Japanese Ink Paintings

Traditional Japanese paintings featuring natural elements like orchids and bamboo, blending calligraphy with landscapes and poetic inscriptions.

Budai, mid 17th century, Seigan Sōi, 1588 - 1661, 13 × 23 1/8 in. (33.02 × 58.74 cm) (image)45 1/4 × 25 1/8 in. (114.94 × 63.82 cm) (mount, without roller), Ink on paper, Japan, 17th century, Tea masters usually chose paintings related to Zen Buddhism or calligraphy by Zen monks to decorate the tearoom alcove during a gathering. This work by a Zen monk shows Budai (Hotei in Japanese), a legendary Chinese Zen monk who later came to be considered an incarnation of the Buddha of the Future, Maitreya. You may know Budai as the chubby 'Laughing Buddha' or 'Fat Buddha,' a common but often misunderstood Buddhist figure. Bald, bearded, and, yes, sometimes laughing, Budai is usually shown carrying a large cloth sack, which holds all his possessions. Here, he holds a full wine cup and rests his head on his sack. The picture is accompanied by a short poetic verse that hints at Budais omnipresence: 'Moving through past and present / is this Hotei' / In myriad incarnations / in fish markets and wi

Collecting clams on the seashore, board 1 from the album: Collecting shells /Kaitsukushi HOKKEI, TOTOYA (1780 1850)

Visiting a Friend. Artist: Seki Shuko (Japanese, 1858-1915). Culture: Japan. Dimensions: 13 7/8 x 10 1/2 in. (35.2 x 26.7 cm). Date: 1892. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Monoyana, Shûchôdô, Kadoyoshi, Shôraitei, Enryoka, Yamadori, Eisen, Keisai, Koto with plum blossom in a pot, passe-partout, lower left - printed, A miniature plum blossom tree in a pot decorated with a tiger. Behind it a koto (Japanese string instrument) and on a purple cloth the box in which the plectrums for the koto are kept. With four poems., surimono, prints, Japan (collection), verso - stamped, height 192 mm, width 171 mm, 1790 - 1848, print maker, printmaker, 1830 - 1830, second quarter 19th century, paper, colour woodcut, Japanese, poet, 1761

Mountain Retreat. Artist: Shi Lin (Chinese, active ca. 1630-60). Culture: China. Dimensions: 9 3/4 x 12 3/4 in. (24.8 x 32.4 cm). Date: datable to 1654-55.This painting and its accompanying inscription belonged to an album made for the noted Nanjing collector and high official Zhou Lianggong (1612-1672). A leading patron of contemporary artists, Zhou assembled a number of these albums during the last twenty-five years of his life, when his career required him to travel extensively. Such collaborative works have long been a means for a group of artists to commemorate special occasions, but Zhou's albums, which sometimes encompassed hundreds of contributions, fulfilled a different function: they included works by professionals and scholar-amateurs, Ming loyalists and Qing officials, traditionalist orthodox painters and innovative individualists. By inviting a wide spectrum of artists to both view and contribute to these albums, Zhou created a unique forum for artists to learn from and a

Miniature multi level water devices (water clock) /Mizudokei Kubo, SHUNMAN (1757 1820)

Hakone, section of sheet no 3 from the series Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze) 1852 Japan. Color woodblock print; section of harimaze sheet . Utagawa Hiroshige

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

View of Meguro Fudo Shrine, from an untitled series of Famous Places in Edo Kitao Shigemasa (Japanese, 1739-1820). View of Meguro Fudo Shrine, from an untitled series of Famous Places in Edo, ca. 1770. Color woodblock print on paper, 8 1/2 x 6 1/8 in. (21.6 x 15.5 cm). Asian Art ca. 1770

A Bedside Guide to the Colors of Love in Spring ca. 1850 Utagawa Kunisada Japanese. A Bedside Guide to the Colors of Love in Spring. Utagawa Kunisada (Japanese, 1786-1864). Japan. ca. 1850. Set of three woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Harimaze. Utagawa, Fusatane (act. c.1854-1888), graphic artist

