Japanese Landscapes and Nature

Traditional Japanese landscapes featuring nature scenes, ink and color artworks from different eras, highlighting mountains, rivers, and seasonal elements.

Spring and Summer right of a pair of Landscapes of the Four Seasons, mid 16th century, Kano School, Japanese, 67 5/8 x 150 in. (171.77 x 381 cm), Ink, light color, and gold on paper, Japan, 16th century, By the 1500s, Japanese painters had become adept at producing landscapes based on the imagined mountains and rivers of China. They based their works on prototypes produced by famous painters from Chinese antiquity, including Ma Yuan (c. 1160/65-1225) and Xia Gui (active c. 1195-1230). Stylistically, however, the Japanese approachparticularly that of artists associated with the Kano housewas more decorative, especially when applied to the large format of folding screens. Painters sharply outlined their trees and rocks and textured them with rhythmic patterns of dots and dashes. They also applied washes of gold for dramatic effect.

Spring and Summer right of a pair of Landscapes of the Four Seasons, mid 16th century, Kano School, Japanese, 67 5/8 x 150 in. (171.77 x 381 cm), Ink, light color, and gold on paper, Japan, 16th century, By the 1500s, Japanese painters had become adept at producing landscapes based on the imagined mountains and rivers of China. They based their works on prototypes produced by famous painters from Chinese antiquity, including Ma Yuan (c. 1160/65-1225) and Xia Gui (active c. 1195-1230). Stylistically, however, the Japanese approachparticularly that of artists associated with the Kano housewas more decorative, especially when applied to the large format of folding screens. Painters sharply outlined their trees and rocks and textured them with rhythmic patterns of dots and dashes. They also applied washes of gold for dramatic effect.

Scene from the Tales of Ise: "Mount Utsu" (Utsu no yama). Artist: Fukae Roshu (Japanese, 1699-1757). Culture: Japan. Dimensions: Image: 8 13/16 × 18 1/8 in. (22.4 × 46 cm)Overall with mounting: 43 11/16 × 25 9/16 in. (111 × 65 cm)Overall with knobs: 43 11/16 × 27 5/8 in. (111 × 70.2 cm). Date: early 18th century.This scene is inspired by the "Mount Utsu" (literally, "Mountain of Sadness") episode of The Ise Stories (Ise monogatari), a tenth-century narrative recounting the travels and travails of an unnamed protagonist, whose fictional persona is based on the courtier-poet Ariwara no Narihira (825-880). Rinpa artists often reduced the entire scene, also popularly known as the "Ivy Path" (Tsuta no hosomichi) episode, to an image of an ivy-covered mountain path.The scene shows the courtier and his attendant traveling in the foothills of Mount Utsu. In accordance with the story, on a path overgrown with ivy and maple trees, the pair comes upon a religious ascetic, whom the courtier as

Snowy Landscape 1744 Sakaki Hyakusen. Snowy Landscape. Sakaki Hyakusen (1697-1752). Japan. 1744. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Chrysanthemums beside a stream. Date: 19th century. Origin: Japan. Period: Edo period. Pair of six-panel folding screens; ink, color, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

On the way to the plums at Kameido,' created in 1814, is a woodcut print categorized as Surimono

Teasing the Cat. Artist: Tsukioka Yoshitoshi (Japanese, 1839-1892). Culture: Japan. Dimensions: 14 9/16 x 10 in. (37 x 25.4 cm). Date: 1888. Museum: Metropolitan Museum of Art, New York, USA.

Jittoku. Iten Ssei (Japan, 1472-1554). Japan, first half 16th century. Paintings; scrolls. Hanging scroll; ink on paper, one from a pair

Courtesan and Her Attendant. Artist: Katsukawa Shunsho (Japanese, 1726-1792). Culture: Japan. Dimensions: 40 3/4 x 12 1/2 in. (103.5 x 31.8 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

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

Wind-screen and cherry tree. Date/Period: From 1615 until 1868. Painting. Color over gold on paper. Height: 1,481 mm (58.30 in); Width: 3,411 mm (11.19 ft). Author: UNKNOWN.

