Japanese Ink Paintings

An array of traditional Japanese ink paintings featuring landscapes, flora, and figures, showcasing skillful brushwork and cultural themes.

Landscape with Rocky Precipice 16th century Sesson Shkei Fluid brushwork and rhythmically repeating forms characterize this imaginary Chinese landscape of mountains, a river bridged by a narrow strip of land, and lively human activity. A cluster of buildings clings to sharply rising cliffs, a forest behind them is shrouded in mist. Passenger boats glide by, travelers—one on a donkey, the others on foot—proceed from the foreground to the steep mountain path. Sesson, one of the great masters of sixteenth-century ink painting, produced varied tones of ink from rich black to pale grey which combine with diagonal brushstrokes to create the texture of rocks and crags and emphasize the peculiar concave shapes at the base of the cliffs.The painting bears the artist’s signature, and the “Shkei” seal that he used on his late works.. Landscape with Rocky Precipice. Sesson Shkei (ca. 1504-ca. 1589). Japan. 16th century. Hanging scroll; ink and color on paper. Muromachi period (1392-1573). Paint

Scenes from the Tokaido, 19th century, possibly Hokei, 6 7/8 × 6 3/8 in. (17.46 × 16.19 cm) (image)7 11/16 × 7 3/16 in. (19.53 × 18.26 cm) (mount), Ink and color on silk, Japan, 19th century

Landscape with figure 1635 Chen Jichun Chinese Nothing is known of Chen Jichun, who painted this fan in the waning years of the Ming dynasty. A red-robed scholar sits in a humble thatched pavilion beneath towering pines, frequently used symbols of virtuous character. The ropy, layered brushstrokes used to texture the rock and mountain surfaces call to mind the fourteenth-century painter Wang Meng.. Landscape with figure 35989

9 7/8 x 11 9/16 in. (25.08 x 29.37 cm) (sheet)13 15/16 x 18 1/16 in. (35.4 x 45.88 cm) (mount), Color woodblock print, China

Reproductions from Works by Famous Japanese Artists of Chinese School 1818 Sessh Ty Japanese. Reproductions from Works by Famous Japanese Artists of Chinese School. Sessh Ty (Japanese, 1420-1506) and others. Japan. 1818. Ink on paper. Edo period (1615-1868). Illustrated Books

Zhuangzi was an influential Chinese philosopher who lived around the 4th century BCE during the Warring States Period, a period corresponding to the philosophical summit of Chinese thought - the Hundred Schools of Thought. He is credited with writing-in part or in whole-a work known by his name, the Zhuangzi. His name Zhuangzi (English 'Master Zhuang', with Zi being an honorific) is sometimes spelled Zhuang Tze, Zhuang Zhou, Chuang Tsu, Chuang Tzu, Chouang-Dsi, Chuang Tse, or Chuangtze.

Pair of Screens of Paintings andCalligraphy. Artist: Yang Gihun, Korean, 1843-after 1908Calligrapher: Fujisawa Ko, Japanese, 1842-1920

Wolsong-jeong (Wolsong Pavilion) , 19th century. Ink and light color on paper, 12 x 11 in. (30.5 x 27.9 cm). Asian Art 19th century

Sketchbook, English and French Landscape and Coastal Subjects William Trost Richards (American, 1833-1905). Sketchbook, English and French Landscape and Coastal Subjects, 1880. Graphite on paper, 3 15/16 x 6 7/8 in. (10 x 17.5 cm). In June 1880, before returning to Newport, Richards made a brief expedition to France. His sketchbook records his impressions while traveling, including this charming study of a picturesque French doorway made, perhaps, at Saint-Cloud, or in Paris. American Art 1880

French art nouveau fan design by Georges de Feure (1868-1943), French painter, theatrical designer and industrial art designer.. Color plate from Charles Holme's "Modern Design in Jewellery and Fans," published by the Studio 1902.

