Japanese Landscape Paintings

Elegant folding screens and fan art illustrating serene landscapes, flora, and harmonious compositions from Japanese culture.

Light Sails in the Dawn, late 18th century, Satake Kaikai, Japanese, 1738 - 1790, 9 1/4 × 20 3/16 in. (23.5 × 51.28 cm), Ink and color on paper sized with mica, Japan, 18th century

Portrait of Ren'an in a Landscape dated 1684 Shitao (Zhu Ruoji) Chinese. Portrait of Ren'an in a Landscape. Shitao (Zhu Ruoji) (Chinese, 1642-1707). China. dated 1684. Handscroll; ink and color on paper. Qing dynasty (1644-1911). Paintings

Vegetable pattern Guillaume Boichot (1735-1814). Vegetable pattern. Feather and ink from China on brown paper, 1735-1815.

Five scenes on one board plum tree and a poem, Enoshima, woman, tanuki, kikyo and the moon HIROSHIGE, Ichiryusai (1797 1858)

Nomads hunting with falcons. Artist: Attributed to Chen Juzhong (Chinese, active ca. 1200-30). Culture: China. Dimensions: 9 1/2 x 10 3/4 in. (24.1 x 27.3 cm). Date: early 13th century.Chen Zhuzhong specialized in depicting nomadic horsemen and their lives on the steppes. This exquisite fan painting, in which the hairstyles, costumes, and saddle trappings of the Khitan people are faithfully rendered, may be dated stylistically to Chen's period of activity or somewhat later. The horseman galloping away in pursuit of his quarry recalls a similar figure in Eighteen Songs of a Nomad Flute. Museum: Metropolitan Museum of Art, New York, USA.

Cypress Tree (Eight folded screen) by Eitoku, Kano (1543-1590)/ Tokyo National Museum/ 1590/ Japan/ Watercolour, ink, gold colour on paper/ The Oriental Arts/ 169,5x461/ Landscape

Landscape. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: 6 7/8 x 17 1/2 in. (17.5 x 44.5 cm). Date: dated 1699.In the inscription on this fan, Shitao sets forth his theory of painting, "the single stroke," or "the painting of oneness (yihua)":On a windy, rainy, spring day, I am happy I have no visitors; my hand is free, my mind relaxed and cleansed. The ancients called it yihua, the "single stroke": a thousand hills, ten thousand valleys, people, bamboo, trees,a single brushstroke and all is completed. On one level, yihua constitutes a very practical concept: a complete design begins and finishes with the single brushstroke. On a metaphysical level, it suggests that "myriad strokes are reunited in oneness" through the mind and hand of the artist and through the artist's spiritual communion with nature. Museum: Metropolitan Museum of Art, New York, USA.

Artist: Huang Ding, Chinese, 1660-1730, Old Pine, after LiCheng, Hanging scroll: ink and color on silk, without mounting: 78 7/16 × 45 1/2 in. (199.2 × 115.5 cm), China, Chinese, Qing dynasty (1644-1911), Kangxi period(1662-1722), Paintings

Pavilions in a Mountain Landscape. Date/Period: Ca. 1550; Muromachi Period (1392-1573). Painting. Ink and color on paper; mounted as a pair of hanging scrolls Ink and color on paper; mounted as a pair of hanging scrolls. Height: 1,525.27 mm (60.05 in); Width: 965.96 mm (38.02 in). Author: Japanese unknown.

