Japanese Prints and Textiles

Colorful prints and textiles showcasing nature-inspired designs and traditional Japanese motifs, highlighting craftsmanship and artistry.

Tokyo, Goto Tokujiro, Wada Tokutaro, Seitei, Watanabe, Katei, Taki, Suzuki Shonen, Bijutsu sekai - 15, back cover - stamped, Yellow cover with blue river motif and title in black; inside cover, table of contents; 17 pages: two pages of text; 1-15, illustrations of people, animals and landscapes and a few pages of text; inside cover, colophon., book, prints, pictures, Japan (collection), World of the Arts - 15, National School of Applied Arts, height 249 mm, width 161 mm, Japanese, 1848 - 1918, print maker, printmaker, 1891 - 1891, fourth quarter 19th century, paper, colour woodcut, blind printing, 1830 - 1901, 1851 - 1918, editor, Publication (Event), Publication, publisher, block cutter

Tokyo, Goto Tokujiro, Wada Tokutaro, Seitei, Watanabe, Katei, Taki, Suzuki Shonen, Bijutsu sekai - 15, back cover - stamped, Yellow cover with blue river motif and title in black; inside cover, table of contents; 17 pages: two pages of text; 1-15, illustrations of people, animals and landscapes and a few pages of text; inside cover, colophon., book, prints, pictures, Japan (collection), World of the Arts - 15, National School of Applied Arts, height 249 mm, width 161 mm, Japanese, 1848 - 1918, print maker, printmaker, 1891 - 1891, fourth quarter 19th century, paper, colour woodcut, blind printing, 1830 - 1901, 1851 - 1918, editor, Publication (Event), Publication, publisher, block cutter

Bamboo and Wreath 1850-1859 Japan. This is a small surimono on yellow-dyed paper that depicts a bamboo stem with a grass wreath. The print contains only two poems one inside the wreath and one on the left side of the stalk. By skillfully managing the printís limited space, Maezawa Otei was able to create three zones for inscriptions, for the two poems and for the artistís signature.Otei, also known as Maezawa Imon, was a painter and print designer working in Osaka. He was one of many practicing artists who originally came from another province (in his case, Echigo), pointing to the frequency of regional movement within the artist class.. Color woodblock print; surimono . Maezawa Otei

Textile fragment, Anonymous, 1781 - 1789 Textile fragment, pressure from a house with autumn leaves on blue -green background. Japan silk Textile fragment, pressure from a house with autumn leaves on blue -green background. Japan silk

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

WERELD DER KUNSTEN -14, MURASE GYOKUDEN, 1891 book White cover with silver -colored grass motif and in black the title; Inside cover, orange with butterfly motif; 21 magazines, numbered: 1, table of contents; 1-20, images of people, animals and landscapes and a few pages text; Inside cover, colophon. Tokyo paper color woodcut

Boy Riding Water Buffalo right of a pair, late 17th - early 18th century, Hanabusa Itchō, Japanese, 1652 - 1724, 40 3/4 x 15 in. (103.51 x 38.1 cm) (painting), Ink on paper, Japan, Nikuhitsu ukiyo-e

Flower Arrangement 19th century Utagawa Itchinsai Japanese. Flower Arrangement 54150

New Sea of the Arts - 15, 1903 book Part fifteen (of 35); green cover with double cloud motif; in the middle, title strip; 10 sheets with 20 pattern designs, of which a plant motif against a brown background on the first page; Inside cover; Colophon; Cover back, English text. paper. color woodcut

Fox with Staff (Hakuzosu). Artist: Eiraku Hozen (1795-1854). Culture: Japan. Dimensions: Image: 38 1/2 x 11 1/4 in. (97.8 x 28.6 cm)Overall with mounting: 68 1/2 x 11 3/4 in. (174 x 29.8 cm)Overall with knobs: 68 1/2 x 14 in. (174 x 35.6 cm). Date: after 1848.A Kyoto potter with close ties to the literati in his city and a similar taste for Chinese styles, Hozen was known for his highly colored wares and for his use of gold. A different side of his urbanity comes through in this rather personal painting, perhaps tempered by the business failures he experienced in his later years. A few economic brush strokes create the figure of a fox-priest, the protagonist in the comic kyogen play The Fox Trapper (Kirigitsune). The enigmatic poem cautions:Beware of those who have renounced the worldalthough they wear the robes of priestsat heart they are foxes still. Museum: Metropolitan Museum of Art, New York, USA.