Landscape with Man on Horseback Liu Yen Chinese. Landscape with Man on Horseback 51602

Artist: Luo Ping, Chinese, 1733-1799, Spider Spinning ItsWeb, Fan mounted as an album leaf: ink and color on paper, without mounting: 7 3/8 × 21 1/4 in. (18.7 × 54 cm), China, Chinese, Qing dynasty (1644-1911), Qianlong period(1736-95), Paintings

Morning Glories (Asagao) Nakamura Hochu (Japanese, died 1819). Morning Glories (Asagao), late 18th-early 19th century. Hanging scroll, ink, gold, color on paper, Image: 7 1/2 x 20 1/4 in. (19.1 x 51.4 cm). Asian Art late 18th-early 19th century

Woman in a garden dated 1876 Qian Huian Chinese Qian Huian says this figure is "done in the style of Tang Yin" (1470-1523), but the echo is so faint as to require the inscription to call it to mind. Rather, this meticulously styled beauty with her large head, wraithlike form and delicate features is an unmistakable late 19th century romantic creature. Qian Huians influential style, promulgated by his many students and through his popular painting manual, led to the appearance of similar beauties on fans, calendars and painted snuff bottles, as well as in paintings.Qian Huiansreferences to orthodox painters like Tang Yin and the literary inscriptions he frequently added to his paintings made them attractive to patrons aspiring to literati taste.. Woman in a garden. Qian Huian (Chinese, 1833-1911). China. dated 1876. Folding fan mounted as an album leaf; ink and color on alum paper. Qing dynasty (1644-1911). Paintings

Fragment (Japan)

Folding Screen The Bamboo River, Ogyu Tensen, c. 1915 - c. 1940 Running figure of Kaoru with the two robes over the shoulder in the courtyard, a flowering cherry tree and leaving in the background. One of a few chamber screens with a performance that has continuous over the two screens from the story of Genji (Genji Monogatari), from Chapter 44 the Bamboer River (Takegawa), in which Tamakazura gives two robes to Kaoru. Tokyo ink. dye. silk Running figure of Kaoru with the two robes over the shoulder in the courtyard, a flowering cherry tree and leaving in the background. One of a few chamber screens with a performance that has continuous over the two screens from the story of Genji (Genji Monogatari), from Chapter 44 the Bamboer River (Takegawa), in which Tamakazura gives two robes to Kaoru. Tokyo ink. dye. silk

The Third Princess and a Cat, from the "New Herbs I" (Wakana I) chapter The Tale of Genji (Genji monogatari. Artist: Attributed to Matsuno Chikanobu (Japanese, active early 18th century). Culture: Japan. Dimensions: Image: 31 7/16 × 11 5/8 in. (79.9 × 29.6 cm)Overall with mounting: 64 9/16 × 13 7/16 in. (164 × 34.2 cm)Overall with knobs: 64 9/16 × 15 3/4 in. (164 × 40 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Eight Daoist Immortals, Cranes, and Gibbons late 17th-early 18th century Kano Tanshin (Morimasa) Japanese The central scroll depicting the Eight Daoist Immortals of ancient China is flanked by paintings of cranes and monkeys. Most of the immortals are easily identifiable. In the foreground are two who are often paired in Japan: Li Tieguai, who creates a miniature image of himself by blowing into the air, and Liu Haichan, with his mythical toad. Behind them is the sole female member of the Eight, He Xiangu, with a peach, symbol of fertility, longevity, and purity. In the background the famous Lu Dongbin paints an image of his dragon adversary in the air, while Zhang Guolao releases a miniature mule from a bag. The old gentleman flying down through the sky on a crane may be Zhongli Quan, considered the leader of the group.The painter of this triptych, Kano Tanshin, was the eldest son of Tan’y (1602-1674), influential head of the Kano school during the early Edo period, when the sch

Scene from The Tale ofGenji, Two-panel folding screen, ink and color on paper, unframed: 28 9/16 × 32 11/16 in. (72.5 × 83 cm), Japan, Japanese, Edo period(1615-1868), Paintings

Nunobiki Waterfall, Mount Yoshino, and Tatsuta River after 1709 Kano Tsunenobu The paintings form a triptych depicting three of Japans most celebrated “famous sites” (meisho), each illustrating an episode made famous in the tenth?century Tales of Ise (Ise monogatari).The painting corpus of Tsunenobu, a nephew and pupil of Kano Tany? (1602-1674), shows how Kano artists determined efforts to incorporate traditional subjects and blend the style of yamato?e (indigenous Japanese painting) into their primarily Chinese?based oeuvre.. Nunobiki Waterfall, Mount Yoshino, and Tatsuta River. Kano Tsunenobu (Japanese, 1636-1713). Japan. after 1709. Triptych of hanging scrolls; ink and color on silk. Edo period (1615-1868). Paintings