Travelers in the mountains in autumn. The trailer shows a bizarre mountain backdrop with two hostels, travelers in cars and litter, on animals and on foot. In contrast to the imaginary landscape, the detailed scenes that tell about everyday life of travelers: On the right side of the picture is a noble hostel, on the left a simple rest area with cooking kitchen. Yuan Yao worked as a court painter for the Chinese Kaiser Yongzheng (1723-1734) and Qianlong (1736-1795). The trailer shows its technical brilliance and a skilful combination of decorative fantastic and realistic elements. Property of the Foundation for the Hamburg Art Collections

Narcissus, Fungus, and Nandina Wu Xizai Chinese dated 1852 View more. Narcissus, Fungus, and Nandina. Wu Xizai (Chinese, 1799-1870). China. dated 1852. Hanging scroll; ink and color on paper. Qing dynasty (1644-1911). Paintings

Landscape with Figure. Artist: Chen Jichun (Chinese, active mid-17th century). Culture: China. Dimensions: 7 11/32 x 21 23/32 in. (18.7 x 55.2 cm). Date: 1635. Museum: Metropolitan Museum of Art, New York, USA.

Boats on the Sea, 17th century, studio of Tawaraya Sōtatsu, Japanese, died c. 1640, 60 1/2 × 141 3/8 in. (153.67 × 359.09 cm) (image)67 1/4 × 147 7/8 × 3/4 in. (170.82 × 375.6 × 1.91 cm) (outer frame), Six-panel folding screen; ink, colors, gold, and silver on paper, Japan, 17th century

Album of Orchids andCalligraphy. Artist: Ying Chuan, Chinese, born 1778 Artist: Tie Bao, Chinese, 1752-1824

Cherry blossom, cranes and an ornament. Draughtsman: anonymous. Dating: 1800 - 1900. Place: Japan. Measurements: h 305 cm × w 413 cm. Museum: Rijksmuseum, Amsterdam.

Drawing, Chinoiserie Fantasy; France; pencil on paper.; 22 x 29.3 cm (8 11/16 x 11 9/16 in.)

An Incident on the Hunt, late 17th-early 18th century, Cheng Xiang, Chinese, 1628 - 1698 or later, 88 3/8 × 62 1/2 in. (224.47 × 158.75 cm) (image)97 3/4 × 66 3/8 × 1 in. (248.29 × 168.59 × 2.54 cm) (overall, open), Ink on silk, China, 17th-18th century, This monumental landscape, rendered in pure ink, shows a lively narrative. In the panel on the right, a high-ranking man on horseback, possibly the emperor, is shown receiving a message from a kneeling figure. Behind him, a cadre of elegant court women, also on horseback, look on. In the left panel, a group of scholarsseparated by a rocky outcroppingengage in conversation. The painting may suggest that leaders, in order to effectively rule, must strike a balance between seeking the advice of scholars and engaging in various entertainments, like picnicking with women and hunting for sport (shown in the lower part of the painting).

A Chinese kitchen. Brush drawing by Chinese artist, ca. 1850.

10 1/16 x 11 3/16 in. (25.56 x 28.42 cm) (sheet)10 7/8 x 11 7/8 in. (27.62 x 30.16 cm) (mat)14 1/16 x 18 1/16 in. (35.72 x 45.88 cm) (mount), Color woodblock print, China

Detail of Japanese textile print

Pictured Phenomenon vol. 4, 1864, Utagawa Sadahide, Japanese, 1807 - 1873, 5/16 x 4 5/8 x 7 1/16 in. (0.8 x 11.8 x 18 cm), Woodblock printed book; ink and limited color on paper, Japan, 19th century

Zhu ji 1789 Kuwagata Keisai Japanese. Zhu ji 36988

Lake Suwa, c. 1832-58. Utagawa Hiroshige (Japanese, 1797-1858). Hanging scroll; ink and color on silk; overall: 174 x 49.9 cm (68 1/2 x 19 5/8 in.); painting only: 90.2 x 32.2 cm (35 1/2 x 12 11/16 in.).

Birds, plum blossoms, bamboo and snow. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Kaiho Yusho (1533 - 1615) was a Japanese painter of the Azuchi-Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (gempitsu), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.