Yōrō Waterfall, 1824, Urakami Shunkin, Japanese, 1779 - 1846, 51 × 16 1/4 in. (129.54 × 41.28 cm) (image)78 3/4 × 21 3/8 in. (200.03 × 54.29 cm) (mount, without roller), Ink and light color on silk, Japan, 19th century

Palace in the Mountains. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Returning Home after Harvest. Origin: China. Period: Possibly Ming dynasty. Ink and color on silk. Date: 17th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Beauty Beneath a Willow Tree. Isoda Koryusai; Japanese, 1735-1790. Date: 1775-1785. Dimensions: 100.2 × 32.6 cm (39 7/16 × 12 7/8 in.); overall with mount and knobs: 184 × 52.4 cm (72 7/16 × 20 5/8 in.). Hanging scroll; ink on silk. Origin: Japan. Museum: The Chicago Art Institute, USA.

Winter center left from the set Rice Farming in the Four Seasons, 1620s, Attributed to Kano Sanraku, Japanese, 1559 - 1635, 76 x 39 1/4 x 4 in. (193.04 x 99.7 x 10.16 cm), Ink, light color, and gold on paper, Japan, 17th century, These sliding door panels originally formed the four walls of a small reception chamber at Daikakuji, a Buddhist temple in northwest Kyoto that also served as the palace for Japans emperor. The panels form a continuous panorama from wall to wall and present various activities associated with rice cultivation: plowing, transplanting the rice, irrigating, threshing, and grinding. The didactic theme is derived from Chinese painting; agriculture, according to Confucian teachings, is the basis of a well-ordered society. Accordingly, when Japanese rulers adopted Confucianism as their ruling ideology, they also commissioned paintings that reflected social stability, morality, and government values.

A Seated Man Looking at Potted Peonies. Origin: Japan. Period: Edo period. Date: 1760-1849. Ink and color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Rich dressed man in a chair at a set table, 1727 - 1775 print Richly dressed Chinese man in a chair near a set table. On the right two figures. In the background blossom branches. Print is part of an album. paper etching Chinese (+ costume). trees (+ flowers, blossom, blossoming)

Collection of paintings by Chen Shiceng. Rong Bao Zhai (1672- ), publishing house, Chen, Shiceng, painter

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

Roll of the nymph of the river, a copy of a work by Gu Kaizhi (344-407), China. Detail. Chinese Civilisation, Sung Dynasty, 10th-13th century.

Summer Palace, Beijing Ting-Tai (Chinese) Silk painting Bibliotheque Nationale, Paris, France

Watonai, Wa Tonai from Battles of Kokusenya., 1806 or 1818, 1 print : woodcut, color ; 19.2 x 24.9 cm., Print shows a man, Watonai (Coxinga), riding on a tiger with group of musicians following.

Hero and Dragon. Dimensions: H. 8 11/16 in. (22 cm)W. 5 5/8 in. (14.3 cm). Date: third quarter 16th century.In a rocky landscape a hunter on horseback plunges his sword through the neck of a dragon that has sunk its fangs into a small deer. A pair of deer and two rabbits scatter in the foreground. With its blue tinted rocks and gold dragon's wings, this is a finished drawing, despite the narrative suggestion of its subject matter. Various heroes in the 'Shahnama', the Persian national epic, combat dragons, but this image evokes rather than illustrates these manly acts. Museum: Metropolitan Museum of Art, New York, USA.

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

Paintings by Sō Shiseki (Sō Shiseki gafu 紫石画譜), vol. 1, 1765, 8th lunar month, Sō Shiseki, Japanese, 1715 - 1786, 10 5/8 × 6 1/2 × 5/16 in. (26.99 × 16.51 × 0.79 cm), Woodblock printed book; ink and color on paper, Japan, 18th century

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

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

Elegant Gathering in the WesternGarden. Artist: Tani Bunch?, Japanese, 1763-1840

Krin Picture Album 1826 (reprinted posthumously) Nakamura Hch Japanese. Krin Picture Album. Nakamura Hch (Japanese, died 1819). Japan. 1826 (reprinted posthumously). Woodblock-printed book (orihon, accordion-style); ink and color on paper. Edo period (1615-1868). Illustrated Books

Window in a pottery can. .