Scroll 1, scene 14. text. Illustrations, Manuscripts. 1600 - 1625. Spencer Collection

Immortals. Honkō Fūgai (Japan, 1779-1847). Japan, 1832. Paintings; screens. Ink, color, and gold paint on paper

Priest Looking Out into a Snow-covered Landscape, late 18th century, Itaya Keishū, Japanese, 1729 - 1797, 16 13/16 × 27 1/4 in. (42.7 × 69.22 cm) (image)53 1/8 × 32 11/16 in. (134.94 × 83.03 cm) (mount, without roller), Ink and color on silk, Japan, 18th century

An album cover: chrysanthemums seen through a torn umbrella. Colour woodcut, ca. 1900.

POET AND HIS POEM - MINAMOTO-NO-SHIGEYUKI. Date/Period: 1200/1300. Painting. Author: UNKNOWN.

Beauty of the Kanbun Era late 17th century Japan Kanbun bijin, or Beauties of the Kanbun Era,” is a generic name given to paintings of a woman (or sometimes a handsome young man) standing alone against a neutral background. This example is typical of the genre, which outlasted the Kanbun era (1661-72). The tall, slender woman, her hair dressed in an elaborate style called gosho-mage, or palace chignon,” covers her mouth with both hands while dancing. The designs on the woman’s outer garment include areas of kanoko, or fawn-spot”—stitch-resist dyeing interspersed with painted patterns. The sections with bright colors stand out strongly against the subdued ground areas decorated only with small floral designs. These sharply contrasting patterns are characteristic of so-called Kanbun designs and closely resemble the K?daiji-type lacquerware displayed elsewhere in the galleries.. Beauty of the Kanbun Era. Japan. late 17th century. Hanging scroll; ink, color, and gold on paper. Edo perio

Watching a Waterfall, 1790. Tani Bunchō (Japanese, 1763-1841). Hanging scroll; ink and color on silk; image: 112.5 x 51.1 cm (44 5/16 x 20 1/8 in.); overall: 214 x 54.5 cm (84 1/4 x 21 7/16 in.).

Tokyo, Yamaguchiya Tobei, Watanabe Shoemon, Mera Taichiro, Japan, Kunisada (I), Utagawa, Prince Genji and a lady-in-waiting, Prince Genji in a cloak with a pattern of butterflies, standing at a table with large sheets of paper; a lady-in-waiting sitting at the table with an open lacquer box and a piece of colored paper in her hands; in the background a folding screen with a pattern of wisteria., print, prints, Japan (collection), height 371 mm, width 255 mm, Japanese, 1786 - 1865, print maker, printmaker, 1851 - 1853, third quarter 19th century, paper, nishiki-e, colour woodcut, censor, Publication (Event), Publication, publisher

Momoyogusa = Flowers of a Hundred Generations., Kamisaka, Sekka, (Artist), Date Issued: 1909.

'Bottomless Cave'. China, late 19th - early 20th century. Dimensions: 53x31 cm. Museum: State Hermitage, St. Petersburg.

Ichikawa acteur, Yûshin, c. 1822 - c. 1827 Three panels in a frame of black paintwork and silver battle, as if it are a job screen. On the right an image of the actor Ichikawa Danjûrô IV (1711-1778) in the role of Shibaraku, against a golden background, a poem on the other two panels. Japan paper color woodcut portrait of actor, actress

Jewel-like Countenance, Gaze of a Recluse, mid 19th century, Tsubaki Chinzan, Japanese, 1801 - 1854, 48 1/4 × 21 5/8 in. (122.56 × 54.93 cm) (image)75 5/8 × 28 1/8 in. (192.09 × 71.44 cm) (mount, without roller), Ink and light color on silk, Japan, 19th century