Panel with Landscape late 18th century China The scenes on these two panels depict magnificent gardens within green hills overlooking bodies of water. Although we cannot accurately identify them, the buildings and scenery are comparable to those found in eighteenth-century woodblock illustrations of the Old Summer Palace in Beijing and the Mountain Resort in Chengde. It seems likely that these two pieces were once part of a series representing imperial retreats.. Panel with Landscape. China. late 18th century. Silk and metallic thread tapestry (kesi) with ink and color. Qing dynasty (1644-1911), Qianlong period (1736-95). Textiles-Tapestries

Winter Scene from the Romance of the Three Kingdoms, c. 1790. Kitagawa Utamaro (Japanese, 1753-1806). Color woodblock print; overall: 32.8 x 22.6 cm (12 15/16 x 8 7/8 in.).

Trappings for a horse on a rack and text Keigaku, harada (FL. 1850 60)

Set of Sword Fittings. Artist: Shungensai (Japanese, 18th-19th century). Culture: Japan. Dimensions: 8 x 10 7/8 in. (20.3 x 27.6 cm). Museum: Metropolitan Museum of Art, New York, USA.

Ukechi: Master Pine Pruner. Katsushika Hokusai (Japan, 1760-1849). circa 1802. Books. Double-page book illustration; color woodblock print

Hibiscus. ink on paper. Origin: China. Period: Yuan dynasty. Date: 1347. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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

Recluse washing his feet in a stream 1629 Chen Guan Chinese Near a thatched cottage, a recluse sits on the branch of a tree over a babbling creek and dips his feet in the cool water. A servant approaches on the path behind him with a jug of wine. The couplet, excerpted from a poem by the Tang-dynasty scholar Han Yu (768-824), reads:I sit beneath luxuriant trees to pass the days; I dip my feet in the clear waters to delight myself.. Recluse washing his feet in a stream 48902

Landscape for Gyokudō, 1796, Totoki Baigai, Japanese, 1733 - 1804, 6 1/2 × 6 3/8 in. (16.51 × 16.19 cm) (image)14 × 14 × 13/16 in. (35.56 × 35.56 × 2.06 cm) (outer frame)13 3/8 × 13 3/8 in. (33.97 × 33.97 cm) (mount), Ink on silk, Japan, 18th century

Cock's-comb from a Flower Album of Ten Leaves, 1656, Xiang Shengmo, Chinese, 1597-1658, 12 1/8 x 9 1/16 in. (30.8 x 23 cm), Ink and color on paper, China, 17th century, Xiang Shengmo was born into one of the most prestigious families in Jiaxing, a city in northeastern China. When the Manchu invasion reached Jiaxing, in 1645, many of Xiangs friends and relatives died in a vain attempt to save their city. His homestead was destroyed and his familys art collections lost. Following this upheaval, Xiangs painting changed from an amateur, literati pursuit, becoming a source of income. Xiang was at the height of his technical and expressive powers when he created this album, featuring a wide range of flowers including wintersweet, cockscomb, apricot, pear, daylily, and cassia. He worked here in pure color without ink outlines and in shaded brushstrokes, which give the impression of three-dimensional modeling.