Still life with bronze vessels and flowering plants 1894 Attributed to Jang Seung-eop (pen name: Owon) Korean In the nineteenth century, still-life paintings of precious vessels with flowering plants and/or fruits emerged as a distinct and popular genre (Korean: gimyeong jeoljido). The bronzes in this screen are more stylized or exaggerated versions of late Qing-period (1644-1911) Chinese examples, which were known in Korea from imported collectibles or their representation in Chinese paintings, prints, or lithographs. The left-most panel bears the signature and seal of Jang Seung-eop, the leading court artist of the time. Since students and others signed for the illiterate master, some works attributed to Jang may in fact be collaborations or by his immediate followers. Regardless of authorship, this work is a rare and fine example of turn-of-the-twentieth-century still-life painting in the screen format. Two inscriptions on the back of the right-most panel offer notable provenance fo

DragonScreen. Artist: Kan? T?un, Japanese, 1625-1694

Whie falcon, in the style of Kanô Tsunenobu (1636-1713). unknown, painter

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

Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 10 (Denshin kaishu: Hokusai manga, juhen). Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: Overall: 9 × 6 × 3/8 in. (22.9 × 15.2 × 1 cm). Date: 1819. Museum: Metropolitan Museum of Art, New York, USA.

Thirty Gods of the Nichiren Sect , 18th century. Woodblock print, 16 1/4 x 5 in. Ed Wiener was an important New York modernist jeweler who had a store named "Arts and Ends" on West Fifty-fifth Street. The store's proximity to the Museum of Modern Art was perhaps not accidental: Kramer's jewelry was especially responsive to the art of such important modern masters as Alexander Archipenko, Pablo Picasso and Alexander Calder. Kramer claimed, however, that the main influence on his work was jazz, and he often used musical metaphors when speaking of his designs. Asian Art 18th century

Painting

Death of Pyramos and Thisbe by an anonymous artist, executed in pen and brown brushes, laved over reddish traces between 1591-1652, showing two figures and dramatic scene.

Reclining Figure. Dimensions: Painting: H. 3 3/4 in. (9.5 cm) W. 6 15/16 in. (17.6 cm)Page: H. 3 3/4 in. (9.5 cm)W. 6 15/16 in. (17.6 cm)Mat: H. 14 1/4 in. (36.2 cm) W. 19 1/4 in. (48.9 cm). Date: 1630-40.This figure, elegantly draped over a cushion and dreamily gazing into the viewer's space, has traditionally been identified as a woman. Not only the leggings with a decorative border, but also the figure's voluminous thighs, pearl necklace and long hair are all associated with women in the Safavid period. However, the long floppy cap is an article of male clothing and suggests a different reading of this drawing. According to European visitors to Iran in the seventeenth century, youths who "dressed effeminately" were employed in coffeehouses to dance suggestively and serve as prostitutes for the male clientele. Safavid paintings of alluring women invariably emphasize their breasts and often show more skin whereas this figure covers his chest and is fully clothed, relying on his

Gentlemen Gazing at a Waterfall. Artist: Unidentified Artist; Formerly Attributed to Li Tang (Chinese, ca. 1070s-ca. 1150s). Culture: China. Dimensions: 9 7/8 x 10 1/8 in. (25.1 x 25.7 cm). Date: 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Two Images from the Entertainment Quarters. Tsukioka Yoshitoshi (school of) (Japan, active late 19th century). Japan, late 19th century. Drawings. Ink on paper

Villager Watching Fishermen Mochizuki Gyokusen (Japanese, 1794-1852). , ca. 1850. Woodblock color print, 9 1/2 x 12 7/16 in. (24.1 x 31.6 cm). Asian Art ca. 1850

