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.

Actor with dish, utagawa kunisada (i), 1840 print Actor, halfway, with a dish in your hands, looking aside. Print of the key block on which corrections and instructions for color use. Japan paper portrait of actor, actress. dish, plate, saucer

Yase Village, Utagawa Hiroshige, circa 1834,

Winter Scene with Plum Trees and Pheasants , early 1600s. Kano Naonobu (Japanese, 1607-1650). Pair of six-fold screens, mineral pigments and gold leaf on paper; overall: 170.2 x 369.4 cm (67 x 145 7/16 in.).

Portrait of Li Xiangjun. Artist: Cui He (Chinese, active 1800-1850). Culture: China. Dimensions: Image: 20 5/8 x 49 in. (52.4 x 124.5 cm)Overall with knobs: 104 1/16 x 30 1/4 in. (264.3 x 76.8 cm). Date: dated 1817.This painting portrays Li Xiangjun (fl. mid-seventeenth century), a courtesan celebrated for rebuking powerful but treacherous politicians and risking her life to remain chaste for her true love, Hou Fangyu (1618-1654). When a high-ranking official tried to take her by force, Li struck her head against the floor in an attempted suicide. Her blood spattered a fan given to her by Hou, which was later transformed into a painting of peach blossoms. This heroic deed was immortalized in Peach Blossom Fan, a well-known play by Kong Shangren (1648-1718). Above the painting is a transcription of Hou Fangyu's biography of Li.Here Li is shown in her boudoir holding a fan painted with peach blossoms. She leans against a circular opening framed by willow boughs, symbolic of her profes

Fei Jiang-fang with a Crane. Kano Tsunenobu; Japanese, 1636-1713. Date: 1636-1713. Dimensions: Painting: 94.3 x 32.4 cm (37 1/8 x 12 3/4 in.); 177.8 x 42.6 cm (with mounting) (70 x 16 3/4 in.);177.8 x 46.7 cm (with knobs) (70 x 18 3/8 in.). Triptych of hanging scrolls; ink and light colors on silk. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA. Author: Kano Tsunenobu.

The Magnifying Glass ca. 1775 Toriyama Sekien Japanese. The Magnifying Glass 55407 Artist: Toriyama Sekien, Japanese, 17121788, The Magnifying Glass, ca. 1775, Polychrome woodblock print; ink and color on paper, H. 12 7/8 in. (32.7 cm); W. 9 7/16 in. (24 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1922 (JP1399)

Embroidered Wall Hanging, One of Pair Embroidered Wall Hanging, One of Pair, ca. 1900. Silk, metallic silver thread embroidery, sequins, and cotton batting, 132 x 102 in. (335.3 x 259.1 cm). Asian Art ca. 1900

World of Scents, 1905 book Light green cover with stylized landscape and title in Orange; Schutblad; 10 sheets, numbered: 1-14, text with six pasted prints, interspersed with three unnumbered sheets with landscape prints; Inside cover, colophon. paper letterpress printing / color woodcut

The Actor Ichikawa Komazō III ca. 1791 (Kansei 3) Katsukawa Shun'ei 川春英 Japanese Ichikawa Komazō III (1764-1838), later known as Matsumoto Kōshirō V, earned esteem as one of the great “1000-gold-piece actors” (senryō yakusha) during the early nineteenth century. While in his twenties he often performed in nimaime (young, dashing male) roles, or, as we may suppose in this case, as a tachiyaku (a serious, upright leading male role). He, however, eventually established a reputation as an outstanding actor in villain roles, and influenced how these characters were performed by other actors. He used the Ichikawa name until 1801, and here his costume bears the family’s mimasu (triple rice-measuring box) crest, though his undergarment is decorated with the yotsuhana-bishi 四花菱 (four flowers arranged in a diamond shape), which only Komazō used. The actor had a large, distinctive nose—a facial feature that Katsukawa artists emphasized in their depictions of him. Here the actor’s eyes are shown

