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

Collection of Flower Brocades 1858 Utagawa Yoshitora Japanese. Collection of Flower Brocades. Utagawa Yoshitora (Japanese, active ca. 1850-80). Japan. 1858. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Album Leaf Painting: Scholar and Bamboo Album Leaf Painting: Scholar and Bamboo, 18th century. Album leaf, ink on silk, Image: 9 5/8 x 11 1/2 in. (24.4 x 29.2 cm). Asian Art 18th century

Chiyoda Castle (Album of Men) 1897 Ysh (Hashimoto) Chikanobu Japanese. Chiyoda Castle (Album of Men). Ysh (Hashimoto) Chikanobu (Japanese, 1838-1912). Japan. 1897. Diptych of woodblock prints; ink and color on paper. Meiji period (1868-1912). Prints

Lord Macartney's trade mission to China in 1793, Kossu tapestry. Macartney sought to exchange English scientific instruments for tea

Huts right from the triptych Three Evening Scenes, first half 19th century, Suzuki Kiitsu, Japanese, 1796 - 1858, 12 1/8 × 10 3/8 in. (30.8 × 26.35 cm) (image)47 9/16 × 14 11/16 in. (120.81 × 37.31 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

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

Plum blossom from Osaka; Naniwa Ume; A series for the Hanazono poets association; Hanazono bantsuzuki. A still life of different sake (rice wine) cups. Left a small head of thin porcelain, floating in water in a silver bowl that is in a black lacquer holder. Next to it made a cup of a white shell, decorated inside with plum blossom. On the right a large, partly in cloth wrapped, sake cup of red lacquer, decorated with the image of a Shôjô, a mythological being that would live on the coast and spend his days of sake drinking. Right plum blossom under a poem. Naniwa is the traditional name of the city of Osaka, known for the plum blossoms and sake. With two poems.

Landscape with Birds 16th century Unidentified artist. Landscape with Birds. Unidentified artist. China. 16th century. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Lotus. Artist: It Jakuch, Japanese, 1716-1800

Actor Ippitsusai Bunchō Japanese. Actor 56078

Landscape of the Four Seasons 16th century Attributed to Kano Chōkichi Japanese Inspired by Chinese landscape scrolls in which the mind travels through time and space along rivers and mountain paths, this monumental landscape transforms an interior into a vast space for imaginary wandering. The quintessential Chinese theme of the scholar-recluse attuned to the natural world and enjoying its unsullied beauty reflected Confucian values and the contemplative bent of Japans ruling military class. A timeless quality is achieved here by a seasonal progression from spring and summer at right to autumn and winter at left. The elevated tone, strong delineation of forms, and rhythmically patterned brushwork corroborate the works attribution to the Kano painter Chōkichi, who is traditionally believed to have studied with Motonobu (1476-1559). Listen to experts illuminate this artwork's story Listen Play or pause #8816. Landscape of the Four Seasons Supported by Bloomberg Philanthropies We're so

Walking with staves in the autumn hills. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Mynah and Bamboo Made 1887-1897 China. Ren Yi was among the most successful and influential among Chinese painters of the so-called Shanghai School. Arriving in Shanghai in 1857, he took the artistic name ìbonianî (one-hundred years), claiming that it would take him a century to achieve success. However, by 1875 Ren Yi was the best-known painter in Shanghai. His highly sought-after bird-and-flower paintings initially followed the Song dynasty (960ñ1279) convention of applying rich color fields within outlines, producing decorative patterning with lifelike representation. This work represents his mature, more spontaneous style that is characterized by looser brushwork, more ink washes, and greater tonal variation.The mynah bird, known for its perfect imitation of the human voice, was a favorite subject of the influential 17th-century painter Zhu Da (Bada Shanren). Known for his highly individualistic style, Zhu Da was particularly influential among Shanghai painters. The black form of t

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

Scroll Made 1710-1730 China. Panel silk, satin weave; embroidered with silk in Chinese knot, satin, single satin, and stem stitches; painted .

Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 15 (Denshin kaishu: Hokusai manga, jūgohen) 1878 Katsushika Hokusai Japanese. Transmitting the Spirit, Revealing the Form of Things: Hokusai Sketchbooks, volume 15 (Denshin kaishu: Hokusai manga, jūgohen). Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1878. Woodblock printed book; ink and color on paper. Meiji period (1868-1912). Illustrated Books

Farewell Gift to Tani Bunji 1833 Okada Hank. Farewell Gift to Tani Bunji. Okada Hank (Japanese, 1782-1846). Japan. 1833. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Sparrow and Hibiscus. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 13 1/2 x 4 1/2 in. (34.3 x 11.4 cm). Date: ca. 1834. Museum: Metropolitan Museum of Art, New York, USA.