Two unarmed Dutch vessels under attack from three Chinese vessels armed with cannon, anonymous, 1750 - 1800 One of a series of seven paintings that together represent the miracles of Mazu. China paper. ink China One of a series of seven paintings that together represent the miracles of Mazu. China paper. ink China

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

Birds on an Autumn Inlet, c. 1200. China, Southern Song dynasty (1127-1279). Album leaf, ink and color on silk; overall: 22.4 x 24 cm (8 13/16 x 9 7/16 in.).

Waka Byobu (PoetryScreen). Artist: Konoe Nobutada, Japanese, 1565-1614

Drunken Zhong Kui - Ruler of demons. Hua, Yan (1682-1756), painter

Design for a Stage Set at the Opéra, Paris. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Dimensions: Irregular sheet: 10 7/8 x 17 1/16 in. (27.6 x 43.3 cm). Date: 1830-90. Museum: Metropolitan Museum of Art, New York, USA.

Pheasants. Artist: Hishikawa Moronobu (Japanese, died 1694). Culture: Japan. Dimensions: 9 5/8 x 13 in. (24.4 x 33 cm). Museum: Metropolitan Museum of Art, New York, USA.

Landscape: mountains and water; a figure under a pine tree. Origin: Korea or China. Date: 16th-early 17th century. Ink on silk panel. Period: Joseon period or Ming dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Preparatory Drawings for Illustrations of Melodramas. Attributed to Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, late 19th century. Drawings. Ink on paper

Birds and Flowers mid-16th century Attributed to Kano Yukinobu 野之信 Japanese In Zen monasteries, sacred icons were sometimes displayed flanked by complementary, seemingly secular subjects such as birds and flowers or landscapes. Triptychs of scrolls combined in this way might marry Chinese and Japanese paintings or works created at different times or in disparate media. In this configuration, the central icon imagines the bodhisattva White-robed Kannon in his paradise being visited by a young pilgrim called Zenzai Dōji. It is accompanied by a later diptych created by a professional artist affiliated with the early Kano school.. Birds and Flowers. Attributed to Kano Yukinobu 野之信 (Japanese, ca. 1513-1575). Japan. mid-16th century. Diptych of hanging scrolls; ink on paper. Muromachi period (1392-1573). Paintings

Kanyōsai Picture Album 1762 Kan'yōsai Japanese. Kanyōsai Picture Album. Kan'yōsai (Japanese, 1719-1774). Japan. 1762. Set of three woodblock printed books; ink on paper. Edo period (1615-1868). Illustrated Books

A WinterLandscape. Artist, attributed to: Wang Wei

Royal Visit to hara, from The Tale of the Heike first half of the 17th century Studio of Tawaraya Statsu Japanese Listen to experts illuminate this artwork's story Listen Play or pause #8834. Royal Visit to Ähara, from The Tale of the Heike Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Royal Visit to hara, from The Tale of the Heike. Studio of Tawaraya Statsu (Japanese, ca. 1570-ca. 1640). Japan. first half of the 17th century. Pair of six-panel folding screens; ink and color on paper. Edo period (1615-1868). Screens

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

Chinese making porcelain, detail of Chinese wallpaper from the artisanal life of the Chinese, Chinoiserie, Chinese room, Sala cinese, 18th century, Castle, Castello Govone, architect Guarino Guarini, Baroque, Govone, Roero, Province of Cuneo, Piedmont, Italy, UNESCO World Heritage Site, Europe

Japan: Illustrated Biography of Prince Shotoku in ten panels, panels seven and eight. Painting on silk, Hata no Chitei, Heian Period (11th Century), Tokyo National Museum

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

Scroll 1. Scene 2. 1500 - 1525. text. Illustrations. Spencer Collection

Landscape after Dong Yuan, Juran, Ma Yuan, and Xia Gui dated yiwei , 1655 Li Zai Chinese This landscape of swirling, fantastic mountains has puzzled scholars. The painting is signed “Li Zai of Putian,” a painter who lived during the fifteenth century, but its style clearly places it in the seventeenth century or later. Also, the artist’s inscription mentions the sixteenth-century collector Xiang Yuanbian, so it was obviously not intended to be a forgery of the fifteenth-century Li Zai, but the possibility of another painter by that name from the same hometown is unlikely. Whoever this Li Zai was, he was daring: as he states in the inscription, this painting is an attempt to combine the disparate styles of several old masters—Dong Yuan and Juran of the tenth century and Ma Yuan and Xia Gui of the thirteenth—and the results are fresh and unusual.. Landscape after Dong Yuan, Juran, Ma Yuan, and Xia Gui. Li Zai (Chinese, active 17th century) . China. dated yiwei , 1655. Handscroll;

