock print (album sheet). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Three Distances, 1794, Nagamachi Chikuseki, Japanese, 1747 - 1806, 9 15/16 × 89 13/16 in. (25.24 × 228.12 cm) (image)10 1/8 × 159 7/16 in. (25.72 × 404.97 cm) (without roller), Ink and colors on paper, Japan, 18th century

Minh Mạng (1791-1841; born Nguyễn Phúc Đảm, also known as Nguyễn Phúc Kiểu) was the second emperor of the Nguyễn Dynasty of Vietnam, reigning from 14 February 1820 until 20 January 1841. He was a younger son of Emperor Gia Long, whose eldest son, Crown Prince Canh, had died in 1801. He was well known for his opposition to French involvement in Vietnam and his rigid Confucian orthodoxy. As Gia Long aged, he took on a more isolationist foreign policy, and as a result favored Minh Mang especially for his outlook. Minh Mang was a classicist who was regarded as one of Vietnam's most scholarly monarchs. He was known as a poet and was regarded as an emperor who cared sincerely about his country and paid great attention to its rule. The dragon symbolises power in both Vietnamese and Chinese. The stylised dragon map is written in Han Tu or Chinese characters.

Bamboo and Rocks by a Stream 1832 Takaku Aigai Japanese Bending without breaking, bamboo embodies the Confucian value of righteousness. Its slender, supple stems were appreciated as calligraphic forms and were of perennial interest to Chinese and Japanese painters of the literati tradition. Aigai was a protégé of Tani Bunchō (1763-1840), a leading Nanga artist in Edo (now Tokyo). He became especially famous as a painter of bamboo.. Bamboo and Rocks by a Stream 45332

C18 Chinese woodcut: Lung-cold laryngitis

New Year Picture of Immortal of Fortune, Emolument, and Longevity early 20th century Unidentified. New Year Picture of Immortal of Fortune, Emolument, and Longevity. Unidentified artist(s), Chinese, early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Young Girl Crossing a Bridge after Snow: Calendar Year of the Second Year of Meiwa Suzuki Harunobu (Japanese, 1724-1770). Young Girl Crossing a Bridge after Snow: Calendar Year of the Second Year of Meiwa, 1765. Color woodblock print on paper, 10 3/4 x 8 7/8 in. (27.4 x 20.0 cm). Asian Art 1765

Five Pieces of China. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Jules-Ferdinand Jacquemart.

Cangzhen Tie and Lugong Tie 20th century China. Cangzhen Tie and Lugong Tie. China. 20th century. Ink on paper. Rubbing

Robe for a Sculpture Robe for a Sculpture, ca. 1820. Textile, 66 x 56 in. (167.6 x 142.2 cm). Asian Art ca. 1820

Joyous Rain ca. 1498 Wu Kuan Chinese Unlike most of his artistically inclined friends in Suzhou, Wu Kuan enjoyed a long and successful career as an official. He achieved first place in the palace examinations of 1472 and held a series of important posts at the court in Beijing, culminating with the office of secretary of the Board of Rites.Like other Ming literati from Suzhou, Wu Kuan's calligraphy was influenced by Northern Song (960-1127) models. With its fleshy, modulated brushstrokes and squat characters, Wu's writing style follows that of the poet-calligrapher Su Shi (1036-1101). Wu accompanied this poem with a brief account of the circumstances under which it was created: "On the evening of the twenty-eighth of the fifth month June 17, it began to rain after a long drought. I was collating Bo Juyi's 772-846 works and had just come to the poem 'Joyous Rain.' Following its rhyme, I composed a poem to express my own joy.". Joyous Rain 45746

Tablet China. Tablet. China. Yellow alabaster. Qing dynasty (1644-1911), Qianlong period (1736-95). Hardstone

(Scene from the Play 'Yoshitsune senbon zakura'), late 18th-early 19th century, Utagawa Toyokuni; Publisher: Wakasaya Yoichi, Japanese, 1769 - 1825, 26 × 4 9/16 in. (66 × 11.6 cm) (image, sheet, hashira-e), Woodblock print (nishiki-e); ink and color on paper, Japan, 18th-19th century

A Girl as a Komuso ca. 1768 Suzuki Harunobu Japanese. A Girl as a Komuso 36636

Flowers and butterflies, Peony flowers and butterflies, Possibly a surimono., print, surimono, prints, Japan (collection), height 390 mm, width 530 mm, print maker, 1810 - 1839, first quarter 19th century, second quarter 19th century, paper, color woodcut, blind print, stencil printing

New Year Picture of Door God Zhao Gongming (paired with CP459, left) early 20th century Unidentified artist(s). New Year Picture of Door God Zhao Gongming (paired with CP459, left). Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Short-SleevedKimono

Illustrated book 18th century Tsurusawa Tansaku. Illustrated book. Tsurusawa Tansaku (died 1797). Japan. 18th century. Album; ink on paper. Edo period (1615-1868). Illustrated Books

Erotic representation, c. 1678 - c. 1698 print A man sex with two women. There is a sword next to them. hacking and thrusting weapons: sword. man and woman cohabiting. group-sex

Scenes of Ōtsu, c. 1790, Ki Baitei, Japanese, 1734 - 1810, 35 1/2 × 148 1/4 in. (90.17 × 376.56 cm) (image)36 7/8 × 149 1/2 × 5/8 in. (93.66 × 379.73 × 1.59 cm), Ink and color on paper, Japan, 18th century

Manufacturing vases cho chi, vintage engraved illustration. Magasin Pittoresque 1857.