Dong Qichang (1555-1636). "According to Juran's painting, the mountains in the spring". Ink and colors on a gold background (paper). China, Ming dynasty. Paris, Cernuschi museum. According to Juran's painting, the mountains in the spring Tree, character, China, Color, Ming Dynasty, Dynasty, Ink, Fan, Gold Fund, Eventail format, Gold Background, Ideogram, Chinese Ideogram, Ink, Ming Dynasty, Mountain, Mountain, Paper, Landscape, Porcelain, Spring, Seal, Scenic, Spring, Stream, Torrent, Tree, Vegetation, Water, Character, China, Color, Color, House, Landscape, Maison, Paper, Plant, Seal

Japan, Still life with cleaver, A cleaver and a branch of plum blossom. With one poem., print, prent, surimono, prints, Japan (collection), height 204 mm, width 180 mm, print maker, printmaker, 1835 - 1845, paper, colour woodcut

Prospects and Views, Picture Album of Landscapes preface dated 1826 Kōkunsai Bairin Japanese. Prospects and Views, Picture Album of Landscapes. Kōkunsai Bairin (Japanese, early 19th century). Japan. preface dated 1826. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Mountains of the Heart 1816 Kameda Bōsai Japanese. Mountains of the Heart. Kameda Bōsai (Japanese, 1752-1826). Japan. 1816. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

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

New Year's Day of the Year of Snake, 19th century, A pupil of Katsushika Hokusai, Japanese, 1760 - 1849, 5 1/8 x 7 3/16 in. (13 x 18.3 cm) (image, sheet), Woodblock print (surimono); ink and color on paper, Japan, 19th century

Fan mounted as an album leaf. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink, color, and gold on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Frontispiece to Reading at the Secluded PineStudio. Artist: Rangzhi Wu, Chinese, 1799-1870

Elegant Gathering in the Western Garden. Korea, Korean, Joseon (1392-1910), late 18th-early 19th century. Paintings; screens. Ten-panel screen, ink and color on silk

Japan, Katei, Taki, Still life with vase with blossom branch and beets, endpaper - stamped, Octogonal print in album with 39 prints., album page, print, prints, Japan (collection), height 223 mm, width 287 mm, 1830 - 1901, print maker, printmaker, 1880 - 1890, fourth quarter 19th century, paper, color woodcut

Harukoma, Hobby Horse., Maki, Bokusen, 1775-1824, artist, 1810., 1 print : woodcut, color ; 19 x 17 cm., Print shows a person with a hobby horse.

Sugawara No Michizane awakens storm on the Tenpai mountain.; Twenty-four achievements of imperial Japan; Kokoku Nijushiko. Sugawara No Michizane barefoot on a mountain; stole pointed up in the hands; surrounded by a lightning bolt.

Luconghua (Hemerocallis), Chinese woodcut, 1582

Warbler and Roses, c. 1834, Katsushika Hokusai; Author: Poem by Iwama Otsuni; Publisher: Nishimuraya Yohachi, Japanese, 1760 - 1849, 10 × 7 1/4 in. (25.4 × 18.4 cm) (image, sheet, vertical chūban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, The verse above the bush-warbler reads

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

ZOUTSCHELP, KATSUSHIKA HOKUSAI, 1821 A box with salty cookies in the form of plum blossom. Behind it a pipe in a fedal and tobacco bag with Netsuke. At the back left a blue-white porcelain pot with a bonsai pine and fukujuso. The shell to which the title refers is depicted in the fan -shaped cartouche. With one poem by Toshigaki Maharu. Japan paper color woodcut

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

Shrimps, first half of the 1900s. Qi Baishi (Chinese, 1864-1957). Hanging scroll, ink on paper; painting: 67.6 x 34.7 cm (26 5/8 x 13 11/16 in.); overall: 209.5 x 55.5 cm (82 1/2 x 21 7/8 in.).