Japan: 'Ainu trading fish outside a Japanese house', from Ezo Shima Kikan ('Unusual Views of Ezo Hokkaido'), painted handscroll, Hata Awagimaro (1764-1808), c. 1840

Panel (Furnishing Fabric) Made 1750-1800 China. Silk and wool, slit tapestry weave . Manchu

Japan, Harunobu, Suzuki, Fight between a hawk and a monkey, A hawk sinking its claws into a monkey, on a rock under which, near a waterfall, two small monkeys are sheltering., print, prints, engravings, Japan (collection), height 655 mm, width 113 mm, Japanese, 1725 - 1770, print maker, prentmaker, 1765 - 1770, third quarter 18th century, paper, colour woodcut

Crow on a Rock. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 7/8 in. (36.2 x 27.6 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

. A mighty sea eagle dominates the right section, contrasting with the left screen where a series of waves vanish into the distance. Ganryo was a painter of the Kishi School, whose adherents sought to create a vibrant form of naturalism that communicated the essence of their subjects. His work is characterised by an almost agitated style of brushwork, as in the waves which rise from the surface of the sea like dragons claws.

Album of Sketches for Lacquer Decoration ca. 1850 Unidentified artist. Album of Sketches for Lacquer Decoration. Unidentified artist Japanese. Japan. ca. 1850. Ink and color on paper. Edo period (1615-1868). Illustrated Books

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

fine arts, Hiroshige Utagawa (1797 - 1858), Gokei river at Bitchu during a thundershower, woodcut, 1854, 33,8x22,5 cm, Austrian Museum for Applied Arts, Vienna,

Actor Ichikawa Ebizō as Takemura Sadanoshin, 1794, 5th lunar month, Sharaku; Publisher: Tsutaya Jūzaburō, Japanese, act. 1794-1795, 14 3/4 × 9 3/4 in. (37.5 × 24.8 cm) (image, sheet, vertical ōban), Woodblock print (nishiki-e); ink and color on paper with mica, Japan, 18th century, Related to the play 'Koi nyōbō somewake tazuna' 女房染分手綱, performed at the Kawarazaki Theater in the fifth lunar month of 1794.

A Lady About to Write a Poem ca. 1820 Yashima Gakutei Japanese. A Lady About to Write a Poem 54341

Flowers of a Hundred Worlds (Momoyogusa): Seven Herbs of Early Spring (Nanagusa), 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).

Panel (possibly Portugal); silk, wool, linen

Details of paintings in a palace, Ninomaru Palace, Nijo Castle, Kyoto Prefecture, Kinki Region, Honshu, Japan

Literati in a Landscape, Kishi Ganku, c. 1800 - c. 1830 A man on the second floor of a house looks from the window to the moon. Together with AK-RAK-1999-5-A in wooden box. Kyoto Painting: Ink. Mounting: Silk A man on the second floor of a house looks from the window to the moon. Together with AK-RAK-1999-5-A in wooden box. Kyoto Painting: Ink. Mounting: Silk

Yoshitsune descending from the slope in Ichi no tani with his knights at night Utagawa, toyokuni (1769 1825)

Two Views from the Eight Views of the Xiao and Xiang Rivers early 16th century Kantei One of the most popular subjects in traditional Chinese poetry and landscape painting is the Eight Views of the Xiao and Xiang Rivers. It highlights a region in southern China that was the source of a rich literary tradition and the locus of ancient myths and popular lore. Song Di (active 11th century), who retreated to the area after his dismissal from court in 1074, is reputed to have been the first to paint the site in a group of eight images. These codified scenes became popular in Japan, beginning in the Muromachi period.Little is known about Kantei, the artist of these two paintings, save that he may have been a monk of the Ritsu sect of Buddhism, in Nara. It is apparent that both compositions, with their strong horizontal and vertical lines, were influenced by works of the master ink painter Sessh Ty (1420-1506).. Two Views from the Eight Views of the Xiao and Xiang Rivers. Kantei (Japanese,

Scroll 2, scene 8. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

A Sufi in Ecstasy in a Landscape. Iran, Isfahan (c. 1650-1660)

Mitate gosho-guruma = Parody of an imperial carriage scene, Kitagawa, Utamaro (1753?-1806), (Artist), Date Created: 1798.