Fireworks at Ryōgoku Bridge, c. 1840-1842, Utagawa Hiroshige; Publisher: Izumiya Ichibei, Japanese, 1797 - 1858, 8 11/16 × 13 7/16 in. (22 × 34.2 cm) (image, horizontal ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

Moonlit Landscape 1794-95 Nagasawa Rosetsu One of the most skillful and stylistically diverse ink painters of the late Edo period, Nagasawa Rosetsu has conjured up a moody, atmospheric scene of a mountain landscape illuminated by a moon, rendered in reserve. Wisps of cloud moving across the sky evoke a slightly eerie feeling and call to mind the representation of imaginary dragons of East Asian lore by Rosetsu and others. The bold silhouettes of pine trees contrast with gray washes created using a tsuketatefude , a wide brush with long, flexible bristles, to create the contours of the mountainside without outlines. The painting would have been executed in multiple stages, allowing each layer of ink wash to completely dry before the next was applied. The upper expanse of the painting is entirely blank, except for the artist’s signature—cursorily inscribed with a moist brush—and the red accent of his double seal. The exaggeratedly elongated manner of writing Ro of his name, as

Wedding Preparations: folio from a Nala-Damayanti series. Date: 1775-1800. Opaque watercolor on paper. Origin: Guler, Himachal Pradesh state, Punjab Hills, India. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Scene from The Kōrin Picture Book (Volume 2), 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.

Fishing in a mountain stream, painting on a silk scroll, by Hsu Tao-ning (ca 970-ca 1052), China. Detail. Chinese Civilisation, Sung Dynasty, 10th century.

Secchu sanbashi no geinin, Entertainers from Setchu in the snow., Kikukawa, Eizan, 1787-1867, artist, between 1811 and 1818, 1 print : woodcut, color ; 25.7 x 37.2 cm., Print shows two women, possibly geisha, and a male porter standing on a wharf on the edge of a river during a snow storm; they are holding umbrellas and wearing geta, there are boats on the river and a bridge in the background.

Banshoku zuko, one vol of 5 published 1760-1849 Japan. Book; woodblock printed . Katsushika Hokusai

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

Nine Dragon Pool, 1690s. Mei Qing (Chinese, 1623-1697). Hanging scroll, ink and light color on paper; image: 92 x 43.5 cm (36 1/4 x 17 1/8 in.); overall: 200.7 x 71.1 cm (79 x 28 in.).

Kunmo Zu-i Taisei. Kashiragaki Zoho After the original by Nakamura Tekisai (Japanese, 1629-1702). Kunmo Zu-i Taisei. Kashiragaki Zoho, 1629-1702. Paper, H: 8 7/8" - W: 6 1/4". Asian Art 1629-1702

Carrying a Qin on a Visit, 1271-1368. Attributed to Luo Zhichuan (Chinese, active 1280s-1320s). Hanging scroll (now paneled), ink on silk; image: 80.8 x 35.3 cm (31 13/16 x 13 7/8 in.).

Emperor Xuanzong's Flight to Shu mid-12th century Unidentified artist In 745, after thirty-three years of able rule, the Tang emperor Xuanzong (r. 712-56) fell in love with the concubine Yang Guifei and became indifferent to his duties. When Yangs favorite general, An Lushan, rebelled in 755, she was blamed. Forced to flee from the capital at Xian to the safety of Shu (Sichuan Province), the emperor was confronted by mutinous troops demanding the execution of his lover. Reluctantly assenting, Xuanzong looked on in horror and shame and abdicated soon after. This painting depicts the somber imperial entourage after the execution. While the accoutrements of the figures are Tang, the painting's landscape style of intricately described volumetric forms and mist-suffused atmosphere suggests a mid-twelfth century date. Listen to experts illuminate this artwork's story Listen Play or pause #7336. Emperor Xuanzong's Flight to Shu, Part 1 Play or pause #7336. Emperor Xuanzong's Flight to Shu,