The God of Long-Life Writing, anonymous, c. 1837 print The lucky god Fukurokujû writes the number 77 on a sheet of paper with a brush. Upstairs and on a pile behind him New Year's decorations, including knotted rope, fern leaf, orange leaf, rice cakes and crayfish. The large round rice cakes symbolize infinity. The seventy -seven birthday is considered very important in Japan. paper color woodcut representations ~ gods, demi-gods, heroes, etc. (non-Christian religions). old man. writing accessories

Swallow and hibiscus 1830-1839 Japan. Color woodblock print; aitanzaku . Utagawa Hiroshige

Artist: Li Shan, Chinese, 1686-1760, Banana Plant by a GardenRock, Hanging scroll, ink and color on paper, 69 3/4 × 18 3/4 in. (177.2 × 47.6cm), China, Chinese, Qing dynasty(1644-1911), Paintings

Hibiscus and Bluebird. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 15 x 5 in. (38.1 x 12.7 cm). Date: ca. 1832. Museum: Metropolitan Museum of Art, New York, USA.

Single Line Calligraphy: The Universe smiles; I bow my head. Daidō Bunka (Japan, 1680-1752). first half of the 18th century. Drawings; calligraphy. Hanging scroll; ink on paper

White-headed bird and ivy. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1833-1837. Dimensions: 35.4 x 12.3 cm (14 x 4 7/8 in.). Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Lifted by Ob Oki "; Lao Pak on (1947-2014); 2006 (2006-00-00-00-2006-00-00); was downloaded from the Muse of the National Museum in Warsaw; drawing / ink; products from W / Chropery paper; height 136.0 cm, width 68.5 cm; Skasmr 425 MNW; all rights reserved.Chinese (culture), gift (provenance), calligraphy, ganglion painting, Chinese art, scrolls, vertical scrolls

Fukurokuju, c. 1700, Ogata Kōrin, Japanese, 1658 - 1716, 8 3/8 x 10 1/8 in. (21.27 x 25.72 cm), Ink on paper, Japan, 17th-18th century, Fukurokuju is one of the Seven Gods of Good Fortune (Shichi fukujin), a group of deities adopted into Japanese mythology from China as early as the 15th century. Fukurokuju's distinguishing feature is an elongated cranium, probably suggesting the vast wisdom he accumulated over his long life. Because Fukurokuju was emblematic of longevity, this charming painting of him would have been appropriate to display at tea gatherings conducted to mark the beginning of a new year. In this way, the host could bestow wishes for good health and long life on his guests.

10 1/2 x 11 5/8 in. (26.67 x 29.53 cm) (sheet)14 1/16 x 18 1/16 in. (35.72 x 45.88 cm) (mount), Woodblock print, China

Japanese Tit and Wisteria, 18th century, Attributed to Nagasawa Rosetsu, Japanese, 1754 - 1799, 49 7/8 × 18 in. (126.68 × 45.72 cm) (image)20 7/8 × 24 1/4 in. (53.02 × 61.6 cm) (mount, without roller), Ink and light color on paper, Japan, 18th century

"Maple Bridge Night Mooring" ca. 1770 Ike Taiga Ike Taiga, one of the most prolific and influential artists of the Nanga, or literati school, in Kyoto, excelled in a calligraphic style called karay, or Chinese-style writing. This screen displays Taiga’s mastery of the style in his inscription of the Chinese poem “Maple Bridge Night Mooring,” by Zhang Ji (766-830), whose verses Taiga frequently used in his paintings and calligraphic works. The characters, most of which are rendered in grass script, or ssho, were powerfully brushed, with contrasting wet and semi-dry brushstrokes and broad and thin lines. The poem reads:The moon sets, crows sing, and frost fills the sky.Maple trees along the river and fires in fishing boatsface me, sleepless with lament.The bell of Cold Mountain Temple outside Suzhou tolls,At midnight, the sound reaches this boat.. "Maple Bridge Night Mooring". Ike Taiga (Japanese, 1723-1776). Japan. ca. 1770. Two-panel folding screen; ink on paper. Edo period (1615-1

Peonies and Chinese Lions. Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1757-1767. Dimensions: 12 1/8 x 5 3/8 in. Color woodblock print; hosoban, benizuri-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Daikon Radish, from an album of vegetables, Bian Shoumin, Chinese, 1684-1752, 7 1/2 x 4 1/2 in. (19.05 x 11.43 cm) (sheet), ink on paper, China

Japanese fans in a rectangle, Henri Charles Guérard, 1856 - 1897 print paper. ink etching / brush fan

Portrait of Li Xiangjun dated 1817 Cui He Chinese 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 profession as a courtesan, and a grove of blossoming trees. An open book on the table tells us that she is not only virtuous but also literate.Twelve colophons embellish this

Bamboo Nakabayashi Chikkei (Japanese, 1816-1867). Bamboo, 19th century. Hanging scroll; ink on paper, Image: 43 1/4 x 11 1/2 in. (109.9 x 29.2 cm). Asian Art 19th century