Japan, Shûtei, Tanaka, Box with blossoms, An opened box, carved in the ittôbori technique, decorated with cranes and pine needles. With multiple poems., print, prent, surimono, prints, Japan (collection), height 180 mm, width 257 mm, Japanese, 1810 - 1858, print maker, printmaker, 1850 - 1855, paper, colour woodcut

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

Cut Glass Bowl Containing Sugary Sweets for the NewYear. Artist: Totoya Hokkei, Japanese, 1780-1850

Japan, Eisai, Miyake, Pomegranate, A Shijô-style surimono of a pomegranate with branches and two butterflies on a stick with poems., print, picture, surimono, prints, pictures, Japan (collection), height 172 mm, width 241 mm, Japanese, 1810 - 1878, print maker, printmaker, 1850 - 1860, 19th century, 19e eeuw, paper, colour woodcut

Abalone Diver, from the series Matching Beauties (Bijinawase). Artist: Utagawa Kuninao, Japanese, 1793-1854

Writing Table and Rising Sun, Totoya Hokkei, 1825 Lakt table with the image of two rocks, seen by silver waves. Craks flying above the table at a rising sun. This performance refers to the first sun rise of the new year on the coast of Futamigaura in the province of Isee, where the so-called male and woman rock (Myôtoseki), two holy rocks were connected by a twisted rope of straw. With three poems. Japan paper color woodcut sunrise

Parrot and Bells 1810-1858 Japan. Tanaka Shutei, a painter and print designer, created a design of an exotic pet parrot on a metal stand for the haiku poet Kyuso, who seems to have been the leader of various poetry groups.In each of these three prints, Kyuso chose to repeat the same basic design, although he was celebrating poetry collections by different groups on different occasions. He appears as host in every print, but he supplied a separate poem for each, and the other members were also different. The repetition of design implies that poetry hosts were not merely passive customers; they were often actively engaged in the production of prints.. Color woodblock print; surimono . Tanaka Shutei

A Garden of Celebrated Japanese and Chinese Paintings 1750 Ooka Shunboku Japanese Shunboku was a predominantly self-taught painter and entrepreneur, best known for the various series of woodblock-printed books in which he reproduced Chinese and Japanese paintings by famous artists. These multi-volume ehon, or picture books, served as manuals to artists like Itō Jakuchū (1716-1800) and Kimura Kenkadō (1736-1802), the latter of whom was also a well-known collector. Shunbokus books stimulated their interest in Chinas Ming-dynasty painters, some of whose compositions could be found in the collections of Japanese monasteries and were thus accessible for study.This set of six volumes shows that Shunboku wished to disseminate images of Japanese masterworks as well as Chinese. It includes reproductions of kasen-e—imaginary portraits of poets like Kakinomoto no Hitomaro and Ono no Komachi—by Tosa school artists, scenes from The Tale of Genji (Genji monogatari), and illustrations from the Tale

Chinese Servant Walking in the Rain, 1500s. Attributed to Gakuō Zōkyū (Japanese, active about 1482-1514). Hanging scroll; ink on paper; mounted: 131.8 x 44.2 cm (51 7/8 x 17 3/8 in.). Attributed to the artist Gaku, this painting has a spurious seal of the influential Shkokuji temple monk-painter Tensh Shbun (died about 1444-50), with whom he is said to have trained. Gaku may have hailed from Ise in present-day Wakayama prefecture, an area south of Kyoto in the Kansai region. Although not much is known about his life, inscriptions on some of his paintings indicate strong ties with eminent monks in Kyoto’s major Zen temples.

An Illustrated New Edition of the Water Margin (Shinpen Suikogaden). Katsushika Hokusai ; Japanese, 1760-1849. Date: 1823-1825. Dimensions: . Ink on paper; woodblock-printed books. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Fishes. Artist: Seki Shuko (Japanese, 1858-1915). Culture: Japan. Dimensions: 14 1/4 x 10 5/8 in. (36.2 x 27.0 cm). Date: ca. 1890-92. Museum: Metropolitan Museum of Art, New York, USA.