Spring in the Rice Fields ca. 1795 Katsushika Hokusai Japanese. Spring in the Rice Fields. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1795. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Bodhidharma Crossing the Yangzi River on a Reed before 1641 Kano Genshun Bodhidharma (Japanese: Daruma) was a sixth-century Indian sage who is credited with transmitting Zen Buddhist teachings to China. After an unsuccessful encounter with the Chinese Liang-dynasty Emperor Wu, Bodhidharma is said to have sailed up the Yangzi River on a single reed to continue his journey to promote Zen. Executed in an abbreviated style using only a few long, flowing strokes to define the sage’s robes, this work reflects an ink-painting style that was introduced from China in the late Kamakura period (1185-1333). The colophon above the figure, composed and inscribed by the noted Zen monk Gyokushitsu Shaku, reads: Lightly sailing on a single reed, He is majestic and commanding. Far from Liang territory, Ah, what does he recall Although this painting was previously attributed to the Momoyama-period artist Kano Ssh (1551-1601), a reevaluation of the seal impressed at lower right has revealed the a

Two hermits laughing at a horse, Tachibana Morikuni (attributed to), 1700 - 1750 print Two men, sitting on a rock, looking at a rider standing on a horse. Two pages from a Japanese book; In the right margin of the right sheet the page number six. Japan paper riding a horse, ass, or mule; rider, horseman. adult man (+ two persons)

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

Picture Album of Landscapes by Yi Fujiu and Ike no Taiga 1803 (posthumously published) Nakagawa Tenju In the preface to the first volume, Nakano Sodō mentions that the Kyoto artist Kan Dainen 大年 (also known as Kan Tenju) had made copies of actual paintings of the Bunjin artists Ike Taiga and Yi Fujiu (J. I Fukyū) in miniature format with the idea of creating a painting manual (e-dehon). Dainen, an expert in calligraphy and seal carving, was a patron of Taiga. I Fukyū, a Chinese merchant and amateur painter in the Literati style arrived in Nagasaki in 1720, and was admired by Taiga, Dainen and Aoki Shukuya (1737-1802). Fukyu was said to have copied the Yi Fukjiu paintings in 1767, and the Taiga ones 1768. The Bunjin painting and collector Kimura Kenkadō (1736-1802) acquired the manuscript of Dainen’s copies, and after his death it was inherited by one Nakazawa Keizan (dates unknown), who had Sodō author the Preface to the volumes.. Picture Album of Landscapes by Yi Fujiu and Ike no Tai

Boy on a water buffalo. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Chapters 4, 5 of Legends of the Dog Warriors ca. 1860 Utagawa Yoshimune Japanese. Chapters 4, 5 of Legends of the Dog Warriors. Utagawa Yoshimune (Japanese, 1817-1880). Japan. ca. 1860. Three books (in hanshita-e form); ink and light colors on paper. Edo period (1615-1868). Illustrated Books

Mountain Hermitage in Summer Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Asian Art 16th century

Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 12 (Denshin kaishu: Hokusai manga, jūnihen) 1834 Katsushika Hokusai Japanese. Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 12 (Denshin kaishu: Hokusai manga, jūnihen) 57689

Drum of the cupola of Sigismund Chapel. Wyczółkowski, Leon (1852-1936), painter

Foxglove, Richard Nicolaüs Roland Holst, 1893 drawing paper. ink. pencil pen flowers: foxglove

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

Painting

Sōnan (Chinnen) Picture Album 1834 Onishi Chinnen Japanese. Sōnan (Chinnen) Picture Album. Onishi Chinnen (1792-1851). Japan. 1834. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Sea Eagle amidst the Three Friends of Winter, second half 19th century, Ikeda Unshō, Japanese, 1825 - 1886, 62 5/8 × 139 7/8 in. (159.07 × 355.28 cm) (image)71 7/8 × 148 5/8 × 3/4 in. (182.56 × 377.51 × 1.91 cm) (mount), Ink and gold leaf on paper, Japan, 19th century, From the Muromachi period (1333-1573) to the Edo period (1603-1868), birds of prey were depicted on screens as symbolic manifestations of the military government that had risen to power over this time span. Here, poised between stasis and flight, an eagle surveys its territory. Surrounding the eagle are pine, bamboo, and a budding plum treeplants associated with chastity, moral uprightness, and purity respectively. Collectively they are known as the 'Three Friends of Winter,' a compound of the Chinese characters used to write the plants’ names.