A gilded and painted scroll depicting scenes in Asakusa, Japan. Dated 18th Century

Maffet Ledger: Drawing. Culture: Southern and Northern Cheyenne. Dimensions: H. 11 3/4 × W. 5 1/4 in. (29.8 × 13.3 cm). Date: ca. 1874-81. Museum: Metropolitan Museum of Art, New York, USA.

Case (Inrō) with Design of Samurai Helmet and Face Mask (obverse); Samurai Arm Guard and Silver Glove (reverse) 19th century Japan. Case (Inrō) with Design of Samurai Helmet and Face Mask (obverse); Samurai Arm Guard and Silver Glove (reverse) 58899

Arhat in a red mantle seated under a rock. Chen, Hongshou (1598-1652), painter

PINTURA PRIMITIVA HINDU - CAZA DE ANTILOPE (MACHO CABRIO).

Folding Screen with the Arrival of a Portuguese Ship, anonymous, c. 1600 - c. 1625 One of two Namban screens, a left and a right half, each consisting of six panels. Performances of unloading the Portuguese ship and the procession of the Portuguese. Japan paper. dye painting One of two Namban screens, a left and a right half, each consisting of six panels. Performances of unloading the Portuguese ship and the procession of the Portuguese. Japan paper. dye painting

Arashi Ryuzo as a Man Clad only in a Pale Blue Garment ca. 1796 Katsukawa Shun'ei 川春英 Japanese. Arashi Ryuzo as a Man Clad only in a Pale Blue Garment 36798

Shōki, the Demon Queller, late 17th - early 18th century, Unknown Japanese, 22 11/16 x 9 9/16in. (57.6 x 24.3cm), Hanging scroll; ink and color on paper, Japan, 17th-18th century

Description: New Zealanders Illustrated. Ornamental canoe heads, paddles, & c. Location: Kapiti, Entry Island, Kaiwarawara, New Zealand Date: 1846 newzealand, australasia, oceania, australasiathroughalens

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

Thunderstorm at Tateishi. Takahashi Hiroaki (Japan, 1871-1945). Japan, circa 1924-1925. Prints; woodblocks. Color woodblock print

Plum dated 1886 Jin Lan Chinese The influence of literati ideals in professional circles is evident in the work of Jin Lan, one of the Nine Friends of Shanghai. This elegant fan is painted, says Jin, in the style of Wang Mian (1287-1359), the Yuan master of ink plums. In the manner of Ming plum blossom painters, Jin washed the surface of the fan with pale silvery blue, leaving a full moon and the blossoms in reserve. The picture shimmers with moonlight, and the blossoms all bu disappear against the radiance, preserved by dark ink flecks that suggest sepals, petals and stamen. There is a fairy tale-like mystery to the tiny blossoms alive in the moonlight, delicate and evanescent.Jin Lan dedicated his fan to Lu Hui, a student of Liu Deliu and an admired artist.. Plum. Jin Lan (Chinese, 1841-1910). China. dated 1886. Folding fan mounted as an album leaf; ink and color on alum paper. Qing dynasty (1644-1911). Paintings