Snow, Moon, and Cherry Blossoms (Yoshiwara in Three Seasons). Artist: Chobunsai Eishi (Japanese, 1756-1829). Culture: Japan. Dimensions: Image (a): 32 3/8 × 11 13/16 in. (82.3 × 30 cm)Overall with mounting (a): 65 1/2 × 16 3/8 in. (166.3 × 41.6 cm)Overall with knobs (a): 65 1/2 × 18 9/16 in. (166.3 × 47.2 cm)Image (b): 32 3/8 × 11 13/16 in. (82.2 × 30 cm)Overall with mounting (b): 65 1/2 × 16 7/16 in. (166.3 × 41.7 cm)Overall with knobs (b): 65 1/2 × 18 9/16 in. (166.3 × 47.2 cm)Image (c): 32 3/8 × 11 3/4 in. (82.2 × 29.9 cm)Overall with mounting (c): 65 3/8 × 16 7/16 in. (166 × 41.7 cm)Overall with knobs (c): 65 3/8 × 18 9/16 in. (166 × 47.2 cm). Date: early 19th century.These paintings by the samurai-born artist Chobunsai Eishi comprise a triptych representing Yoshiwara, the area around the brothel district of Edo in three seasons of the year, each with its most appealing feature: snow in winter, cherry flowers in spring, and the moon in autumn. The inscriptions on each scro

The Actor Ichikawa Ebizō (Danjūrō V) as the Elderly Samurai Sasaki Ganryū () probably 1792 (Kansei 4), 4th month Katsukawa Shun'ei 勝川春英 Japanese Previous cataloguers have assumed this rare actor print represents the famous actor Ebizō, who had just relinquished the stage name Danjūrō V, performing the role of Hige no Ikyū (literally, the bearded Ikyū), the villainous samurai who is one central characters in the popular play Sukeroku: Flower of Edo (Sukeroku yukari no Edo-zakura). Ebizō, however, did not perform this role during the time this print must have been published (based on the signature style), but it may, however, represent him performing the role of Sasaki Ganryū in the drama White-haired Ganryū (Hana utsugi shiraga Ganryū 花うつぎ白髪岸柳), in the fourth lunar month of 1792 at the Ichimuraza Theater. Appropriate to the role of an elderly samurai, Ebizō is portrayed with white wig and beard and dramatic red suji guma makeup. There is another print by Shun’ei of a similarly costumed

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

Mother and Child at Play 18th century Isoda Koryūsai Japanese. Mother and Child at Play 45785

Scroll 2, Scene 28, 1615 - 1868

Sunflower and Cock, Xun, Ren, 1780

Collecting Herbs at Sekiya, from the series A Comparison of Fans with Eight Views Along the Sumida River. Date: 1843-1845. Dimensions: 37 cm x 25 cm. Museum: Van Gogh Museum, Amsterdam. Author: UTAGAWA KUNISADA.

Peaks of Mount Huang After Mei Qing Chinese. Peaks of Mount Huang. After Mei Qing (Chinese, 1623-1697). China. Folding fan mounted as an album leaf; ink and color on gold paper. Qing dynasty (1644-1911). Paintings

The Eight Immortals of the Wine Cup, later 1700s. Soga Shōhaku (Japanese, 1730-1781). Six-panel folding screen, ink and cut-gold foil on paper; painting only: 120 x 352.2 cm (47 1/4 x 138 11/16 in.); including mounting: 137.5 x 369.6 cm (54 1/8 x 145 1/2 in.).

White-Robed Kannon center of a triptych of White-Robed Kannon and Cranes, 1664, Attributed to Kano Tan'yū, Japanese, 1602 - 1674, 44 5/16 × 16 1/4 in. (112.55 × 41.28 cm) (image)76 3/4 × 20 1/2 in. (194.95 × 52.07 cm) (mount, without roller), ink on paper, Japan, 17th century, Avalokiteshvara, known in Japanese as Kannon, is one of the most popular deities in Zen Buddhism. From the 1300s through the 1500s, Zen painters in Japan frequently created monochrome ink paintings of Kannon relaxing in nature. Nearly 200 years later, a professional painter, Kano Tanyū, borrowed from this long tradition for this triptych, showing the deity in the center resting on a boulder beneath a waterfall and gazing down at the waves below. As is common with devotional triptychs, the central deity is flanked by complementary images of birds, in this case cranes with bamboo and a pine tree.