Chinese Lord on a jetty on the water, 1727 - 1775 print A Chinese gentleman stands on a scaffolding for a pavilion on the water. On the right comes a boat with canopy. Print is part of an album. paper etching Chinese. landscapes in the temperate zone. rowing-boat, canoe, etc.

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

Album of Daoist and Buddhist Themes: Procession of Daoist Deities: Leaf 20, 1200s. China, Southern Song dynasty (1127-1279). Album, ink on paper; sheet: 34.2 x 38.4 cm (13 7/16 x 15 1/8 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

Dragon, early to mid-1600s. Attributed to Soga Nichokuan (Japanese). Six-panel folding screen; ink, slight color, gold, and silver on paper; image: 158.1 x 304.8 cm (62 1/4 x 120 in.); including mounting: 173.4 x 377.2 cm (68 1/4 x 148 1/2 in.).

Panel (China); silk

ARhat pod Sosn; 2 after. Qing era (1644-1911) (1662-00-00-1800-00-00);Albums, armat (iconogr.), Chinese Buddhism, Chinese (culture), pine, Chinese art, purchase (provenance)

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.

Adventures of the Liar Manpachi, vol.1, 1780, Kitagawa Utamaro, Japanese, 1753 - 1806, 3/16 x 5 x 6 7/8 in. (0.5 x 12.7 x 17.5 cm), Woodblock printed book; ink on paper, Japan, 18th century

Three Bust Portraits of Tang and Song Officials Unidentified artist. Three Bust Portraits of Tang and Song Officials 51702

"Gazing at the Waterfall on Mt. Lu" by Li Bo (701-761). Artist: Chen Jiru (Chinese, 1558-1635). Culture: China. Dimensions: 7 1/4 x 20 1/4 in. (18.4 x 51.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Mountain Stream on a Summer Day. Artist: Nakabayashi Chikuto (Japanese, 1776-1853). Culture: Japan. Dimensions: Image: 69 1/2 x 34 in. (176.5 x 86.4 cm)Overall: 92 1/4 x 46 1/4 in. (234.3 x 117.5 cm). Date: 19th century.Nakabayashi Chikuto was one of the leading Nanga painters in Nagoya, Japan's fourth largest city. After a careful study of Chinese old-master paintings from several dynasties, he forged a moderate personal style with a naturalistic flavor. The strength of the work lies in Chikuto's ability to create a sense of drama within a solid, centralized composition. Intricate detail within the grand composition creates lively patterns of brushwork. In the inscription are the title of the painting; his signature, "Chikuto Sanjin"; and a comment that he modeled this painting after the works of the Yuan Chinese master Gao Kegong (1248-1310). Museum: Metropolitan Museum of Art, New York, USA.

Picture Album by son (Hitsu) 1817 Sakai Hitsu Japanese. Picture Album by son (Hitsu). Sakai Hitsu (Japanese, 1761-1828). Japan. 1817. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

