Japanese Nature and Textile Art

This cluster features traditional Japanese paintings and textiles, showcasing themes of nature, including sparrows, cherry blossoms, and floral patterns in various artistic styles.

Textile fragment, embroidery on silk damask., anonymous, Japan, 1704 - 1711, Huy period, silk, height 29.3 cm × width 15.6 cm

Millet and Sparrows mid-16th century Geiai The everyday sight of cavorting sparrows was a favored theme among painters of the Muromachi period. This deftly rendered ink painting captures their lively forms in an abbreviated manner, using so-called boneless brushwork to render their feathers without lines, in varied tones, and exploiting the white ground for their soft underbodies. The meticulous linear definition of the chrysanthemum and millet emphasizes their differing textures and allows a pleasing contrast in brushwork. A number of skilled ink paintings of birds and plants bearing Geiai” seals survive, including a very similar composition of approximately the same size in the Mary Griggs Burke Collection. At least two versions of the Geiai” seal are known, and some paintings have an additional seal reading Tonshu.” Although much of Geiai’s biography remains unclear, it is thought that he worked in the capital of Kyoto, and was commissioned to paint interiors for the grand Zen te

Cherry Blossoms and Pine Cones 19th century Kubo Shunman Japanese. Cherry Blossoms and Pine Cones 53976

Textile fragment, anonymous, 1736 - 1740 Textile fragment, pressure from flowers and leaves on blue stock. Japan linen (material) Textile fragment, pressure from flowers and leaves on blue stock. Japan linen (material)

Two women watching the fight of the roosters Shenqinglan (1780 1820)

New Sea of the Arts - 7, 1902 book Part seven (of 35); cover with diagonal pattern in pink, white and blue; Diagonal about the middle, title strip; 12 sheets: first leaf (blue), advertisements; 10 sheets with 20 pattern designs, of which a winding pattern in black, white, silver gray, orange and yellow on the first page; Last leaf (reddish brown), advertisements; Inside cover; Colophon; Cover back, English text. paper. color woodcut

An Actor Holding a Fan in front of Hydrangeas, one sheet of a polyptych. Date: 1847-1850. Dimensions: 37 cm x 25 cm. Museum: Van Gogh Museum, Amsterdam. Author: UTAGAWA KUNIYOSHI.

Snowy Gorge. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 28 3/4 x 9 1/2 in. (73 x 24.1 cm).Hiroshige began his career at about age fifteen as a student of Utagawa Toyohiro (1773-1828), who was known for his prints of landscapes and beautiful women. He also studied Japanese literati painting. Hiroshige's predilection for landscapes may have been fostered by such early influences. His course in this genre was set by the enormous success of his best-known landscape series, Fifty-three Stations of the Tokaido, published by Hoeido on the basis of sketches made during a trip to Kyoto in 1832.A special fondness for snow-covered landscapes and falling snow pervades his work. The depiction of falling snow fully exploits the woodblock medium: after the block has been carved, the unprinted paper supplies the whiteness. In this snow scene, one of Hiroshige's finest, probably made in 1841, the figures crossing the bridge and in the boats on t

Taihu Rock and Banana Plant 1831 Takahashi Shei This late work by the Nanga painter Takahashi Shei shows a potted banana plant (bash) and Taihu garden rock. According to Shei's signature, it was executed in 1831 at his residence in Itami, northwest of the city of Osaka, where he was active off and on from around 1824 until around 1830.Takahashi Shei began studying painting with Tanomura Chikuden (1777-1835), a leading literati painter and fellow native of Bungo Province (modern-day Oita Prefecture) on the far western island of Kysh. Shei first encountered Chikuden in 1822 when the master visited Shei's hometown of Kitsuki from Kyoto. Soon thereafter, Shei took Chikuden as a teacher and returned with him to Kyoto, where he was quickly recognized as one of Chikuden's most promising students. Active primarily in Osaka after his initial training with Chikuden and other painters in his circle, Shei was so highly regarded that in the Chikuden's Record of Painting Teachers and Frie

New Sea of the Arts - 30, 1905 book Part 30 (from 35); red-brown cover with black plant motif; In the middle, white title strip; 10 sheets with 20 pattern designs, of which pink peonies against a dark pink background on the first page; Inside cover; Colophon. paper. color woodcut