Masks of Oni (Demon) and Uzume (Goddess of Good Fortune) probably 1807 Katsushika Hokusai Japanese. Masks of Oni (Demon) and Uzume (Goddess of Good Fortune). Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. probably 1807. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Puppeteer. Taikan Monju (Japan, 1766-1842). 1827. Paintings; scrolls. Hanging scroll; ink and color on paper

Three gardeners of the Emperor Takakura heating sake over a fire of maple leaves. Date: 19th century. Origin: Japan. Ink and color on silk. Period: Edo period or Meiji era. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Mountain Wandering, 19th century, Fūgai Honkō, Japanese, 1779 - 1847, 0.65 x 29.53 cm) (image), Ink on paper; hanging scroll, Japan, 19th century, During the 18th and 19th centuries some Japanese artists cultivated the lifestyle and art forms of Chinese scholar-artists (literati). Literati culture, introduced to Japan by Chinese monks, inspired the Japanese painters to emulate the Chinese scholars by immersing themselves in literature, philosophy, nature and ink painting.

A Samurai on Horseback, mid- to late 1600s. Kusumi Morikage (Japanese, active c. 1620-1690). Hanging scroll; ink and slight color on paper; overall: 110 x 48 cm (43 5/16 x 18 7/8 in.).

Landscapes for Liu Songfu. Xugu; Chinese, 1823-1896. Date: 1895-1896. Dimensions: Each leaf: 30.5 × 36.3 cm (12 × 14.25 in.). Album leaves; ink and color on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

A girl sitting on a verandah. Origin: Japan. Period: Edo period. Date: 18th century. Color and gold on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Momoyogusa = Flowers of a Hundred Generations., Kamisaka, Sekka, (Artist), Date Issued: 1909.

Picture of the Gojō Bridge from the Chronicle of Yoshitsune, 1881, Tsukioka Yoshitoshi; Publisher: Morimoto Junzaburō, Japanese, 1839 - 1892, 14 1/4 × 9 1/2 in. (36.2 × 24.13 cm) (sheet, each, approx., vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, It is extremely rare that preparatory drawings for woodblock prints survive, since the final versions were pasted on the key blocks to guide the carving of the black lines and were thus usually destroyed during the production process. Such drawings were more detailed and exact than the initial sketches and therefore offered a better representation of the final print. The outlines were the most important part, and some repetitive areas were only indicated but not fully executedthe wooden boards of the bridge or patterns of textile, for example. These drawings could also include coloring instructions. The spacing was not yet finalized in this drawing, since in the finished print the image is

Street Scenes in Kyoto 17th century Japan. Street Scenes in Kyoto 45753

Mariko ca. 1805 Katsushika Hokusai Japanese. Mariko 37391

Selected images from Teikin Orai and Onna Inagawa., 1828, 1834. Woodcuts

Momoyogusa = Flowers of a Hundred Generations., Kamisaka, Sekka, (Artist), Date Issued: 1909.

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.

Chinese Landscape after Huang Gongwang, 18th-19th century, Shi Wenjing; Inscriber: Inscription on box by Gejo Keikoku, Chinese, 77 5/8 × 38 15/16 in. (197.17 × 98.9 cm) (image)95 1/2 × 46 7/8 in. (242.57 × 119.06 cm) (overall), Ink and colors on silk; hanging scroll, China, 18th-19th century, This monumental painting displays eremitic elements that were heavily influential in Chinese landscape painting. Eremitism, or the retreat from society into a life of reclusion, was a popular idea throughout Chinese history that valued solitude, withdrawal into nature, and self-cultivation. This scene depicts tiny houses and their residents tucked away in the lap of a mountain. The huge, rocky mountain seems difficult and cumbersome to climb, and the river at its base seals the residents in, creating a reclusive dwelling away from a more populated society.