Famous Products from Mountain and Sea vol. 1, 1754, Hasegawa Mitsunobu, Japanese, act. c.1720s-1750s, 9 7/8 x 7 x 3/16 in. (25.1 x 17.8 x 0.5 cm), Woodblock printed book; ink on paper, Japan, 18th century

Divinities of the Planets and Constellations. Artist: Attributed to Qiu Ying (Chinese, ca. 1495-1552). Culture: China. Dimensions: Image: 7 9/16 x 158 1/4 in. (19.2 x 402 cm)Overall with mounting: 9 3/4 x 376 15/16 in. (24.8 x 957.4 cm). Date: 16th century.The subject and imagery of this painting are derived from a composition attributed to the Tang dynasty (618-907) artist Liang Lingzan that is now in the collection of the Osaka Municipal Museum of Art. The painting depicts the deities of the Five Planets, which correspond to the five primary elements--wood (Jupiter), fire (Mars), earth (Saturn), metal (Venus), and water (Mercury)--and the twenty-eight constellations of the Chinese zodiac. Qiu Ying, a fine artist in his own right, was also famous as a skilled copyist of earlier paintings. Such copies were highly valued by collectors and other artists who might not have access to the originals. This painting bears the signature and seals of Qiu Ying but may itself be a later copy. M

Bats Under a Full Moon Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Bats Under a Full Moon, ca. 1840. Color woodblock print on paper, 10 x 5in. (25.4 x 12.7cm). Asian Art ca. 1840

Deer By Stormy Sea, c. 1670, Ma Futu, Chinese, 1614 - 1681, 47 3/8 x 87 in. (120.33 x 220.98 cm) (image), Ink and color on paper, China, 17th century, Born in Shandong province, Ma Futu passed his Ju Ren (bachelor) degree but, there is no record that he held government office. Almost all of his extant paintings, like the present work, were executed in large part with the tips or nails of his fingers as well as with the brush. Finger painting was revitalized by the Shunzhi emperor (r. 1644-1661) helping make it fashionable during early Qing.

The SHRINE OF BENTEN on Chikubushima Island, Totoya Hokkei, 1821 View of the rocky island of Chikubushima with a gateway (Torii) and stairs to the sanctuary dedicated to the goddess Benten. Chikubushima is located in the northern part of the Biwa Meer in the ômi province. With two poems. Japan paper color woodcut island

Blue; Dipper-holder of Celadon and Other Objects for the Tea Ceremony. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/16 x 6 15/16 in. (20.5 x 17.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with Figures, 960-1279. China, Song dynasty (960-1279). Album leaf, ink and color on silk; diameter: 25.7 cm (10 1/8 in.).

Monkey Hanging from Grapevines. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/8 x 10 3/4 in. (35.9 x 27.3 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Chinese Materia Dietetica, Ming: Well water

Landscape with Pavilion early 19th century Mori Shh Japanese This pair of screens depicts an imaginary scene in China, with a waterfall and lake set among craggy mountains. On the right screen, three Chinese gentlemen-scholars enjoy tea. The left screen features a sumptuous mansion with covered corridors; a pavilion stands atop stone masonry. Scholars sit within the pavilion, while the lady of the house and two maidservants can be seen in other parts of the building. More scholars approach the house on foot and by boat.The artist, Mori Shh, was the elder brother of the better-known Mori Sosen (1747-1821), a renowned painter of monkeys. Shh incorporated the orthodox Kano style of painting (evident in the linear brush technique) with newly learned Western elements like the low-lying foreground, which creates a strong sense of distance. Such divergent features forecast the complex developments that were to characterize artistic movements of the nineteenth century immediately followi

An Enjoyable Scene in Nagasaki, 1804, Kō Kaho, Chinese, 1744 - after 1839, 47 1/16 x 18 3/8 in. (119.54 x 46.67 cm) (image), Ink on paper, Japan, 19th century

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

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

Sleeping Tiger, from a triptych of White-robed Kannon with Landscape and Tiger, 17th century, Kano Tan'yū, Japanese, 1602 - 1674, 47 15/16 x 19 3/4 in. (121.76 x 50.17 cm) (image)85 13/16 x 26 in. (217.96 x 66.04 cm) (overall, without roller), Ink on paper, Japan, 17th century