Merrymaking Under the Cherry Blossoms. Date/Period: Edo period, 17th century. Painting. Color on paper. Height: 148.60 mm (5.85 in); Width: 355.80 mm (14 in). Author: Kano Naganobu.

Long-tailed Birds and Roses, late 18th century, Sō Shiseki, Japanese, 1715 - 1786, 13 7/16 × 23 3/16 in. (34.13 × 58.9 cm) (image)44 5/8 × 29 1/16 in. (113.35 × 73.82 cm) (mount, without roller), Ink and colors on silk, Japan, 18th century

Print. Artist: Yashima Gakutei (Japanese, 1786-1868). Culture: Japan. Dimensions: 8 5/16 x 7 7/16 in. (21.1 x 18.9 cm). Date: ca. 1830.This print is probably a New Year's greeting from a shop whose name (Umenoya) includes the word plum (ume) which is embossed on the background and printed on the poem paper. The address is given at the upper left. Museum: Metropolitan Museum of Art, New York, USA.

Resting porter HOKUBA, TEISAI (1771 1844)

Pigeons in a Tree. Artist: Watanabe Seitei (Japanese, 1851-1918). 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.

Kaishien gaden = The mustard seed garden painting manual, 1753, by Wang Gai (active 1677-1705), issued in Kyoto, featuring woodcuts

Wisdom King of Great Awe-inspiring Power (Daiitoku Myōō), mid-1800s. Japan, Edo period (1615-1868). Hanging scroll; ink, color, and gold on silk;

Square Dish with the Design of a Mountain Retreat. Ogata Kenzan (Japan, 1663-1743). early-mid 18th century. Ceramics. Kyoto ware; earthenware with underglaze iron, clear glaze

Farming and Herding Buffalo in Summer, mid- to late 1500s. Kano Hideyori (Japanese, active mid- to late 1500s). Hanging scroll; ink and light color on paper; mounted: 137.5 x 47.3 cm (54 1/8 x 18 5/8 in.). Hideyori is most famous as the painter of a very early pair of genre screen paintings depicting people enjoying autumn foliage at a shrine-temple complex in Mount Takao near Kyoto. In this scene, people are hard at work farming their fields and herding water buffalo in summer. Such scenes were often associated with promoting the ideal of a prosperous realm, and also with the activities of the 12 months. Historical sources are divided on the biography of painter Kano Hideyori, but many scholars now believe he was the second son of Kano Motonobu, head of the Kyoto-based Kano family atelier.

Landscape in the Style of Various Old Masters:Postscript. Artist: Wang Jian, Chinese, 1598-1677

TWO Masks, Katsushika Hokusai, 1807 A still life of two masks. One of a demon (ONI) and one of the goddess Okame, with the front lying down. With one visible poem, the other is cut off. Japan paper color woodcut mask

Studies from Nature: Plants, Fish, and Birds (Cherry Blossoms with Fish), first half 19th century, Urakami Shunkin, Japanese, 1779 - 1846, 9 7/8 × 13 in. (25.08 × 33.02 cm) (image)39 11/16 × 17 5/8 in. (100.81 × 44.77 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Cricket and fireflies on reed stems, Cricket and fireflies on polygonum and already, Page 7b and 8a in part one of the Insect Book of Utamaro., page, prints, Japan (collection), height 250 mm, width 180 mm, Japanese, 1753 - 1806, print maker, 1788 - 1788, fourth quarter 18th century, paper, color woodcut, Publication (Event), Publication, publisher