Chinese Boys at Play Studio of Kano Motonobu Japanese first half 16th century A group of boys have broken into play during their studies. Writing utensilsbrushes, brush rests, inkstones, books, scrolls, and silk wrapping clothsare scattered around the space. A child naps at center while the others form a circle around him, armed with ink-dipped brushes. One boy has already begun making marks on the sleepers forehead; two other students inch their wet brushes closer to his face. The boys shenanigans extend to all the classmatesthe child at lower center has his pants pulled down to expose his backside, marked with a dark smear of ink. At right, a student leaps with joy at the sight of the mischief-making while another cowers behind him. Although currently mounted as a hanging scroll, the pronounced radial creases suggest that this work was originally set on bamboo ribs and used as a folding fan. View more. Chinese Boys at Play. Studio of Kano Motonobu (Japanese, 1477-1559). Japan. firs

Buddha's Hand, 1834, Urakami Shunkin, Japanese, 1779 - 1846, 9 7/8 × 13 1/16 in. (25.08 × 33.18 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

Red Shōki, the Demon Queller dated 1847 Katsushika Hokusai Japanese Shōki (Chinese: Zhong Kui) was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease.In Japan, auspicious images of Shōki were displayed for the Boys Day Festival, celebrated on the fifth day of the fifth month. Here, the artist Katsushika Hokusai, aged eighty-seven, painted with red pigment, as that color was thought to have magical efficacy in warding off smallpox. In fact, there was a smallpox epidemic in Edo in 1847.. Red Shōki, the Demon Queller 45818

Scroll 3, scene 15. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

Famous Themes for Painting Study Known as "The Garden of Painting" (Gaen). Artist: Kano Tan'yu (Japanese, 1602-1674). Culture: Japan. Dimensions: 10 7/8 in. x 11 ft. 7 7/16 in. (27.6 x 354.2 cm). Date: 1670.Kano Tan'yu studied prodigious numbers of works from the history of both Chinese and Japanese painting. The fruit of his study was a vast corpus of pattern books and drawings of works of art. This set of two scrolls is filled with an assortment of copies, studies, and sketches.The first scroll is unrolled to a section showing a study of a painting by Mu Qi, a Chinese Chan (Zen) Buddhist monk-painter of the Southern Song dynasty. The second scroll is open to a sketch of the Buddhist figure Hotei after a work by Kano Motonobu (1476-1559). Museum: Metropolitan Museum of Art, New York, USA.

Hanging (Japan); silk

Bandbox Cover. Dated: c. 1936. Dimensions: overall: 38.5 x 50.8 cm (15 3/16 x 20 in.). Medium: watercolor, gouache, and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Stewart Wheeler.

Literati in a Landscape, Kishi Ganku, c. 1800 - c. 1830 Three figures enjoy themselves with leg and tea at a stream. Together with AK-RAK-1999-5-B in wooden box. Kyoto Painting: Ink. Mounting: Silk Three figures enjoy themselves with leg and tea at a stream. Together with AK-RAK-1999-5-B in wooden box. Kyoto Painting: Ink. Mounting: Silk

'The Young Musician', 20th Century. Artist: Georges Antoine Rochegrosse

Fragment (China); silk

Japan, Nagoya, Castle, Hommaru Palace, interior, paintings

Drawing, Design for a Silk Brocade; graphite, brush and gouache, brush and oxidized white on paper; 48.4 × 37.1 cm (19 1/16 × 14 5/8 in.)

SchemersNeeuw TE MATSUCHIYAMA, KOBAYASHI KIYOCHIKA, 1896 print Snow landscape; Ferry with two men on the Sumida River. Middle leaf of a triptych. Japan paper color woodcut landscapes (+ landscape with figures, staffage). boat propelled by man or animal

New Year Custom: Wish for a New Year's Auspicious Dream. Origin: Japan. Period: Edo period. Date: ca. 1806-1811. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Case (Inrō) with Design of Hibiscus and Autumn Flowers beneath Clouds 19th century Japan. Case (Inrō) with Design of Hibiscus and Autumn Flowers beneath Clouds 58720