New Year Picture of Paired Door Gods Bestowing Good Fortune early 20th century Unidentified artist(s). New Year Picture of Paired Door Gods Bestowing Good Fortune. Unidentified artist(s) , Chinese, early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Seven Shells at the Edge of the Sea, from the series Shells Compendium(Kaizukushi). Artist: Totoya Hokkei, Japanese, 1780-1850

Scholar Riding a Horse with Attendants Chôsui Yabu (Japanese, active 1830-1864). Scholar Riding a Horse with Attendants, ca. 1850. Color woodblock print on paper, 7 3/16 x 9 5/8 in. (18.2 x 24.5 cm). Asian Art ca. 1850

Ehon sakigake (Picture book of Japanese and Chinese fighters), complete in 1 vol. Katsushika Hokusai ; Japanese, 1760-1849. Date: 1831-1841. Dimensions: 22.0 x 15.5 cm (8 5/8 x 6 1/8 in.) (closed); 22.0 x 28.2 cm (8 5/8 x 11 1/8 in.) (opened). Book; woodblock printed. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Shimoshimeji mushrooms. Handcoloured woodblock print from Iwasaki Kan'en's "Honzo Zufu" (Illustrated Guide to Plants), Japan, 1916.

Nôtre Dame, Paris. Artist: Félix Bracquemond (French, Paris 1833-1914 Sèvres). Dimensions: plate: 11 9/16 x 13 11/16 in. (29.4 x 34.8 cm)sheet: 12 1/16 x 18 3/4 in. (30.6 x 47.6 cm). Date: 1870. Museum: Metropolitan Museum of Art, New York, USA.

Eboshi (a court hat) Totoya Hokkei Japanese. Eboshi (a court hat) 54454

Crested Myna, late 18th century, Itō Jakuchū, Japanese, 1716 - 1800, 18 3/4 × 23 1/8 in. (47.63 × 58.74 cm) (image)52 1/2 × 29 3/4 in. (133.35 × 75.57 cm) (overall), Ink on paper, Japan, 18th century

White Snow in Early Spring, late 18th - early 19th century, Kameda Bōsai, Japanese, 1752 - 1826, 11 5/16 × 9 1/4 in. (28.73 × 23.5 cm) (image)42 3/4 × 12 7/8 in. (108.59 × 32.7 cm) (mount, without roller), Ink on patterned silk, Japan, 18th-19th century

Title Page. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1888, October. Prints; woodblocks. Color woodblock print

Bunpo Landscape Picture Album (Bunpo sansui gafu). Artist: Kawamura Bunpo (Japanese, 1779-1821). Culture: Japan. Dimensions: 10 3/16 × 6 13/16 in. (25.8 × 17.3 cm). Date: 1824. Museum: Metropolitan Museum of Art, New York, USA.

Mooring a Boat on the River, late 16th century, Che Ming Yu, Chinese, 1550 - 1680, 64 1/2 x 38 1/4 in. (163.83 x 97.16 cm) (image, approximate), Ink on silk, China, 16th century, Che Mingyu, also known as Yeyun ('Wild Clouds') was born in Changge, Henan province. A self-taught artist, he excelled in painting ink landscapes and figures. His style has much in common with the sixteenth century Zhe school painters like Jiang Song (early 16th century), Zhang Lu (about 1490-1563), and Wang Zhao (early 16th century). Like many Zhe school paintings, the large size and bold technique suggest that the scroll was designed to be hung in a reception room.

Eighteen Arhats (八羅漢圖卷), early 16th century, Studio of Ding Yunpeng, Chinese, 1547-1621, 11 1/2 x 140 1/2 in. (29.21 x 356.87 cm), Ink and color on silk, China, 16th century, The eighteen arhats were enlightened disciples of Buddha and protectors of the Buddhist law. In contrast with Wang Jian’s monochrome fine-line style (also on view), this version features a colorful, realistic approach.