Textile fragment, embroidery on silk damask., anonymous, Japan, 1704 - 1711, Huy period, silk, height 29.3 cm × width 15.6 cm

Su Shi's "Ode to His Second Visit to the Red Cliff". Artist: Kano Hogai (Japanese, 1828-1888). Culture: Japan. Dimensions: Image: 50 7/8 × 12 11/16 in. (129.2 × 32.2 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Cat Wang Li Chinese. Cat. Wang Li (Chinese, 1813-1879). China. Hanging scroll; ink and color on paper. Qing dynasty (1644-1911). Paintings

Mountain River on the Kiso Road, 1857, 8th month, Utagawa Hiroshige; Publisher: Okazawaya Taheiji, Japanese, 1797 - 1858, 13 1/2 × 9 3/8 in. (34.3 × 23.8 cm) (image, sheet, vertical ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Flower Cart, 19th century, Shibata Zeshin, Japanese, 1807 - 1891, 7 1/2 x 7 7/16 in. (19.05 x 18.89 cm) (image), Hanging scroll; color on silk, Japan, 19th century

Daoist Master Fei Zhangfang with a Dragon Sesson Shkei Japanese ca. 1555 to 1561 A figure in loose Daoist robes is seated on top of a cliff with his arms outspread. He stares in astonishment as a dragon rises from amid the surging waves. The composition is a tour-de-force of ink painting techniques. The ink outlines of the Chinese sages robe were painted with calligraphic brushstrokes of varying thickness and density. His hat and robe, and the edges of his sleeves and belt were highlighted with light ink washes. The sense of the figures surprise at what he sees is conveyed by delicate lines describing his furrowed eyebrows, startled eyes, and gaping mouthhighlighted by his bristling whiskers! Light ink washes were then applied to give volume to his beard and hair. The rock cliff he sits upon was handled with ink washes in a boneless manner, contrasting with grasses that are rendered in short, abbreviated dabs of ink.The Daoist masters left hand opens slightly from a fist, and his eyes

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Peonies, late 1200s. China, Yuan dynasty (1271-1368). Hanging scroll, ink and color on silk; painting: 145.5 x 88.3 cm (57 5/16 x 34 3/4 in.); overall with knobs: 256 x 113.2 cm (100 13/16 x 44 9/16 in.).

Water landscape with fisherman in a prawn. Fragment of a painting representing a water landscape with a prark that is teared by a man.

Trial Proof for Cotton Printing: 'Pastoral Scene with Peacocks and Poultry', Joseph Sympson, British, 1710 - 1750, Marmaduke Cradock, British, 1660 - 1717, Francis Barlow, British, 1622 - 1704, Copper engraving in brown gum paste on eight sheets of laid paper with deckle edges, framed in two parts, The scene shows a peacock and poultry between an urn, left, and a classical ruin, right. A bird flies overhead, and near the top of the composition dogs pursue a stag., after 1721, textile designs, Print, Print

Wild hits above the tree; XU, Chongqian (1862-Post 1933); 1933 (1933-00-00-1933-00-00);Chinese (culture), geese, Huaniao (style), painting, coil painting, Chinese art, scrolls, vertical scrolls

Mountain Hermitage in Summer Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Asian Art 16th century

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.6 × 12 cm (13 5/8 × 4 3/4 in.)Warp repeat: 18.1 cm (7 in.). Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 4:1 satin weave with supplementary patterning wefts bound in weft-float faced 1:4 satin interlacings; label: silk, plain weave; painted in ink; glued over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Fragment, Medium: silk, metallic thread (frisé and filé) Technique: warp-face of an eight-harness satin patterned by warp-faced ribbed plain weave which is in turn patterned by one extra-weft and extra-weft brocading, Fragment of brocaded silk in the 'bizarre' style. Two hooked spirals placed side by side formed by two motifs, one a left curve and the other a right curve, repeated alternately the length of fabric. The major element of one motif is two wing-like leaves elaborated by geometric spirals, floral appendages, etc. in silver. The major element of the second motif is two feather-like leaves elaborated by a lace-like grid in silver. Incorporated within each motif are polychrome floral sprigs and vines which help to fuse the two motifs to form the hooked spiral as do other secondary elements in silver. The above pattern, which is mainly brocaded, stands out and is complementary to the monochrome woven pattern of the background (foundation fabric) in pink. With the exception of th