Scene 3a. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

Bugaku Dances (front); Chinese Lions (reverse) early 18th century Hanabusa Itchō Japanese Chinese Lions (Karajishi)Across the gold expanse of this pair of screens, nine Chinese lions (karajishi) gambol and playfully wrestle. Chinese lions were auspicious symbols of power in East Asian visual culture, and through the Momoyama and Edo periods times were frequently found on screens or sliding-door panels in elite samurai residences, castles, or temples. The dynamic brushwork, whether the jagged curves in dark ink, or the swirls of tails and in grayish tones, reveal the artist Hanabusa Itchō at the height of his artistic powers in his later yearsafter his return from exile in 1709 (apparently for disreputable behavior with samurai ladies). On the reverse side is a colorful depiction of bugaku (court dance) performances, in a hyper-meticulous but very traditional mode. This set of screens, revealing two sides of Itchō’s stylistic capabilities, is said to be the artist’s most expensive comm

Fragment of Nenju Gyoji Screen , 17th century. Two-fold screen, ink, gold leaf, and color on paper, Overall in cluding mount: 69 11/16 x 73 7/16 in. (177 x 186.6 cm). Asian Art 17th century

Bamboos. Artist: Unidentified Artist; In the style of Wu Zhen (Chinese, 1280-1354). Culture: China. Dimensions: 12 1/2 x 262 in. (31.8 x 665.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Drugi Rok Meiji --Hakodate (Meiji Ni Midoshi Hakodateba): AKTOR BANDO KICHIROKU I JAKO RENKA NOROKUSUKE

Kultura w sieci Kultura+ unknown

The Ide Jewel River in Yamashiro Province, c. 1835, Utagawa Hiroshige; Publisher: Kawaguchiya Shōzō, Japanese, 1797 - 1858, 14 7/8 × 5 in. (37.8 × 12.7 cm) (image, chūtanzaku), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Two courtesans (Futari no yûjo)A gift for the museum

Hakone ca. 1848-49 Utagawa Hiroshige Japanese In this dramatic night scene, the bearers carry their client in a palanquin, accompanied by torchbearers to light the dangerous and extremely difficult mountain pass. The image of the Hakone mountain seen here in the Reisho series is strikingly different from that of the Hoeid Tkaid series. In this version, human activities take place in the triangular space at the left lower corner that is hemmed in by tall trees and mountains. By contrast, in the Hoeid print, the panoramic vista of Lake Ashi and towering mountains is open before your eyes.. Hakone. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1848-49. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Japan, Kawaguchiya Uhei, Shunsen, Katsukawa, Cormorant fishing at night, verso - stamped, Three women in a fishing boat; woman at the helm and a nursing woman, looking at woman with torch and three leashed cormorants; under a red sky., print, prints, Japan (collection), height 249 mm, width 361 mm, Japanese, print maker, printmaker, 1800 - 1810, first quarter 19th century, first quarter of the 19th century, paper, nishiki-e, colour woodcut, colour woodblock print, blind printing, Publication (Event), Publication, publisher

Shōki, the Demon Queller, c. 1840, Utagawa Hiroshige; Publisher: Tsutaya Kichizō, Japanese, 1797 - 1858, 27 5/8 × 9 13/16 in. (70.2 × 24.9 cm) (image, sheet, kakemono-e), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Spring Play in a Tang Garden. Artist: Unidentified Artist; Copy after Xuanzong (Chinese, born 1398, r. 1426-35). Culture: China. Dimensions: Image: 14 3/4 x 104 in. (37.5 x 264.2 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

A Chinese lady in a red dress resting on a couch before an open window; left, a walled garden. Gouache.

Prostitute with Two Kamuro Under Cherry Blossoms, 1810s, Utagawa Toyokuni, Japanese, 1769 - 1825, 43 1/16 × 21 5/16 in. (109.38 × 54.13 cm) (image), Ink and color on silk, Japan, Nikuhitsu ukiyo-e

Scroll ca. 1615-1868 Japanese. Scroll. Japanese. ca. 1615-1868. Ink and pigments on paper. Miscellaneous

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

Brocades of Edo, 1903, Ikeda Terukata; Publisher: Akiyama Buemon, Japanese, 1883-1921, 1 x 6 7/8 x 9 7/16 in. (2.5 x 17.5 x 24 cm), Woodblock printed album; ink and color on paper, Japan, 20th century

Oniwakamaru Subduing the GiantCarp. Artist: Totoya Hokkei, Japanese, 1780-1850

Momoyogusa = Flowers of a Hundred Generations., Kamisaka, Sekka, (Artist), Date Issued: 1909.