Calligraphy of a Tang-dynasty poem, "Maple Bridge Night Mooring". Artist: Ike Taiga (Japanese, 1723-1776). Culture: Japan. Dimensions: Image (each panel): 53 1/4 x 22 1/8 in. (135.3 x 56.2 cm)Overall: 68 3/4 x 72 3/4 in. (174.6 x 184.8 cm). Date: ca. 1770.During the Edo period Ike Taiga, one of Japan's most prolific literati artists, excelled in a special calligraphic style called karayo, or Chinese-style calligraphy. This screen shows Taiga's execution of a famous Chinese poem, "Maple Bridge Night Mooring," composed by Zhang Ji in the eighth century. Translated, the poem reads:The moon sets, crows sing, and frost fills the sky.Maple trees along the river and fires in fishing boats face me, sleepless with lament.The bell of Cold Mountain Temple outside Suzhou tolls,At midnight, the sound reaches this boat.The calligraphy is flamboyant and various: the characters are large and small, the ink wet and dry, and the lines thick and thin. The work holds a powerful spiritual tension i

Views of Xiao and Xiang Rivers, 1788. Tani Bunchō (Japanese, 1763-1841). Sections of a handscroll mounted as hanging scrolls; ink and color on paper; overall: 129 x 67 cm (50 13/16 x 26 3/8 in.). By the early age of 25, Tani Buncho had already mastered the literati painting style of the Ming dynasty Wu school. His 1788 paintings of the Eight Views of the Xiao and Xiang Rivers clearly show a style that differs from not only the Southern Song-inspired mode of Muromachi ink painting but also the Kano school. Inscriptions by the Confucian scholar Ichigawa Kansai (1749-1820) on Returning Sails Off a Distant Coast, and the inscriptions by other elites on the remaining sections, suggest that these Wu school-style paintings were possibly ordered by newly prominent Edo period Confucian scholars. Bunchos original set of eight paintings seems to have been initially made as album leaves that were later remounted as hanging scrolls.

Scroll of Commission. Calligrapher: Inscribed by Unidentified Artist. Culture: China. Dimensions: 11 3/16 x 138 in. (28.4 x 350.5 cm). Date: dated 1862. Museum: Metropolitan Museum of Art, New York, USA.

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

Chinese representation, sheet from the episode "Picturae Sinicae". Chinese representation with Chinese characters in octagonal frame, leaf from the episode "Picturae Sinicae AC Surattae, Vasis Tabellisque Exhibitae, Admiranda; Colligente Petro Schenkio Cum Privil. Amstelaed: 1702.

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

Japan, Shakuyakutei, Saisanrô, Kasanrô, Shinsai, Ryûryûkyo, Scroll paintings, recto - stamped, Two hand scrolls on a presentation tray with a partially unrolled scroll painting behind it showing a seated figure on a veranda; probably the court lady and writer Murasaki Shikibu. In the foreground a black lacquer box and a brush. Murasaki Shikibu wrote the novel 'The Tale of Genji' in the eleventh century. She is often depicted writing in the Ishiyama temple, to which one of the two poems in this print also refers., print, prent, surimono, prints, Japan (collection), height 140 mm, width 180 mm, Japanese, 1764 - 1825, print maker, printmaker, 1810 - 1810, first quarter 19th century, paper, colour woodcut, colour woodblock, blind stamping, Work conception, after a print by, poet, 1767 - 1845

Seta-no sekisho (Afterglow in Seta); print from the series Omi hyakkei" (8 Views of Omi [Lake Biwa). Katsukawa, Shunzan (fl. ok. 1782-98), graphic artist