Peacock and peony flowers /Botan than Kujaku HIROSHIGE, UTAGAWA (1797 1858)

Lion and Peonies. Okumura Masanobu; Japanese, 1686-1764. Date: 1715-1730. Dimensions: 33.7 x 15.6 cm (12 1/2 x 6 1/8 in.). Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Genii Gama Sennin and Tekkai Sennin by Motonobu, Kano, (Workshop) (1476-1559)/ Staatliche Museen, Berlin/ Second half of the16th cen./ Japan/ Ink on paper/ The Oriental Arts/ 129x157,5/ Mythology, Allegory and Literature

Pomegranate and Bird, first half 19th century, Yamamoto Baiitsu, Japanese, 1783 - 1856, 12 1/16 × 23 3/16 in. (30.64 × 58.9 cm) (image)44 7/8 × 26 3/8 in. (113.98 × 66.99 cm) (mount, without roller), Ink and colors on paper, Japan, 19th century

Pinging drawing with bamboo and Japanese characters ..

Waka Poem: Moonlit Flower Masanari Shirakawa. Waka Poem: Moonlit Flower. Masanari Shirakawa (Japanese, 1488-1560). Japan. Hanging scroll; ink on paper. Muromachi period (1392-1573). Calligraphy

White Peony and Rocks dated 1752 Hua Yan Chinese Hua Yan worked in the prosperous city of Yangzhou at the time of the "Eight Eccentrics," a group whose bold idiosyncratic style extended beyond painting to personal attitudes and behavior. In developing the style of the early Qing masters Shitao (1642-1707), Zhu Da (1626-1705), and Yun Shouping (1633-1690), Hua made daring use of color, fresh realism in representation, and an unabashed display of brush virtuosity that made him a favorite model of late Qing and modern Chinese painters.Hua Yan favored unorthodox juxtapositions such as the one seen here: suffused ink washes for the garden rocks contrasted with lyrical and perfectly controlled color tints for the delicate blossoms and leaves. In his inscription at upper left, he gives the Song dynasty sources for these two dissimilar techniques: I follow Ma Yuan act. ca. 1190-1225 in chopping lean rocks,And imitate Xu Xi act. 10th century in plucking delicate blossoms.The two masters' st

Su Shi's "Ode to His Second Visit to the Red Cliff" 19th century Kano Hgai. Su Shi's "Ode to His Second Visit to the Red Cliff". Kano Hgai (Japanese, 1828-1888). Japan. 19th century. Hanging scroll; ink on paper. Edo (1615-1868)-Meiji period (1868-1912). Paintings

Miniature landscapes. Artist: Zhang Zongcang (Chinese, 1686-1756). Culture: China. Dimensions: 1 7/16 x 1 3/4 in. (3.7 x 4.4 cm). Date: datable to 1751-54.This tiny album was made for inclusion in a "treasure box," one of the elaborate containers of precious objects that were favorites of the Qianlong Emperor (r. 1736-95) of the Qing dynasty (1644-1911). Albums were particularly well-suited to satisfying Qianlong's love of miniatures, but court painters like Zhang Zongcang were also required to produce tiny handscrolls for treasure boxes. Museum: Metropolitan Museum of Art, New York, USA.

Roses. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 13 1/4 x 4 15/32 in. (33.7 x 11.4 cm). Date: ca. 1843. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Utaba, Haikai, Nakakubo, Gurendô, Shunman, Kubota, Kasumiren sômoku awase, A selection of plants for the Kasumi poets' association, Kakitsubata botan, Peonies and irises, Flowering peonies and irises. With two poems. The print is a b-copy., print, prent, surimono, prints, Japan (collection), height 210 mm, width 185 mm, Work conception, Japanese, 1757 - 1820, after print by, 1890 - 1900, paper, colour woodcut, blind stamp, poet, 1753 - 1829

Koto to eko, Koto and robe stand., Utagawa, Kuniyoshi, 1798-1861, artist, between 1830 and 1835, 1 print : woodcut, color ; 20.9 x 18.1 cm.