Beauty Gion Seitoku (Japanese, 1781- ca. 1829). Beauty, early 19th century. Hanging scroll, ink, color, gofun, and mica on paper, Image: 22 3/8 x 15 7/8 in. (56.8 x 40.3 cm). Asian Art early 19th century

Japan, Masayuki, Examples of motifs for fabric, recto - stamped, Two pieces of fabric with different motifs. The names of the fabrics depicted are in elongated cartouches. With two poems., print, prent, surimono, prints, Japan (collection), height 139 mm, width 186 mm, Japanese, print maker, printmaker, 1796 - 1796, fourth quarter 18th century, paper, colour woodcut

Ancient and Hawk on an Oak Tree. Artist: Soga Nichokuan (Japanese, active mid-17th century). Culture: Japan. Dimensions: 73 1/2 x 67 3/4 in. (186.7 x 172.1 cm). Date: mid-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Channel chart: daimai (Belt Vessel), Chinese woodcut

C19 Chinese ink drawing: Boils on kneecap and under breast

Wooden box with monkeys. On a red board that fits into a box, four figure of monkeys. Surimono without poems.

Quast Ferdinand von (1807-1877), Dayak woman and drinking tuak on Borneo (without date): Genres scene with palm brandy on pile construction (through drawing according to J.G. Wood, Natural History of Man II, 406, London 1868). Pencil on transparent, 30 x 18.3 cm (including scan edges) Quast Ferdinand von (1807-1877): Dayakfrau und Tuaktrinken auf Borneo

Bonito and saxifrage, from an untitled series of fish. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1827-1838. Dimensions: 23.6 × 34.5 cm. Color woodblock print; oban, trimmed. Origin: Japan. Museum: The Chicago Art Institute, USA.

ButterfIIes Kubo, SHUNMAN (1757 1820)

Smallpox illustration, Japanese manuscript, c. 1720

Design for a Stage Set. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Date: 1830-90. Museum: Metropolitan Museum of Art, New York, USA.

Famous Products from Mountain and Sea vol. 3, 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

One of Six Impressions from Worn Old Blocks. Artist: Unidentified Artist Japanese, 18th century. Culture: Japan. Dimensions: Overall: 9 3/4 x 13 1/2 in. (24.8 x 34.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Peach Blossom Spring dated 1638 Zhang Hong "Peach Blossom Spring," as first told by the poet Tao Qian (365-427), is the tale of a fisherman who, having followed a stream lined with blossoming peach trees, stumbles upon an idyllic community that for generations has been sequestered from political and social upheavals. He eventually takes his leave, but when he tries to find the stream again, it has vanished.In Zhang Hong's keenly observed interpretation, the viewer is led from a winding stream through a cloudbank to the spot where the fisherman, oar in hand, first encounters the sheltered people, whose clothing styles haven't changed since the Qin dynasty (221-207 B.C.). The remainder of the scroll lovingly examines the ageless rhythms of rural life, especially those related to rice cultivation and silk production. Painted just six years before the collapse of the Ming dynasty, this vision of a utopian world must have been especially appealing. Zhang Hong, a native of Suzhou, was an acc

Album of Poems and Paintings Album of Poems and Paintings, 19th century. Album leaves, ink and light color on paper, 8 7/16 x 6 in. (21.4 x 15.2 cm). Asian Art 19th century

Bowl with White-Baits and Plum Blossoms. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 3/16 x 7 1/4 in. (20.8 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

The House Near the Lake. Artist: Unidentified Artist; Formerly Attributed to Yan Wengui (Chinese, 970-1030). Culture: China. Dimensions: 9 1/4 x 9 3/8 in. (23.5 x 23.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Gibbons in a Landscape. Artist: Sesson Shukei (ca. 1504-ca. 1589). Culture: Japan. Dimensions: Image (each screen): 62 in. x 11 ft. 5 in. (157.5 x 348 cm). Date: ca. 1570.The gibbon, native to the forested mountains of southern China, is known in Japan only through painting and poetry. In literary contexts, its cry is associated with the elevated spirit of solitude, and in Daoist lore with a superior life force. Japanese Zen monks treasured images of gibbons painted by the Chinese monk Muqi (ca. 1210-after 1269), and by the late fifteenth century paintings of gibbons in the manner of this artist had become a favored subject for screen decoration. Here a chain of gibbons is shown reaching futilely for a reflection of the moon, a symbol of enlightenment. This scene illustrates a fundamental Zen paradox: if one is deliberately or overly anxiously trying to attain enlightenment, then that spiritual path will not lead to true enlightenment.As reflected in the subject matter of many of his p

Album of Lacquer Pictures by the Venerable Zeshin, 1887, Shibata Zeshin, Japanese, 1807 - 1891, 6 1/2 × 7 3/8 in. (16.51 × 18.73 cm) (shikishi), Ink and color on paper with lacquer (urushi-e), Japan, 19th century, Trained as a painter, Shibata Zeshin also received critical acclaim for his lacquer designs. He championed a technique of painting with lacquer on paper and silk, a difficult process but one that gives an appealing luster to his renderings. Each of the six leaves of this album shows his masterly use of this unusual medium.