Poisson dans une vague.. 1866 - 1878. Avery, Samuel Putnam, 1822-1904. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Decorative arts , France, Porcelain, French, Porcelain, European , Japanese influences, Fish

Shadow Puppet (Wayang Kulit) of Garuda, from the set KyaiNugroho. Maker: Marto Suwondo Maker: Ki Kertiwanda Maker: Ki Bekel Prawirasucitra

fine arts, Koryusai, Isoda (active circa 1765 - 1784), ""Girl with lantern"", woodcut, 68.5 x 12.4 cm, Tokyo, Japan, circa 1860 / 1870, Museum for Applied Arts, Vienna,

Chinese god of inventions. Fuxi and the musical instruments he invented. He was the first of the legendary San Huang. Ancient China History. Old 19th century engraved illustration from El Mundo Ilustrado 1879

Greece, Macedonia, Siatista village, Painting on wall inside house

Calligraphy. Artist: Obaku Ingen (Japanese, 1594-1673). Culture: Japan. Dimensions: Image: 47 × 11 in. (119.4 × 27.9 cm)Overall with mounting: 80 1/2 × 15 1/2 in. (204.5 × 39.4 cm)Overall with knobs: 80 1/2 × 17 5/8 in. (204.5 × 44.8 cm). Date: 1615-1868. Museum: Metropolitan Museum of Art, New York, USA. Author: Obaku Ingen.

Thanka (Religious Picture). Manchu; China. Date: 1743-1744. Dimensions: 371.1 × 126.2 cm (146 × 49 3/4 in.)Wrapper: 128.4 × 42.1 cm (50 1/2 × 16 1/2 in.)Cover repeat: 56.4 × 12 cm (22 1/4 × 4 3/4 in.)Lining repeat (width): 16.5 cm (6 1/2 in.). Silk, slit tapestry weave with interlaced outlining wefts; painted details in colors, black, and with gold leaf; outer scroll top: silk, warp-float faced 5:1 satin weave with supplementary patterning wefts and self-patterned by ground weft floats; scroll wrapper: silk, warp-float faced 5:1 satin weave with 1:2 'S' twill interlacings of secondary binding warps and supplementary patterning wefts and self-patterned by main warp and ground weft floats; rayon and cotton ties; scroll wrapper lined with silk, warp-float faced 2:1 'S' twill weave self-patterned by areas of plain weave. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Unlined Summer Kimono (Hito-e) with Landscape and Poem second half of the 18th century Japan This light, unlined robe (hito-e) is designed for summer. On a blue background, flowers and plants of the four seasons appear in landscape settings. Spring flowers are represented along the hem; above them we see wisteria and other summer plants; toward the middle appear autumnal maple leaves; and around the neckline and on the sleeves are winter pine-sapling motifs. The characters of a felicitous poem celebrating longevity and happiness make their way from the front to the back of the robe:frontToshi o iwau yorozuyo no kame Celebrating old age, turtleslive for ten thousand years,backtsuru no ko wa chiyo o kotobuku hana nare ya and the offspring of cranesfor a thousand years—flourishing in their long lives.—Trans. Monika Bincsik. Unlined Summer Kimono (Hito-e) with Landscape and Poem. Japan. second half of the 18th century. Embroidered and resist-dyed silk gauze (ro). Edo period (1615-1868)

Stork Flying Above Branches (Decoration for a Plate). Artist: Félix Bracquemond (French, Paris 1833-1914 Sèvres). Dimensions: sheet: 18 7/8 x 12 5/8 in. (48 x 32 cm)plate: 12 x 12 in. (30.5 x 30.5 cm). Date: 1850-1914. Museum: Metropolitan Museum of Art, New York, USA.

'Japan', c1935. Creator: Unknown.

glazed ceramic, Can Cetre de Portopí, Palma, La Roqueta factory, Museu de Mallorca, Palma, Mallorca, Balearic Islands, Spain.

Paper-cutting

Japan, Nagoya, Castle, Hommaru Palace, interior, paintings

'Paintings for Doors'. China, City of Peking, 20th century. Dimensions: 34,5x25 cm. Museum: State Hermitage, St. Petersburg.

Clouds, mid 19th century, Tōkai Okon, Japanese, 1816 - 1888, 43 7/8 × 11 3/8 in. (111.44 × 28.89 cm) (image), Ink on paper, Japan, Cursive script (sōsho), Okon became a celebrated calligrapher early in her life, performing demonstrations for the emperor at age 10. This phrase is from the poem Returning Home by the Chinese recluse-poet Tao Yuanming (365-427), written on the occasion of his retirement from an official position

of 3