Purple Lichees and Bird. Artist: Unidentified Artist; After Emperor Huizong (Chinese, 1082-1135; r. 1100-25). Culture: China. Dimensions: 9 1/8 x 9 1/2 in. (23.2 x 24.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Pink and white flowers and straw coverings. Origin: Japan. Period: Edo period. Color and gold on silk panel. Date: 1761-1828. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Colored Pattern Design with Lotusflowers. Artist: Edgar Gilstrap Simpson (British, 1867-1945 (presumed)). Dimensions: sheet: 3 1/2 x 5 in. (8.9 x 12.7 cm). Date: 1899.Decorative pattern with a repetitive lotusflower motif. The flowers are incorporated in an orange/pink horizontal frieze, but the stems of the flowers extend downwards. Museum: Metropolitan Museum of Art, New York, USA.

Japanese flower arrangement with daisy, leaf, vase and tray. Handcoloured woodblock engraving hanga from a book of the Shinshintei school of Ikebana, 1835.

Textile Fragment, print and embroidery of flowers and leaves on copper color ground, anonymous, Japan, 1801 - 1804, Kyowa period, silk, height 19.8 cm × width 28.3 cm

Fragment (Japan)

Design for Leather and Netsuke 19th century Kubo Shunman Japanese. Design for Leather and Netsuke 54679

New designs; Shin Zuan. Part; cover with image of green bamboo roller blinds and top left white title strip; 13 sheets; one leaf, calligraphy; 12 prints by 12 artists, always signed on opposite page; Inside cover, colophon.

Noh Mask: Okina. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 11 3/8 x 16 1/8 in. (28.9 x 41 cm). Date: dated 1879.Among all Noh masks, the Okina (old man) mask is considered particularly sacred and has been at times treated as the embodiment of god, bringing longevity and prosperity to families. This sacred mask is discreetly shown here peering from a mask bag that is richly embellished with the auspicious motifs of a tortoise-shell pattern and a circular crane design. Zeshin has used lacquer painting with inlays of mother-of-pearl and gold fragments. The painting would have been displayed on auspicious occasions to express celebratory wishes for longevity. The ivory roller ends have been decorated in lacquer by Ikeda Taishin (1825-1903), Zeshin's student. Museum: Metropolitan Museum of Art, New York, USA.

Lovers Parade in Cherry Blossoms Katsukawa Shuncho (Japanese, active ca. 1780-1801). , 1780s. Woodblock print, 27 x 4 5/8 in. (68.6 x 11.7 cm). Asian Art 1780s

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Edo (1615-1868). Textiles-Woven

Curtain, Jean-Baptiste Pillement, French, 1728-1808, Medium: cotton Technique: copperplate printed on plain weave, White curtain panel printed in blue with chinoiserie design. Two Asian-inspired figures climbing a fantasy stairway in mid-air, a figure pointing to the top of a hill where a pagoda-like structure sits. Oversized flowers, foliage, and rococo scrolls accent the landscape. Narrow rectangular panel with six tabs along top edge for hanging., 1774-1811, printed, dyed & painted textiles, Curtain

Fragment, Medium: silk, pineapple fiber, tempera Technique: painted on fancy gauze, Ivory ground with brilliant polychrome tempera design. Large central urn with dwarf blossoming tree, flanked on either side by large bird and plant group. Small birds and insects flying through air., China, 18th century, printed, dyed & painted textiles, Fragment

Textile fragment, embroidery of white oleander and diamond motifs on ocher silk., anonymous, Japan, 1661 - 1673, Kanbun period, silk, height 30.5 cm × width 22 cm

Album of Sketches by Katsushika Hokusai and His Disciples 19th century Katsushika Hokusai Japanese. Album of Sketches by Katsushika Hokusai and His Disciples 48886