A Hundred Birds and the Three Friends, 1400-1425. Bian Wenjin (Chinese, about 1354-1428). Hanging scroll, ink and color on silk; painting: 153.5 x 95.4 cm (60 7/16 x 37 9/16 in.); overall with knobs: 245 x 110 cm (96 7/16 x 43 5/16 in.). In this hanging scroll birds rest and frolic among pines, bamboo, and flowering plum, plants known as the three friends.” Due to their endurance in winter, they symbolize perseverance and friendship in adverse times. The naturalistic depiction of the birds refers to the bird-and-flower painting tradition of the Art Academy of the Song dynasty. The painter Bian Wenjin served at the court of the Ming dynasty Yongle Emperor (reigned 1402-24). This painting may have been hung in a private studio or palace hall on appropriate occasions.

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

Birds, Flowers, and Rocks Birds, Flowers, and Rocks, 19th century. Six-panel folding screen, ink and color on paper, 71 5/8 × 117 15/16 in. (182 × 299.6 cm). Asian Art 19th century

. English: Shinno (Shennong); typical 'iconic' pose; inscribed (untranslated - help needed!), artist not identified; 19th century; Japanese; private collection, fam. Wittig et cie. 3 December 2011, 06:09 (UTC). Shinno (Shennong).inscribed.artist not identified.19th century.japanese.Wittig collection - painting 21.JPG: artist not (yet) identified, photograph by uploader derivative work: nagualdesign (talk) 555 Shinno (Shennong) derivative

Maffet Ledger: Drawing ca. 1874-81 Southern and Northern Cheyenne. Maffet Ledger: Drawing 766782

World Erotic Art Museum. Japanese Shunga ( erotic art ) painting on paper scroll. Setei Tsuikioka 1726-1787. Miami, Florida, USA.

Five Fans Sakai Hoitsu (Japanese, 1761-1828). Five Fans, 1820. Hanging scroll, ink, gofun, and gold on silk, With mount: 46 1/16 x 67 1/8 in. (117 x 170.5 cm). Asian Art 1820

The large painting depicts different scenes of everyday life within an Ainu Village. By Tomioka Tessai (1837 - 1924) Japanese painter and Calligrapher in imperial Japan and one the first major artists of the Nihonga style. Dated 1870

Unkoku school, school of Unkoku, c. 1630 - c. 1660

Prostitute Takao with Bush Clover and Moon, first half 19th century, Suzuki Kiitsu, Japanese, 1796 - 1858, 41 1/16 × 14 in. (104.3 × 35.56 cm) (image)73 11/16 × 18 13/16 in. (187.17 × 47.78 cm) (mount, without roller), Ink and color on silk, Japan, 19th century

. Padrol painting with a representation of a tiger on a rock. In wooden box with Japanese characters.

Woman and a man with a lantern in front of a house at night /Yoru no niwa HIROSHIGE, Ichiryusai (1797 1858), Kunisada, Utagawa (1786 1864)

Tablet, 1778. China, Qing dynasty (1644-1911), Qianlong reign (1735-1795). Jade; overall: 18.5 cm (7 5/16 in.).

Piece from a Kosode with Boats and Flowers Japan. Piece from a Kosode with Boats and Flowers. Japan. Resist-dyed and painted silk satin damask (rinzu), embroidered with silk and metallic thread. Edo period (1615-1868). Textiles-Dyed and Embroidered

Print ca. 1820 Yashima Gakutei Japanese. Print 54343

Actors in a confrontation before a gate in the rain. Colour woodcut by Yoshitaki, early 1860s.