Sages Admiring Waterfall. Artist: Unidentified Artist. Culture: China. Dimensions: 9 1/4 x 10 1/8 in. (23.5 x 25.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

"Evening Faces" (Yugao) chapter from The Tale of Genji (Genji monogatari). Artist: Kawamata Tsunemasa (active 1716-48). Culture: Japan. Dimensions: Image: 13 1/8 × 21 9/16 in. (33.4 × 54.7 cm)Overall with mounting: 46 7/16 × 25 3/16 in. (118 × 64 cm)Overall with knobs: 46 7/16 × 27 5/16 in. (118 × 69.3 cm). Date: 18th century.In Chapter Four of the narrative Prince Genji visits his old nurse. A young woman in the house next door sends her servant to Genji's attendant, with the gift of a fan on which a yugao ("evening faces") flower has been placed. Genji and the lady embark upon a love affair that ends with her death, when she is possessed by the spirit of the jealous Lady Rokujo, another of Genji's lovers.This painting bears the signature and seal of Tsunemasa, a painter of ukiyo-e who specialized in pictures of beauties and also themes derived from literature. In his rendition of the "Yugao" scene, he has dressed his figures in Edo-period garb rather than the multilayered robes o

Meeting a Nobleman, mid 19th century, Kōno Tettō, Japanese, 1825 - 1867, 53 7/8 × 22 in. (136.84 × 55.88 cm) (image)81 9/16 × 25 7/16 in. (207.17 × 64.61 cm) (mount, without roller), Ink on paper, Japan, 19th century

Temple Courtyard with Blossoming Plum Tree Temple Courtyard with Blossoming Plum Tree, 20th century. Brush sketch, ink on paper, Image: 9 1/2 x 14 in. (24.1 x 35.6 cm). Asian Art 20th century

Bamboo and Rock in Snow. Artist: Sakaki Hyakusen (1697-1752). Culture: Japan. Dimensions: Image: 53 1/8 x 16in. (134.9 x 40.6cm)Overall with mounting: 80 7/8 x 19 5/8 in. (205.4 x 49.8 cm)Overall with rollers: 80 7/8 x 21 7/8 in. (205.4 x 55.6 cm). Date: spring 1750.Stems of bamboo, bending under the weight of snow fallen on their slender leaves, emerge from behind a moss-pocked boulder. Sakaki Hyakusen has left areas of the paper unpainted to represent snow, while an uneven gray wash signals a dark, wintry evening. An assiduous student of Chinese painting, Hyakusen is now considered a pioneer of nanga, or "southern school painting," in Japan, and his influence on later nanga artists like Yosa Buson (1716-1784) is widely recognized. Museum: Metropolitan Museum of Art, New York, USA.

Bodhidharma Crossing the Yangzi River on a Reed. Artist: Kano Soshu (Japanese, 1551-1601). Culture: Japan. Dimensions: Image: 31 3/4 x 12 3/4 in. (80.6 x 32.4 cm)Overall with mounting: 64 x 17 1/2 in. (162.6 x 44.5 cm)Overall with knobs: 64 x 19 1/4 in. (162.6 x 48.9 cm). Date: late 16th century.The heavily bearded man with large eyes is Bodhidharma (Japanese: Daruma), an Indian sage, who, according to a legend of long standing, sailed up the Yangzi River on a reed to found Chan (Japanese: Zen) Buddhism in China.Executed in an abbreviated style with only a few long, flowing calligraphic strokes, this ink monochrome painting echoes the style that was extremely popular during the Muromachi period (1392-1573). This style also succinctly expresses the essence of the Zen spirit that contends, "less is more." The colophon above the painting, composed and inscribed by the noted Zen monk Gyokushitsu Sohaku (1572-1641), reads:Lightly sailing on a single reed,He is majestic and commanding.