All kinds of; Salmans prints. Leaf with 2 performers from a merchant at the fair and a man who is pulled to the stake. Among these performances a rebus with hearts. Under every performance a caption. Numbered in the middle above: XXI.

Landscape of the Source of Fisheries, Painting on Bag, China, between the 17th and 18th century. Paris, Cernuschi museum. 35787-18 Tree, China, landscape, bag painting, hill

Illustrated Book of Floral Arrangements in the Mishō Style possibly 1931 Mishōsai Kōho Japanese This catalogue of floral arrangements was authored by Mishōsai Kōho (1791-1861), the second master of the Mishōstyle of ikebana, or flower arranging.. Illustrated Book of Floral Arrangements in the Mishō Style. Mishōsai Kōho (Japanese, 1791- 1861). Japan. possibly 1931. Monochrome woodblock printed book. Edo (1615-1868)-Shôwa period (1926-89). Illustrated Books

Cormorant on aBasket. Artist: Takeuchi Seih?, Japanese, 1864-1942

Fugen. Origin: Japan. Ink and color on silk. Period: Muromachi period. Date: 1333-1573. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

C18 Chinese woodcut: Galloping pharyngitis

Listening to the Qin (Zither), 1150-after 1225. Liu Songnian (Chinese, c. 1150-after 1225). Album leaf, ink and slight color on silk; image: 23.8 x 24.6 cm (9 3/8 x 9 11/16 in.); with mat: 33.3 x 40.5 cm (13 1/8 x 15 15/16 in.).

Yue Fei (24 March 1103 - 27 January 1142), courtesy name Pengju, was a military general who lived in the Southern Song dynasty. His ancestral home was in Xiaoti, Yonghe Village, Tangyin, Xiangzhou, Henan (in present-day Tangyin County, Anyang, Henan). He is best known for leading Southern Song forces in the wars in the 12th century between Southern Song and the Jurchen-ruled Jin dynasty in northern China before being put to death by the Southern Song government in 1142. He was granted the posthumous name Wumu by Emperor Xiaozong in 1169, and later granted the posthumous title King of È (王) by Emperor Ningzong in 1211. Widely seen as a patriot and national folk hero in China, since after his death, Yue Fei has evolved into a standard epitome of loyalty in Chinese culture. Su Manshu (simplified Chinese: 苏曼殊; traditional Chinese: 蘇曼殊; pinyin: Sū Mànshū, 1884-1918) was a Chinese writer, poet, painter, revolutionist, and a translator. He was born as Xuanying in 1884 in Yokohama, Japan. He

Drawing, Design for a Chinese Pavilion; Designed by Frederick Crace (English, 1779-1859); England; brush and watercolor, pen and ink on paper

Akebonoya” waka poem early 17th century Hon'ami K?etsu Against an extravagant design of chrysanthemums and mist rendered in gold flakes and gold dust, the most famous calligrapher of his age, Hon’ami K?etsu, has inscribed a single waka (31-syllable court verse) by Minamoto no Michiteru (Koga Michiteru, 1187-1248), a high-ranked courtier-poet of ancient times, whose poems, including the one cited here, were included in distinguished imperially sponsored anthologies such as the New Collection of Japanese Poems Ancient and Modern (Shin kokin wakashu). Evoking the autumn season in the capital, the verse here reads: ??????????? ??????????? Akebono ya kawase no nami no takasebune kudasu ka hito no sode no akikiri At the break of dawn a skiff rides the rapids of the river, as the boatman’s sleeves drift in the autumn mist. (Trans. John T. Carpenter) This example of a waka on a gorgeously decorated shikishi (poem card) serves as a textbook example of K?etsu’s distinctive hand. While manifesti

Dragon and Tiger, 1500s. Sesson Shūkei (Japanese, 1504-1589). One of a pair of six-panel folding screens; ink on paper; painting: 157.3 x 339 cm (61 15/16 x 133 7/16 in.); framed: 172.3 x 354 cm (67 13/16 x 139 3/8 in.).