A Princely Hunt late 16th century Following the death of Shah Tahmasp in 1576 royal art patronage declined and artists sought outlets other than the court for their works. Artists increasingly made drawings that owners could include in albums that functioned like portable art galleries. One of the most influential masters in this period, Muhammadi of Herat, apparently served the Uzbeks, where he specialized in drawings of princely and rural pursuits in the countryside. Safavid artists, such as the one who drew this hunting scene, were inspired by Muhammadis technique and his choice of subject matter, though here the treatment of each figural group as a separate vignette lacks the coordination of Muhammadis original works. Listen to experts illuminate this artwork's story Listen Play or pause #6726. Overview: Persian Drawings, Part 1 Play or pause #6726. Overview: Persian Drawings Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available a

Piece 18th-19th century Japan. Piece 66360

Plum Trees right of a pair of Plum Trees and Hollyhocks, first half 18th century, Ogata Kenzan, Japanese, 1663 - 1743, 43 5/8 × 113 5/8 in. (110.81 × 288.61 cm) (image)44 7/8 × 115 1/8 × 5/8 in. (113.98 × 292.42 × 1.59 cm), Ink and color on gilded paper, Japan, 18th century, Ogata Kenzan is best known as a potter, but he was also a successful painter, especially after moving from Kyoto to Edo in his late sixties. Kenzan was the younger brother of painter Ogata Kōrin, from whom the decorative Rinpa school takes its namerin from Kōrin paired with pa, meaning 'school.' On a ground of gold leaf, Kenzan presents red and white camellias blooming on a small hillock below a large plum tree at right and, at left, pink, white, and red hollyhocks. With this placement of the motifs, Kenzan turned the folded surface of the screen into a vital component of the composition.

Asia, China, Shanghai, Shanghai Museum, paintings collection

Loquat and bird 1830-1833 Japan. Color woodblock print; otanzaku . Utagawa Hiroshige

Komagata Hall and O-umaya River Bank, from the series "A Selection of Horses (Uma zukushi)". Katsushika Hokusai ; Japanese, 1760-1849. Date: 1817-1827. Dimensions: 20.7 x 18.2 cm (8 1/8 x 7 1/8 in.). Color woodblock prints with metallic pigments; surimono shikishiban triptych. Origin: Japan. Museum: The Chicago Art Institute, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Bunting on a Maple Branch Utagawa Hiroshige (Ando) (Japanese, 1797-1858). , ca. 1840. Woodblock print, Image: 13 9/16 x 6 3/4 in. (34.5 x 17.2 cm). Asian Art ca. 1840

Birds and Flowers of Autumn and Winter early 18th century Kano Chikanobu Japanese The paintings on this screen are shaped like a dansen (rigid Japanese hand fan) and give viewers the impression of looking through two windows to view picturesque outdoor scenes. The application of gold leaf to the reverse side of the silk lends the paintings a subtle glow and a sense of depth and weight. The chrysanthemum and cotton rose on the right represent autumn, and on the left, the sasanqua, narcissus, and withered reeds symbolize winter. Another screen, featuring spring and summer scenes in a similar format but with silver instead of gold-leaf framing, once accompanied this one but is now in a private American collection. Kano Chikanobu, the leading Kano-school painter in eighteenth-century Edo, was particularly accomplished in bird-and-flower compositions.. Birds and Flowers of Autumn and Winter. Kano Chikanobu (Japanese, 1660-1728). Japan. early 18th century. Six-panel folding screen; ink and c

Kaido ni shokin, Small bird on a branch of Kaidozakura., Ando, Hiroshige, 1797-1858, artist, between 1804 and 1844, 1 print : woodcut, color ; 33.1 x 7.2 cm.

A young man raising a girl upon his shoulders to dislodge a shuttlecock that has caught upon a bamboo branch, with another girl looking on., 1766, Woodcuts, 10 7/8 x 3 in. (27.6 x 7.6 cm)

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Wasps and hairy caterpillar on arrowroot, Pages 2b and 3a in volume one of Utamaro's Insect Book., page, prints, illustrations, Japan (collection), height 250 mm, width 180 mm, Japanese, 1753 - 1806, print maker, printmaker, 1788 - 1788, fourth quarter 18th century, paper, colour woodcut, Publication (Event), Publication, publisher

Copy of Zhai Dakun's (c. 1770-1804) Landscapes in the Styles of Old Masters, 1847. Tsubaki Chinzan (Japanese, 1801-1854). Album; ink and color on silk; overall: 47.7 x 34.6 cm (18 3/4 x 13 5/8 in.); painting only: 41 x 31.5 cm (16 1/8 x 12 3/8 in.). Japanese painters were frequently influenced by paintings from China and Korea that they saw in private and temple collections throughout the country. Japan has a long history of interest in its continental neighbors.