Shellfish and Apparitions of the Yoshiwara Pleasure Quarter ca. 1811 Chbunsai Eishi This triptych of paintings by noted Ukiyo-e painter Chbunsai Eishi takes up the most unusual subject of scenes of the Yoshiwara pleasure quarters as dream-like apparitions emanating from shellfish. Reflecting the painter’s diverse training as a young man—some accounts say he studied in the studio of Kano Michinobu (1730-1790)— the shellfish and plum branches are very much in Kano ink-wash style, while the figures are in Ukiyo-e polychrome. Around 1785, after Eishi had given three years of service to the tenth shogun, Tokugawa Ieharu (r. 1760-86), he switched his artistic affiliation from the academic style to ukiyo-e, specializing in woodblock prints and paintings of courtesans.Most remarkably, the surrounding mounting silks of this triptych are inscribed with witty poems and popular songs related to Yoshiwara in the distinctive hand of the poet-calligrapher and literary celebrity ta Nanpo, bet

Puppies in the Snow 1792-99 Nagasawa Rosetsu Puppies frolic in the snow, their joyful exuberance amplified by the painter’s animated brushwork onthe dogs’ curved tails and wild fur. These paintings were originally created as four sliding door panels but are now hinged to form a pair of two-panel screens. The painting on the reverse of the panels, which depict seven puppies and bamboo (alluding to an ancient Chinese theme known as the Seven Sages of the Bamboo Grove), is in the collection of the Brooklyn Museum. Following the style of his early teacher Maruyama kyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained andimaginative painter.. Puppies in the Snow. Nagasawa Rosetsu (Japanese, 1754-1799). Japan. 1792-99. Set of four sliding panels mounted as a pair of two-panel screens; ink and color on paper. Edo period (1615-1868). Screens

Designs for applied art - part one, various manufacturers, 1890 - 1900 book. magazine Part One; Pink cover with various emblems and image of a vase on which title; Schutblad; 10 magazines: one sheet text; twelve sheets, black and white designs; four pages, images in color of flowers and birds; Last sheet, Colophon. Tokyo paper color woodcut

Akashi Bay, late 18th century, Ike (Tokuyama) Gyokuran, Japanese, 1727 - 1784, 8 1/2 × 17 1/2 in. (21.59 × 44.45 cm) (image), Ink on paper sized with mica, Japan, 18th century, Gyokuran depicts a Japanese scene, one that she likely observed first-hand, rather than an idealized and imagined Chinese landscape. Her subject, Akashi Bay, is a well-known fishing village in present day Hyogo prefecture, best known for its octopus. This fan is typical of Gyokuran's oeuvresmall in format, and lacking in great drama, but rich in refinement, finesse and tranquility. Gyokuran follows a long tradition of combining text and image, but in using waka poetry for her inscription she further evolves literati painting along Japanese lines. The image dominates the right side of the fan, while the text is prominent on the lift, with a harmonious overlap in the middle. Each line of calligraphy is neatly ordered within a band of the fan between the bones, the text thus following the curve of the fan. In cont

Calligraphy set with trays of variousseals. Artist: Utagawa Hiroshige, Japanese, 1797-1858

Calligraphy (Zen Master's Staff). Banjin Dōtan (Japan, 1698-1775). mid-18th century. Drawings; calligraphy. Hanging scroll; ink on paper

Mandarin ducks crossing icy pond amid falling leaves. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 13 3/8 x 4 5/8 in. Woodblock print; chutanzaku, key block impression. Origin: Japan. Museum: The Chicago Art Institute, USA.

Piece 18th century Japan. Piece 71785

A Guide to Paintings. Artist: Nishikawa Sukenobu (Japanese, 1671-1750). Culture: Japan. Dimensions: Overall: 10 1/4 x 6 1/2in. (26 x 16.5cm). Date: 1731. Museum: Metropolitan Museum of Art, New York, USA.