Flower Painting, late 18th century, Mianyi, Chinese, 1764 - 1815, 5 1/2 x 14 3/16 in. (13.97 x 36.04 cm), Ink and color on paper, China, 18th century, These delicate flower studies were painted by Mianyi, an imperial prince who lived in Beijing during the late eighteenth and early nineteenth centuries. The four double leaves originally formed an album that was once in the imperial collection. The frontispiece, in fact, bears the seal of the Jia Jing emperor who reigned from 1796 to 1821. Like most of the educated elite, Mianyi was well versed in classical literature, music, and calligraphy, but he excelled at painting and is best known for his flower studies, The use of color (versus ink), interest in descriptive detail, and facile technique are typical not only of Prince Chen, but of Chinese court taste in general during the eighteenth century. This album illustrates the type of amateur painting practiced among the court intelligentsia. Descriptive, technically accomplished and decora

Bamboo, Chen Jiecan, c. 1800 - 1825 Painting representing bamboo. Signed Shaoxiang (follower of Cheng Pan-Chiao). In wooden box. China ink. paper Painting representing bamboo. Signed Shaoxiang (follower of Cheng Pan-Chiao). In wooden box. China ink. paper

Farming Kim Yun-bo (Korean). , late 19th-early 20th century. Ink and light color on silk, Image: 44 11/16 x 13 3/16 in. (113.5 x 33.5 cm). Asian Art late 19th-early 20th century

River scene: a boat among wild bamboo. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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

The Night Cometh by Albert S. Watson, illustrated by W. Goodrich Beal. Text with illustrations of landscapes, owl, and moon.. Proofs, Cards. 1865 - 1899. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Moon, Owls

Tokyo Japan. Honkan Japanese Gallery at Tokyo National Museum

Cock, Hen, and Chickens. Artist: Utagawa Toyoharu (Japanese, 1735-1814). Culture: Japan. Dimensions: 15 1/8 x 5 1/8 in. (38.4 x 13.0 cm). Date: ca. 1770. Museum: Metropolitan Museum of Art, New York, USA.

Dinner Service (Rousseau service): Large lobster with raised antenna (no. 21), 1866. Félix Bracquemond (French, 1833-1914). Etching; sheet: 34.8 x 48.6 cm (13 11/16 x 19 1/8 in.); platemark: 24.7 x 34.6 cm (9 3/4 x 13 5/8 in.).

Two Paintings of Deer Antlers dated 1762 and 1767 Qianlong Emperor Chinese The Qianlong Emperor practiced both calligraphy and painting as a way of identifying himself with Chinese literati ideals of self-cultivation. However, the subject matter of these two scrolls reveals his concomitant desire to align himself with Manchu hunting traditions. Furthermore, the realistic rendering of texture and three-dimensional form reflects the influence of Western pictorial techniques, introduced to the court by Jesuit painters such as Giuseppe Castiglione (1688-1766). The earlier of the two scrolls depicts the antlers of a spotted deer. In his accompanying inscription, the emperor recalls seeing a gigantic pair of eight-point antlers procured by his grandfather, the Kangxi Emperor (r. 1661-1722), in Central Asiaconsidered at the time to be an auspicious sign. The second scroll, painted five years later, presents the horns of a species known in the West as Père David, so named for the eponymous Je

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

Bamboo in Four Seasons: Summer and Winter, 1279-1368. China, Yuan dynasty (1271-1368). Hanging scroll, ink on silk; overall: 232.3 x 82.6 cm (91 7/16 x 32 1/2 in.).

La Vague (The Wave). Date/Period: 1897. Print. Lithograph. Height: 320 mm (12.59 in); Width: 494 mm (19.44 in). Author: Henri Privat-Livemont.

Hieronymus Bosch. Triptiek Garden of Lust side panels

Ehon Azuma Kagami, Vol. II Kitao Masayoshi (Japanese, 1764-1824). Ehon Azuma Kagami, Vol. II, 1810. Paper, 8 7/8 x 6 1/8 in. (22.5 x 15.6 cm). Asian Art 1810

Panel Illustrating Feminine Virtue: The Art of Sewing and Embroidery 17th century Lin Yuncai Chinese. Panel Illustrating Feminine Virtue: The Art of Sewing and Embroidery. Lin Yuncai. China. 17th century. Soapstone, satin, papier-maché. Soapstone

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

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