Asakusa Rice Fields and Torinomachi Festival (Asakusa tanbo Torinomachi mode), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) 1857 Japan. Color woodblock print; oban . Utagawa Hiroshige

palazzina di caccia, stupinigi, italy

Tsukioka Yoshitoshi (30 April 1839 9 June 1892) (also named Taiso Yoshitoshi) was a Japanese artist and Ukiyo-e woodblock print master. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly ma

Tokyo, Kobayashi Tetsujiro, Japan, Kiyochika, Kobayashi, Musashi hyakkei no uchi, One Hundred Views of Musashi Province, Edo no kenba, Street Artist from Edo, verso - stamped, Mother with three children watching an acrobat, with red mask on which feathers, standing on his hands; in the background a view of the city of Tokyo., print, prints, Japan (collection), height 354 mm, width 238 mm, 1847 - 1915, print maker, printmaker, 1884-11-10 - 1884-11-10, fourth quarter 19th century, paper, colour woodcut, nishiki-e, Publication (Event), Publication, Japanese, publisher

Improvised shadow ishidoro lantern, from the series: Series of paintings improvised shadows /Sokkyo kageboshi zukushi

UN DESPERTAR SIN IMAGEN - DIBUJO - GRAFITO Y ACUARELA SOBRE PAPEL JAPONES - 2002 - 50x50. Author: JOSE MARIA SICILIA. Location: GALERIA SOLEDAD LORENZO. MADRID. SPAIN.

Grapevine and Squirrels. Artist: Unidentified Artist. Culture: Korea. Dimensions: Image: 54 x 22 3/4 in. (137.2 x 57.8 cm)Overall with mounting: 74 3/4 x 29 1/2 in. (189.9 x 74.9 cm)Overall with knobs: 74 3/4 x 31 3/4 in. (189.9 x 80.6 cm). Date: early 19th century.The subject of grapevine rendered in ink was popular among literati painters throughout the Choson period. Artists who won fame as painters of grapevine include Sim Saimdang (1504-1551), Huang Chip-chung (b.1533), and Hong Suju (1642-1704). While earlier paintings of the subject are mostly in the form of album leaves, ink-grape paintings of the nineteenth century are usually larger in size, sometimes forming a folding screen of six or eight panels. Squirrels are occasionally depicted on the branches of the vine, as in this example. Museum: Metropolitan Museum of Art, New York, USA.

Banana Leaves 1790s It Jakuch In a bold, graphic composition, overlapping leaves of a banana plant with have been rendered in expanses of pale gray ink and the so-called sujime-gaki, or “white-line drawing,technique. To achieve this effect, the artist carefully applied moist brushstrokes to the soft and absorbent gasenshi paper in such a way as to leave a narrow, unpainted space between them, resembling a white line. It Jakuch was counted as one of the Three Eccentrics of the Edo period, together with Soga Shhaku (1730- 1781) and Nagasawa Rosetsu (1754-1799). Born the eldest son of a wholesale grocer in Kyoto, Jakuch inherited the family business and ran it for more than fifteen years. It was not until he reached his late thirties that he began to paint full-time.The round seal reading “Lay Buddhist devotee Jakuch” is the one the artist cherished and used most, especially during his late career, but it also appears on works created by his pupils, so caution must be exercise

Autumn Festival Autumn Festival, ca. 1630. Pair of six-fold screens, ink, gold, and color on paper, each panel: 36 3/4 x 19 in. (93.3 x 48.3 cm). Asian Art ca. 1630

Temple procession in Torinomachi in the rice fields of Asakusa Asakusa Torinomachi mode (title on object) A hundred famous faces on Edo (series title) Meisho Edo hyakkei (series title on object), A cat looks from the windowsill out over the rice fields where a procession of people are on their way to a temple. Mount Fuji is visible on the horizon, cat, Hiroshige (I), Utagawa (mentioned on object), Tokyo, Nov-1857, paper, colour woodcut, h 361 mm × w 246 mm

China, Shanghai, Shanghai Museum. Ancient china and porcelain collection. Zun (vase) with Fenaca design of 100 deer, Jingdezhen ware, circa AD 1736-1795, Qing Dynasty.

fine arts, Hiroshige Utagawa (1797 - 1858), the Fudo cascade in Oji, woodcut, 1857, Museum of East Asian Art, Berlin,