Yang Guifei. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1784-1797. Dimensions: 103.2 x 36.4 cm. Hanging scroll; ink and colors on silk. Origin: Japan. Museum: The Chicago Art Institute, USA.

Aged Pines late 19th century Suzuki Shnen Japanese In East Asian cultures, pine trees are venerated as symbols of longevity and virtue. In both screens on display here, two giant pines, each set against a smoothly gilded background, lean markedly to the left, but the composition is balanced by the branches, which reach toward one another. Flamboyant brushstrokes of coal-black ink define the hefty trunks and spiky needles, resulting in a sense of powerful monumentality. Together with his father, Suzuki Hyakunen, Shonen was one of the leading painters active in Kyoto during the Meiji period. After the country became more open to the West in the second half of the nineteenth century, they made efforts to preserve the subjects and style of traditional Japanese painting.. Aged Pines. Suzuki Shnen (Japanese, 1849-1918). Japan. late 19th century. Pair of six-panel folding screens; ink on gold-leaf. Meiji period (1868-1912). Screens

A sacred Chinese figure, bald, with abnormally high forehead. Painting by a Chinese painter.

A Page from the Jie Zi Yuan Original painted by Qing Ji Chinese. A Page from the Jie Zi Yuan 63348

Pink and White Plum Blossoms in Moonlight, late 18th century, Sō Shizan, Japanese, 1733 - 1805, 49 3/8 × 29 7/8 in. (125.41 × 75.88 cm) (image)87 3/8 × 36 3/4 in. (221.93 × 93.35 cm) (mount, without roller), Ink and colors on silk, Japan, 18th century

Detail of Japanese textile print

Irises and Moth ca. 1850 Suzuki Kiitsu. Irises and Moth. Suzuki Kiitsu (Japanese, 1796-1858). Japan. ca. 1850. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Chinese Figures in a Landscape, from a set of three, late 16th-early 17th century, Traditionally attributed to Kano Eitoku, Japanese, 1543 - 1590, 46 1/8 x 18 3/4 in. (117.16 x 47.63 cm), Ink and color on paper, Japan, 16th-17th century, This trio of paintings shows Chinese gentlemen and several younger attendants in a mountain setting. They may once have been part of a larger set of paintings depicting figures engaged in the so-called Four Accomplishments--music, chess, calligraphy, and painting. Given their large scale and cropped compositions, it is possible that they were originally mounted on sliding doors. They may have been damaged and remounted as hanging scrolls in order to salvage the remaining fragments. The facile brushwork delineating the sages' costumes and facial features suggests that they were created by or in the circle of Kanō Eitoku, the renowned leader of the seminal Kanō studio during the late 1500s. The red seals reading 'Eitoku' in the lower corners of the paint

Scroll III.. 1501 - 1599. Illustrations, Manuscripts. Spencer Collection

Dresden-Friedrichstadt. Marcolini Palais, Chinese room. Chinese wallpaper (attached around 1790), neckline: the grandfather goes with mother and child walk

Divinities of the Planets and Constellations 16th century Attributed to Qiu Ying Chinese 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 elementswood (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.. Divinities of the Planets and Constellations. Attributed to Qiu Ying (Chinese, ca. 1495-1552). China. 16th century. Handscroll; ink and color on paper. Ming dynasty (1368-16

Małpi Most w prowincji Kai. Utagawa, Hiroshige I (1797-1858), graphic artist

Design for ceiling painting.