Sutra Cover. China. Date: 1590-1599. Dimensions: 33 × 11.7 cm (13 × 4 3/8 in.)Warp repeat: 11 cm (4 3/8 in.). Silk and gold-leaf-over-lacquered-paper strip, plain weave with supplementary patterning wefts bound in weft-float faced 1:3 'Z' twill interlacings; label: silk, plain weave; painted with ink, glued over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Landscape in Moonlight after 1662 Kano Tan'y Japanese Kano Tan’y brilliantly recasts landscape motifs taken from the traditional subject Eight Views of Xiao and Xiang Rivers. In an ethereal panoramic view, the artist balances unpainted void with painted form and exploits the separate-but-linked quality of the triptych format. These paintings (1975.268.49-.51) by Tan’y, the Tokugawa shogunate’s official painter (goy-eshi), reveal a striking shift of taste from the lush heroic style of the Momoyama period (late sixteenth to early seventeenth century) to the more subdued and erudite style of the Kano school, which dominated Japanese art through the Edo period. All three scrolls bear the signature “Hin Tan’y,” which indicates that they were made after the influential painter was granted the honorific title Hin (Seal of the Buddhist Law) from the palace in 1662 at age sixty-one.. Landscape in Moonlight. Kano Tan'y (Japanese, 1602-1674). Japan. after 1662. One of a triptych of hangin

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Cock, hen and bird in blooming morning glory, Cock and bunting, Ninth and tenth pages of Utamaro's bird book., page, prints, engravings, Japan (collection), height 251 mm, width 187 mm, Japanese, 1753 - 1806, print maker, printmaker, 1794 - 1798, fourth quarter 18th century, paper, colour woodcut, Publication (Event), Publication, publisher

Giraffe, second half 19th century, Matsuoka Kansui, Japanese, 1830 - 1887, 49 1/2 × 20 13/16 in. (125.73 × 52.86 cm) (image)80 7/16 × 26 1/2 in. (204.31 × 67.31 cm) (mount, without roller), Ink and colors on silk, Japan, 19th century

Landscape in the Style of Ancient Masters: frontispiece title by Lu Hui (1851-1920). Lu Hui; Chinese, 1851-1920. Date: 1637-1647. Dimensions: 31 × 40.7 cm (12 × 16 in.). Album leaf; ink and colors on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Landscape left of a triptych of White-Robed Kannon with Landscapes, late 15th century, attributed to Kenkō Shōkei, Japanese, active before 1478-ca. 1523, 38 3/8 × 12 13/16 in. (97.47 × 32.54 cm) (image)69 1/8 × 17 1/8 in. (175.58 × 43.5 cm) (without roller), Ink and color on paper, Japan, 15th century, Buddhist monks, particularly those of the Zen school, were devoted landscape painters. Like calligraphy, painting was considered part of the spiritual training necessary for enlightenment. Zen monks favored monochrome ink painting due to its simplicity and straightforwardness. The priest Kenkō Shōkei, who served as secretary at Kenchōji Temple in Kamakura, studied Chinese paintings from the Song (960-1279) and Yuan (1279-1368) dynasties and became a key figure in the ink-painting circles of Japan

Quietness. Date/Period: 1932. Japanese Painting. Color on silk. Height: 445 mm (17.51 in); Width: 511 mm (20.11 in). Author: NISHIMURA GOUN.

Traditional wire manufacturing in China. Old 19th century engraved illustration from La Nature 1888

Chen Hongshou (1598-1652), courtesy name Zhanghou and pseudonym Laolian, was a Chinese painter from Zhuji who lived during the late Ming Dynasty era. Chen trained under the famed artist Lan Ying, and developed a plump and profound brushwork style that lent itself to illustrations and tapestry portraits.

C18 Chinese woodcut: Lurking-cold tonsillitis

Baskets with Flowers of the Four Seasons 1701-1800 Japan. Six-panel screen; ink, colors, and gold on paper .

Clouds Recede, first half 18th century, Gion Nankai, Japanese, 1677 - 1751, 35 3/16 × 9 5/8 in. (89.38 × 24.45 cm) (image)81 9/16 × 16 5/16 in. (207.17 × 41.43 cm) (mount, without roller), Ink on paper, Japan, 18th century

Chinese characters drawn with water on sidewalk

of 3