Shunga album. Spring songs - Part three; Shunei Shochikabai - GE. Part three (of three); cover with cloud pattern and white flowers; Above left red title strip with pattern of plum blossom, bamboo and pine branches; 12 sheets: first page, image of plum blossom; 6 performances with love-winged couple; 12 pages, text.

Textile, Medium: cotton Technique: plain weave, patterned with stencil-applied paste resist (katazome) indigo dyed, Length of resist-dyed cotton with broad sweeping water forms framing two turtles swimming toward each other, with flowering plum and pine branches. In white, gray and black on a blue ground., Honshu, Japan, late 19th century, printed, dyed & painted textiles, Textile

Seaweed Shibata Zeshin Japanese. Seaweed. Shibata Zeshin (Japanese, 1807-1891). Japan. Album leaf; lacquer on paper. Edo period (1615-1868). Paintings

Satsuma, section of sheet no 18 from the series Cutout Pictures of the Provinces (Kunizukushi harimaze zue) 1852 Japan. Color woodblock print; section of harimaze sheet . Utagawa Hiroshige

Sutra Cover. China. Date: 1590-1599. Dimensions: 34.6 × 12.2 cm (13 5/8 × 4 7/8 in.). Silk and gold-leaf-over-lacquered-paper strips, satin weave with patterning wefts; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink. Origin: China. Museum: The Chicago Art Institute, USA.

FIGHT ON THE ROOF BETWEEN THE RIVALS GENPACHI EN SHINO ONO ONO THE HORY ûkaku, TSUKIOKA YOSHITOSHI, 1885 print A fight between the brothers Inuzuka Shino and Inukai Genpachi on the roof of the Hôryûkaku pavilion. This print depicts a part from the story 'The adventures of the eight dogs of Satomi' (Nansô Satomi Hakkenden), written between 1814-41 by Takizawa Bakin. It talks about the eight brothers who had Princess Fuse as a mother and a dog as a father. To be lost after each other and many adventures and fights later, they recognize each other again by their tattoo. (lower part of vertical diptyk) paper colour woodcut

Flowers and burning incense vessels, Liangxian Ding, c. 1600 - c. 1650 print China paper color woodcut censer. flowers

White heron and iris. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1827-1839. Dimensions: 38.4 x 17.5 cm (15 x 6 7/8 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Dress Panel Fragment; silk on silk

This 1910 image shows six poets, each with a quote from the work of each, from the Nara and Heian period in Japan. They are left, from top to bottom, and right, top to bottom: Ariwara no Narihira (825-880), Japanese courtier and waka poet of the early Heian period. He was named one of both the Six Poetic Geniuses and the Thirty-Six Poetic Geniuses: if cherry blossoms were not found anywhere in the world, then, of course, my heart should remain still in spring. ---Sosei Hoshi d I Priester Sosei (around 900), Japanese waka poet and Buddhist priest. He is listed as one of the Thirty-six Poetry

Wave. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: H. 14 11/16 in. (37.3 cm); W. 10 11/16 in. (27.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 66302

Six Immortals of Poetry: Fun'ya no Yasuhide. Origin: Japan. Period: Edo period. Ink and color on paper. Date: ca. 1806-1808. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Piece 19th century Japan. Piece. Japan. 19th century. Silk. Textiles-Woven

Sorimachi 409, 1746., 1746., Osaka

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

Ghosts. Yao Luan ( , 19th century); Chinese. Date: 1893. Dimensions: 13 1/4 × 14 in. Album of twelve leaves; ink on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Sutra Cover. China. Date: 1590-1599. Dimensions: 35.6 × 12.2 cm (13 5/8 × 4 7/8 in.)Repeat: 19 × 11.2 cm (7 1/2 × 4 3/8 in.). Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 4:1 satin weave with supplementary patterning wefts bound in weft-float faced 1:4 satin interlacings; label: silk, plain weave; painted in ink; glued over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Piece 18th-19th century Japan. Piece 66081