An object of general interest. Sketching. 1850 - 1930. still image. Stereographs, Photographs. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection. New York (State), George, Lake (N.Y. : Lake), Lakes & ponds , New York (State)

Case (Inrō) with Design of Young Man Lu's Dream (obverse); Cherry Tree and Irises Beside Water (reverse) 19th century Japan. Case (Inrō) with Design of Young Man Lu's Dream (obverse); Cherry Tree and Irises Beside Water (reverse) 58656

Hokusai Manga, Vol. IX Katsushika Hokusai (Japanese, 1760-1849). Hokusai Manga, Vol. IX, 1817. Paper, 9 x 6 1/4 in. (22.9 x 15.9 cm). Asian Art 1817

Woman sitting under a tree reading a book wearing a coral pink dress with neck scarf. Lithograph with pochoir (stencil) handcolour from the luxury French fashion magazine "Art, Gout, Beaute," 1926. Illustration signed Dory.

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Ink Bamboo, 1200s. China, Southern Song dynasty (1127-1279). Hanging scroll, ink on silk; image: 91.2 x 39.8 cm (35 7/8 x 15 11/16 in.); overall: 172.7 x 57.2 cm (68 x 22 1/2 in.).

ARTE S. XX. AMERICA. RIVERA, Diego (Guanajuato,1886-México,1957). Pintor mexicano. "POPOL VUH". La creación de la tierra. Acuarela que forma parte de las cuatro ilustraciones coloreadas para texto maya. 31x48 cm. ó 24x24 cm. Museo Casa Diego Rivera. Guanajuato. (INBA) .

Sampler (Germany); silk and metallic embroidery on linen foundation

Horse and Groom Unidentified 14th century This small fragment of a handscroll, now remounted as a hanging scroll, portrays a steed and its groom, a painting subject with a long history in both China and Japan. Pictures of celebrated horses appear individually or in groups on a variety of Japanese painting formats, from scrolls to large-scale works on folding screens and panels, and were held in particularly high regard. Folding screens featuring images of horses, for example, served as a backdrop for the enthroned emperor when he viewed equestrian activities. During the Heian period, paintings of horses that are recorded as having decorated screens used in select rooms of the imperial residence were thought to hold special power and were even rumored to come to life at night. View more. Horse and Groom. Unidentified Artist. Japan. 14th century. Hanging scroll; ink and color on paper. Paintings

Edward Lear, 1812-1888, British, Howatke, 1867. Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, beige wove paper.

The Great Wave of Kanagawa by Katsushika Hokusai (1760-1849) Japanese artist, ukiyo-e painter and printmaker of the Edo period. Dated 1832

Japan: 'The Snow-Covered Mountain Child'. Hanging scroll painting by Soga Shohaku (1730-1781), 1764. Soga Shohaku (1730 - 30 January 1781), born Miura Sakonjiro, was a Japanese painter from either Ise or Kyoto. Soga was a student of Takada Keiho, an artist of the Kano School, which was influenced by Chinese culture and techniques, though he preferred the brush style of the Muromachi period, which had already gone out of fashion 150 years before his birth.

The Moon-Viewing Promontory, from the series One Hundred Views of Famous Places in Edo, 1857. Utagawa Hiroshige (Japanese, 1797-1858). Color woodblock print; overall: 33.9 x 22.8 cm (13 3/8 x 9 in.). Hiroshige, who frequently designed prints with unusual or humorous viewpoints, has placed the viewer by pine trees, peering through a doorway at the end of a moon-viewing party. The silhouette of an elaborately coiffed woman is visible through a translucent paper door; only her hem trails into the room. Another person remains seated on the floor in the upper right, near a musical instrument and a tray with blue-and-white ceramics. This figure may still be admiring the autumn moon over ships in Tokyo Bay.

Japanese fan

Japanese print of the author Thomas Carlyle who is horrified to see his manuscript burn after his dog upsets a lamp.

A character in the Shui Hu Zhuan. Drawing by a Chinese artist.

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