Ghost, late 19th century, Unknown Japanese, 43 5/16 × 14 5/16 in. (110.01 × 36.35 cm) (image)71 1/8 × 19 3/16 in. (180.66 × 48.74 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

Rat on the Hammer of Daikoku, 1874 - 1942 Japan paper. linen (material). wood (plant material) Japan paper. linen (material). wood (plant material)

Standing prostitute wearing a kimono decorated with chrysanthemums and calligraphy, c. 1725, Hasegawa Eishun, Japanese, active c. 1710 - 1755, 37 13/16 x 16 1/8 in. (96 x 41 cm) (image)70 7/8 x 20 1/4 in. (180 x 51.5 cm) (mount) W 57.7 cm w/roller, Ink, color, and gofun on paper, Japan, Nikuhitsu ukiyo-e

Toin Zukan. 1815. Illustrations. Spencer Collection

'Her ghastly face and blood-stained garments struck terror to the souls of the petrified spectators', 1919. '...the bride's sumptuously lacquered kago appeared, surrounded by a numerous retinue, carrying lanterns and torches. Suddenly, an unearthly gust of cold wind arose whirling wildly...and all the lights were extinguished. In the dense gloom of that moonless night, what was the terror of everyone to behold in front of them, barring the way before the passage of the bride, the spectre of the deserted mistress! Shrouded in a cloud of pale-bluish mist...her long dishevelled hair streamed behi

Sixteen Arhats: Fifteenth Arhat, Ajita. Date/Period: Heian period, 11th century. Painting. Color on silk. Height: 959 mm (37.75 in); Width: 518 mm (20.39 in). Author: UNKNOWN ARTIST.

Flowers in Gourd. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: Overall: 13 x 23 5/8 in. (33 x 60 cm)Image: 7 1/4 x 20 1/8 in. (18.4 x 51.1 cm). Date: late 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Books and Scholars' Possessions. Artist: Unidentified Artist. Culture: Korea. Dimensions: Overall: 69 x 180 in. (175.3 x 457.2 cm)Each image: 40 1/2 x 12 1/2 in. (102.9 x 31.8 cm). Date: early 20th century.Intended to evoke the interior of a Confucian scholar's study, this screen belongs to a genre known in Korean as chaekgeori (literally, "books and things"), which originated in the late eighteenth century. Initially, such screens were commissioned for the royal court and were painted with trompe-l'oeil bookcases displaying books, imported luxuries, vessels, and collectibles. In later chaekgeori screens, as seen here, the bookcases were eliminated. Each panel portrays an assemblage of neatly stacked volumes and other objects associated with scholarly activities, including paper, ink, brush, and ink stone as well as archaic bronze vessels, porcelain, fruits, flowering plants, and small pieces of furniture.Distinctive objects appearing in this screen include (from right to left) thre

Dove on Plum Tree 17th-18th century Attributed to Kano Tanshin (Morimasa) Japanese. Dove on Plum Tree. Attributed to Kano Tanshin (Morimasa) (Japanese, 1653-1718). Japan. 17th-18th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Japan, Sekka, Kamisaka, Fabric designs, cover sheet - stamped, Pattern book with various fabric designs; light brown cover with title in white oval shape; fold-out print showing flowers and water; 13 leaves: first page, calligraphy; 12 leaves with various pattern designs, including flowers, plants, animals and fans., book, prints, Japan (collection), height 254 mm, width 185 mm, Japanese, 1866 - 1942, print maker, printmaker, 1890 - 1946, fourth quarter 19th century, first quarter 20st century, first quarter 20th century, second quarter 20st century, paper, silver powder, gold powder, colour woodcut, blind stamping

Boating by a Willow Bank 13th century Unidentified artist Evoking the scenery of Hangzhou's West Lake, this painting shows a gentleman being paddled across a placid inlet between a profusion of water lilies and a shore lined with willows. The composition recalls that of Li Jie's Fisherman's Lodge at Xisai of about 1170. As the boat glides through the silvery moonlight, stillness reigns on the cool, scented water. The simplicity of the painting recalls the spare imagery of a Tang-dynasty (618-907) quatrain:Willows still by a lotus bank,A boat drifts slowly by.Ahead, tall grass, blue distant hills,White moon in golden sky.. Boating by a Willow Bank 40092

Drawing after the first dose of mescaline. Witkiewicz, Stanisław Ignacy (1885-1939), draughtsman, cartoonist

MURAL CHINO DEL S XIV-TONSURA DE UN EMPERADOR DE LA DINASTIA YUAN. Location: MUSEO GUIMET. France.