Crane MITSUSUKE (1675 1710)

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

School of Bisen, a crane, character and doe. Silk. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Fei Jiang-fang with a Crane 1636-1713 Japan. Triptych of hanging scrolls; ink and light colors on silk . Kanô Tsunenobu

Sutra Cover Made 1590-1599 China. Silk, gold-leaf-over-lacquered-paper strips, plain weave with patterning wefts; wrapped over cardboard; applied label of paper, with inscribed title painted and/or printed with ink .

Cuckoo flying over deutzia flowers. Komatsuya Hyakki; Japanese, 1720-1793 (). Date: 1761-1771. Dimensions: 10 1/8 x 7 3/4 in. Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Sidewall, Hand-painted on handmade paper, Vertical rectangle with branches of a flowering plant derived from the Indian Tree of Life; painted on four joined sheets of paper., France, 19th century, Wallcoverings, Sidewall

Shono Shiratori Mound (Shono, Shiratorizuka), section of sheet no 12 from the series Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze) 1852 Japan. Color woodblock print; section of harimaze sheet (uncut sheet 1939.1297) . Utagawa Hiroshige

Valance early 18th century China Qing dynasty (1644-1911), early 18th century Silk and metallic thread embroidery on silk satin Birds, flowers, and pomegranates flank an exuberant and prolific peach tree at the center of this embroidered valance, which is imbued with themes of fertility and longevity. Below the tree is a stream in which floats an imposing golden bell, antique in form, accompanied by a halberd and a musical stone, two items that form the rebus for a celebratory occasion.. Valance. China. early 18th century. Silk, metallic thread; on silk. Qing dynasty (1644-1911). Textiles-Embroidered

Chrysanthemums 1840-1849 Japan. Color woodblock print; uchiwa-e . Utagawa Hiroshige

Fish in a Whirlpool ca. 1887 Kawanabe Kyōsai Japanese. Fish in a Whirlpool 54617

Sutra Cover. China. Date: 1590-1599. Dimensions: 35.2 × 11.8 cm (13 7/8 × 4 5/8 in.)Warp repeat: 18 cm (7 in.). Silk and gold-leaf-over-lacquered-paper strip, gauze weave with supplementary patterning wefts; label: silk, plain weave; painted in ink, glued over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Noh Mask: Okina dated 1879 Shibata Zeshin Japanese Among all Noh masks, the Okina (old man) mask is considered particularly sacred and has been at times treated as the embodiment of god, bringing longevity and prosperity to families. This sacred mask is discreetly shown here peering from a mask bag that is richly embellished with the auspicious motifs of a tortoise-shell pattern and a circular crane design. Zeshin has used lacquer painting with inlays of mother-of-pearl and gold fragments. The painting would have been displayed on auspicious occasions to express celebratory wishes for longevity. The ivory roller ends have been decorated in lacquer by Ikeda Taishin (1825-1903), Zeshin's student.. Noh Mask: Okina 57161

Gates paintings

Women Washing Clothes at a Well Isoda Koryusai (Japanese, ca. 1766-1788). , circa 1780. Woodblock print, 23 3/4 x 5 in. (60.3 x 12.7 cm). Asian Art circa 1780

Piece from a Kosode with Crane and Chrysanthemums Japan. Piece from a Kosode with Crane and Chrysanthemums. Japan. Silk and metallic-thread embroidery on silk satin damask (rinzu). Edo period (1615-1868). Textiles-Embroidered

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Frogs and gold bug near lotus, Pages 17b and 18a in volume two of Utamaro's Insect Book., page, prints, engravings, Japan (collection), height 250 mm, width 180 mm, Japanese, 1753 - 1806, print maker, printmaker, 1788 - 1788, fourth quarter 18th century, paper, colour woodcut, Publication (Event), Publication, publisher

Poem in Seven-Syllable Meter. Artist: Ni Yuanlu (Chinese, 1593-1644). Culture: China. Dimensions: 6 5/8 x 18 7/8 in. (16.8 x 47.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

of 2