Kingfisher and Bamboo 19th century Formerly attributed to Sessh Ty Japanese Sessh Ty was a highly celebrated medieval Japanese painter specializing in Chinese-style ink painting, and works in his style remained in high demand for centuries after his death at the beginning of the sixteenth century. This nineteenth-century forgery entered The Met's collection in 1914 along with nearly two hundred other Japanese and Chinese artworks from the collection of Charles Stewart Smith (1832-1909), a Trustee of the Museum. Smith was primarily a collector of European paintings but also acquired a large number of Japanese and Chinese works of art during the last two decades of his life, after he and his third wife honeymooned in Japan in 1892.. Kingfisher and Bamboo. Formerly attributed to Sessh Ty (Japanese, 1420-1506). Japan. 19th century. Hanging scroll; ink on paper. Edo (1615-1868)-Meiji (1868-1912) period. Paintings

Lacquer Paintings of Various Subjects: Bonsai 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: Bonsai 57185

Compendium on Osaka Publications (A Book of Reproductions of Osaka Prints and Text) 20th century Unidentified artist. Compendium on Osaka Publications (A Book of Reproductions of Osaka Prints and Text). Unidentified artist Japanese, after various Osaka artists. Japan. 20th century. Woodblock printed book; ink on paper. Meiji period (1868-1912). Illustrated Books

Fukusa (Gift Cover). Japan. Date: 1890-1900. Dimensions: 70.4 x 65.3 cm (27 3/4 x 25 3/4 in.). Patterned side: silk, plain weave; hand painted. Lined with silk, plain weave; possibly dyed with safflower (benibana); sewn with front and lining matched in size (Tachikiri awase); silk, running "controlling" stitches along all edges; corners: silk-wrapped cotton and gold-leaf-over-lacquered-paper-strip wrapped cotton, knotted, replied fringe tassels. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Suiseki Picture Album (Suiseki gafu nihen), Second Series. Artist: Sato Suiseki (Japanese, active 1806-40). Culture: Japan. Dimensions: 10 3/16 × 7 in. (25.8 × 17.8 cm). Date: 1820. Museum: Metropolitan Museum of Art, New York, USA.

Scroll III.. 1501 - 1599. Illustrations, Manuscripts. Spencer Collection

Homecoming. Li, Di (1110 - post 1197), painter

Untitled. Date/Period: Late 18th century-early 19th century. Print. Woodblock print on paper. Height: 270 mm (10.62 in); Width: 380 mm (14.96 in). Author: Kitao Masayoshi.

Leaf from Album of Actor Portraits, c. 1790-1810. Shōrakusai (Japanese). Album of 25 leaves; ink and color on silk; painting only: 21.8 x 17.6 cm (8 9/16 x 6 15/16 in.); each page: 28.1 x 21 cm (11 1/16 x 8 1/4 in.).

Flowers of a Hundred Worlds (Momoyogusa), vols. 1-3, 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Woodblock prints, ink, color, gold, and silver on paper; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This 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 these books, 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).

Fisherman and family 16th century Attributed to Zhang Lu Chinese Images of family life are relatively rare in premodern Chinese painting. This glimpse into the simple existence of a fisherman and his family aboard their small skiff was no doubt romanticized by the painter, whose style suggests a sophisticated artist working in the urban environs of Hangzhou rather than someone painting from observation along a countryside waterway. This painting presents the fisherman and his family as sincere and hardworking, their lives untouched by the vicissitudes of officialdom.. Fisherman and family. Attributed to Zhang Lu (Chinese, ca. 1490-ca. 1563). China. 16th century. Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

Schetsblad, Hiroshige (i), Utagawa, 1807-1858 drawing paper brush

FIESTAS REALES DE FERNANDO VI-ESCUADRA EN ORDEN DE MARCHA. Location: PALACIO REAL-BIBLIOTECA. MADRID. SPAIN.

Flock of Cranes left of a pair, second half 18th century, Ishida Yūtei, Japanese, 1721 - 1786, 62 1/2 × 139 1/2 in. (158.75 × 354.33 cm) (image)67 1/4 × 145 × 3/4 in. (170.82 × 368.3 × 1.91 cm) (outer frame), Ink, color, and gold on gilded paper, Japan, 18th century, Ishida Yūtei was the teacher of Maruyama Ōkyo (1733-1795), the famous and influential champion of Western-influenced naturalism in Japan during the 18th century and founder of the Maruyama School. Although trained in the traditional Kano school methods, Yūtei was typical of Kano artists of his time in adopting an eclectic approach to painting. Here, he combined the monumentality and stylization associated with Kano painting with the repetition of a single theme often seen in Rinpa school painting. While Yūtei may have derived the postures of individual cranes from Kano instruction manuals, the idea of combining them all to depict an entire flock presages Ōkyo's interest in naturalism.