Colour woodblock triptych titled 'Sukeroku, the Purple Cherry Blossom of Edo' by Utagawa Toyokuni. Utagawa Toyokuni (1769-1825) a Japanese artist.

Courtesan in Procession. Date/Period: 1698/1798. Painting. Ink, white pigment, and light color on paper. Width: 26.8 mm. Height: 85.7 mm (image). Author: Kitagawa Utamaro.

Flowers of Summer right of a pair of Flowers of Summer and Autumn, first half 17th century, Tawaraya Sōsetsu, Japanese, act. 17th cent., 51 5/16 × 19 1/2 in. (130.33 × 49.53 cm) (image)83 7/8 × 21 1/16 in. (213.04 × 53.5 cm) (mount, without roller), Ink, color, and gold on paper, Japan, 17th century, Colorful wildflowers of summer and autumn abound in this pair of hanging scrolls by an early painter of the Rinpa school, a lineage of painters of the Edo period (1603-1868) that engaged with classical Japanese themes and designs to create a distinctively decorative style of painting. The right scroll is dominated by large white cockscomb, blue gentians and irises, and red azaleas. At left orange lilies, red magnolia, and white clematis bloom beneath the branch of a chestnut tree.

The actor Actor Nakayama Tomisaburo in the role of a womaen

Plum Blossoms 15th century Motsurin Jt (Bokusai) Plum blossoms, symbolic of the arrival of spring, were a favored subject among scholar-gentleman painters in China, but when Chinese ink paintings of plums arrived in Japan their imagery became widespread within Zen circles. This composition of a gnarled plum tree framed by a circle of ink wash may reflect the use of the circle in Zen painting and calligraphy as a visual representation of words from the text of the Heart Sutra, “form is void and void is form,” and as a symbol of enlightenment.Motsurin, a Zen artist-monk, might also have chosen plum blossoms because they were beloved of his mentor Ikky Sjun (1394-1481), an abbot of Daitokuji temple in Kyoto known for his poetry, calligraphy, and flagrantly unorthodox behavior. Motsurin’s inscribed text claims that even elegant peonies and sweet jasmine cannot match the plum as a representation of the spring season.. Plum Blossoms. Motsurin Jt (Bokusai) (Japanese, died 1491). Japan.

Washing the elephant. Date: 17th century. Origin: China. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Landscape in the Style of Juran, 1368-1644. Attributed to Liu Du (Chinese, active c. 1628-after 1653). Hanging scroll mounted as a panel, ink and slight color on silk; overall: 169.5 x 105.1 cm (66 3/4 x 41 3/8 in.).

Actor Onoe Kikugorō V, late 19th century, Hasegawa Chikuyō, Japanese, 1870 - 1890, 42 1/2 × 19 1/16 in. (107.95 × 48.42 cm) (image)76 × 24 1/8 in. (193.04 × 61.28 cm) (without roller), Ink and color on paper, Japan, 19th century

Sumiyoshi Shrine and Osaka Bay, c. 1660, Unknown Japanese, 18 5/8 × 65 3/8 in. (47.31 × 166.05 cm) (image)22 3/8 × 69 3/8 × 1/2 in. (56.83 × 176.21 × 1.27 cm) (outer frame), Ink and light color on paper, Japan, 17th century

Palace banquet. Artist: Unidentified Artist Chinese, active late 10th-11th century. Culture: China. Dimensions: Image: 63 5/8 × 43 5/8 in. (161.6 × 110.8 cm)Overall with mounting: 10 ft. 4 in. × 44 3/8 in. (315 × 112.7 cm)Overall with knobs: 10 ft. 4 in. × 49 1/2 in. (315 × 125.7 cm).This large painting is one of the earliest surviving examples of the "ruled-line" (jiehua) genre of architectural renderings. It offers an intimate view of the women's quarters of a palace where elegant rooms face onto private courtyards graced with trees and blossoming lotus, an indication of the summer season. Activity centers around a second-story terrace where women at a banqueting table point skyward or concentrate on threading needles. On the seventh day of the seventh month, women traditionally decorated their homes, set out fruits, and competed in threading needles as part of the festivities celebrating the one night each year when the Herd Boy and the Weaving Maid, legendary lovers immortalized

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

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