Album of drawings captured by nature / Hokusai shashin blunder; Volume 1. Katsushika, hokusai (1760 1849)

Spring Clouds at the Pine Studio dated 1366 Zhang Yu Chinese A poet, calligrapher, and painter known as one of the Ten Friends of the North Wall, Zhang Yu lived in the Suzhou area before the end of the Yuan dynasty. He accepted an appointment in 1371 to serve the Ming, but despite the loyal services he performed his earlier friendships made him suspect in the eyes of the Ming founder, Zhu Yuanzhang (r. 1368-98), and he was eventually driven to suicide. This landscape, painted two years before the founding of the Ming dynasty, shows the artist in the peaceful state of mind of the recluse. In late Yuan painting the depiction of a thatched studio by a stream became popular as a symbol of the scholar's conditiona life in reclusion. Zhang Yu's poetic sensibility is expressed through the subtle use of ink wash and pale colors and in the suggestion of dense moisture-laden clouds dissipating after a spring shower. The descriptive realism of the work relates the painter to the more conservativ

Illustrated book Illustrated biography of the heroes of Japan and China / Wakan Eiyu Gaden, volume 1. Baitei, Kinga (1821 1893), Utagawa, Kuniyoshi (1797 1861)

Design for a cupboard, Sasaya (workshop or), c. 1800 Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting

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

Japanese White-eyes and Chrysanthemums. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1825-1849. Dimensions: 35.1 x 11.5 cm (13 6/4 x 4 1/2 in.). Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Three Raises, Ryû fry ovoyo Shines, 1820 Three lacquered rice wine (sake) saucers on crepe paper. One bowl is upside down, the other two are shown a carp and a dragon that swimming against a waterfall. This refers to the belief that carp who could swim against a certain river eventually turned into dragons. With three poems. Japan paper color woodcut

Elderly Couple and Little Boy Elderly Couple and Little Boy, 18th century. Ink on silk, Image: 10 5/8 x 12 3/4 in. (27 x 32.4 cm). Asian Art 18th century

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

Flower Baskets and Farmer's Hat ca. 1880s Shibata Zeshin Japanese An image of two bamboo baskets and a plaited farmers hat is brushed in lacquer (urushi) onto silver leaf that has oxidized to a dark gray color. Shibata Zeshin, a master lacquer artist, was also a talented painter who used the difficult technique of urushi-e (lacquer painting), his own invention, in album paintings as well as scrolls and screens in the 1880s.. Flower Baskets and Farmer's Hat 57206

Designs for Applied Art, 1890 - 1900 book. magazine Series of magazines, published monthly to stimulate a higher level of art and craft in Japan. Tokyo paper color woodcut

Hunting for water and the beginning of the 20th century (1900-00-00-1910-00-00);

A knife sharpener at work with a whetstone, seated astride a bench. Watercolour by Zhou Pei Qun, ca. 1890.

Lobster and Abalone, late 1880s, Tsukioka Yoshitoshi, Japanese, 1839 - 1892, 8 11/16 × 10 in. (22.07 × 25.4 cm) (sheet, horizontal chūban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Kingfisher and iris 1830-1839 Japan. Color woodblock print; chutanzaku . Utagawa Hiroshige

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

Still life of a red table and decorated bamboo, utagawa kuniyoshi, 1808 - 1861 drawing paper. deck paint. watercolor (paint) brush

The God Izanagi and Goddess Izanami. Artist: Nishikawa Sukenobu (Japanese, 1671-1750). Culture: Japan. Dimensions: Image: 15 1/16 × 22 7/16 in. (38.3 × 57 cm)Overall with mounting: 49 13/16 × 27 5/16 in. (126.5 × 69.4 cm)Overall with knobs: 49 13/16 × 29 7/16 in. (126.5 × 74.7 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Title page for the series Thirty-six Views of Mount Fuji (Meisho sanjurokkei) 1859 Japan. Color woodblock print; oban . Utagawa Hiroshige

Kingfisher above a Yellow-flowered Water Plant. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1853. Dimensions: 32.9 x 10.8 cm (13 1/2 x 14 1/4 in.). Color woodblock print; aitanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

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