Fisherman, 11th century, Northern Song dynasty, China

Xi Wang Mu with Feng Wang Attributed to Jiang Feng. Xi Wang Mu with Feng Wang. Attributed to Jiang Feng (Chinese). China. Hanging scroll; ink and color on silk. Ming (1368-1644) or Qing (1644-1911) dynasty. Paintings

One Hundred Chinese Boys 18th century Japan A sumptuous estate, including a bridge and pavilion over a lake, is set off by a shimmering gilded background and golden clouds and enlivened by cavorting children. The conventional motif of One Hundred Children has obvious auspicious connotations in the Chinese tradition. Here, the ancient subject is combined with the moralizing theme of the Four Gentlemanly Accomplishments (calligraphy, painting, music, and the game of go), which engage the children. One Hundred Children became one of the most popular themes among the Kano painters, the official artists who worked for the shoguns and their vassals during the Edo period. The anonymous painter of this screen seems to have based it on a readily available model. The dry, mannered execution of the landscape elements points to a date in the eighteenth century for this work.. One Hundred Chinese Boys. Japan. 18th century. Six-panel folding screen; ink, color, and gold on gilded paper. Edo period (

Picture book of the Arts, 1892 - 1893 print Series consisting of series of twelve and sometimes six prints to paintings by various great artists. Each series of prints included a cover with the table of contents and in some cases a mention of other parts from the series. In the collection: five incomplete series of which four with the original cover; Save in a black-green cassette. paper color woodcut

Wildlife Friends (Yasei no Tomo) Kawakami Ryoka (Japanese, 1887-1921). Wildlife Friends (Yasei no Tomo), ca. 1918. Ink, opaque watercolors and possibly lacquer on wove paper decorated with mica, 8 7/16 x 206 in. (21.4 x 523.2 cm). Asian Art ca. 1918

Ise monogatari = The Tales of Ise, 1608, Yoshida, Soan, -1632, 1608, Kyoto

jysh, Vol. 3 (The Essentials of Rebirth in the Pure Land) 1790 Japan. jysh, Vol. 3 (The Essentials of Rebirth in the Pure Land). Japan. 1790. Woodblock printed book. Illustrated Books

The Occupation of the Battery at Port Arthur (Ryojunko hodai nottori no zu). Ogata Gekko; Japanese, 1859-1920. Date: 1895. Dimensions: . Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, USA.

Fragrant Mountains. Artist: Wu Dacheng (Chinese, 1835-1902). Culture: China. Dimensions: 6 7/8 x 20 7/8 in. (17.5 x 53 cm).The round, weighty brush strokes borrowed from the study of archaic scripts by late 19th century scholar artists are clearly seen in this fine ink landscape by Wu Dacheng.As a Qing official, Wu Dacheng was a participant in several important events in 19th century history. When the Qing intervened in Annam in 1884 on behalf of the king against the French, Wu was sent to Tientsin to defend the city against the French attack. As governor of Guangdong, he negotiated customs duties on opium that continued to flow into the country through Canton and Macao, and without success recommended against ceding Macao to the Portuguese. As governor of Henan, he raised the standards of production in the lucrative silk and tea industries. When the Sino-Japanese War broke out in 1894, Wu took troops to defend a strategic northern mountain pass. His troops were defeated and he was d

Bamboo and Tiger. Hakuga, active 1817-29. The famous Art Institute of Chicago.

Bush Clover. Artist: Suzuki Kiitsu (Japanese, 1796-1858). Culture: Japan. Dimensions: Image: 9 7/16 × 20 5/8 in. (24 × 52.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

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