Amid the Mountains, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 52 9/16 × 19 13/16 in. (133.51 × 50.32 cm) (image)76 9/16 × 24 9/16 in. (194.47 × 62.39 cm) (mount, without roller), Ink on paper, Japan, 19th century, 々〇濤立　翠雲深幾 / 重　山中罕人車　終日撫 / 蒼龍

Sparrow and Snow-covered Camellia (Tsubaki) ca. 1845 Utagawa Hiroshige Japanese. Sparrow and Snow-covered Camellia (Tsubaki) 56949

The kite. A kite in the shape of a falcon (Takadako) depends on New Year's decorations of ferns (Urajiro). This is a calendar print for the year 1816; The kite rope indicates the short months of the year.

Placard for Shouxuan Hall 20th century China. Placard for Shouxuan Hall. China. 20th century. Ink on paper. Rubbing

Flowers right of a triptych of Kegon Falls and Flowers, 1902, Ishikawa Kosai, 44 1/8 × 11 3/8 in. (112.08 × 28.89 cm) (image)68 5/8 × 16 3/8 in. (174.31 × 41.59 cm) (mount, without roller), Ink, color, and gold on silk, Japan, 20th century

Fragment textile. Textile fragment, embroidery and print of trees and flowers on ocher-colored damask.

Quatrain on fishermen 12th century Attributed to Emperor Gaozong Chinese Following his abdication in 1162, Gaozong lived another twenty-five years in retirement with his wife, the empress Wu (1115-1197), devoting himself to scholarly and artistic pursuits. This poem, written in running script, may be a late work. The poem embellishes a round silk fan, a favored new format in Southern Song imperial art. By the late twelfth century, all silk fans were embellished with a painting on one side and a poem on the other, the image and the words complementing each other. The retired emperor often inscribed fans to bestow as gifts. The poems, when not original works by the emperor, were taken from anthologies of Tang or early Song poetry.This poem, describes the life of the fisherman-recluse:Small fishing boats are moored along the sandbanks of a stream.Calling to one another, the boatmen have gone to the wine-house.Turning in their catch of perch to buy drink,They retire to the song of the oars

A standing mans figure that looks at a partially opened handrol

Swallows, pleach blossoms, and full moon. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 37.8 x 17 cm (15 x 6 1/2 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

DAIKOKUTEN (God of Wealth). Date/Period: 1704. Painting. Author: Ogata Korin.

Japan: 'Ink Bamboo'. Hanging scroll painting by Gion Nankai (1676-1751), early 18th century. Gion Nankai (1676 - 26 October 1751), birth name Gion Yu, was a Japanese author, confucianist and painter of the nanga (literati) style. He taught Confucianism and wrote poetry and prose. He was influenced by Chinese Yuan and Ming dynasty painters, such as Tang Yin and Zhao Mengfu. His other art names included Horai, Kanraitei, Kikyo, Shoun, Tekkan Dojin and Tekkanjin.

Cuckoo with pine branch and full moon, Hiroshige (I), Utagawa (mentioned on object), Japan, 1843 - 1845, paper, colour woodcut, h 343 mm × w 114 mm

Birds on Red Plum Artist's working dates 1887-1897 China. Ren Yi was among the most successful and influential among Chinese painters of the so-called Shanghai School. Arriving in Shanghai in 1857, he took the artistic name ìbonianî (one-hundred years), claiming that it would take him a century to achieve success. However, by 1875 Ren Yi was the best-known painter in Shanghai. His highly sought-after bird-and-flower paintings initially followed the Song dynasty (960ñ1279) convention of applying rich color fields within outlines, producing decorative patterning with lifelike representation. This work represents his mature, more spontaneous style that is characterized by looser brushwork, more ink washes, and greater tonal variation.Six pairs of sparrows are perched among the branches of a weathered plum tree that is partially obscured by a large, moss-covered boulder. Since the delicate, five-petal plum blossom appears at the earliest sign of spring, often when the ground is still cover

Fragment textile. Textile fragment, embroidery and print of a bird and thistles on a light brown damask background.

Sutra Cover. China. Date: 1590-1599. Dimensions: 35.1 × 12 cm (13 7/8 × 4 3/4 in.)Repeat: 13.3 × 11.1 cm (5 1/4 × 4 3/8 in.). Silk and gold-leaf-over-lacquered-paper strips, gauze weave with supplementary patterning wefts; label: silk, plain weave; painted with ink; over paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Japan, Hanzan, Matsukawa, Japanese maple, Japanese maple (momiji) with Japanese text., print, prent, surimono, prints, prenten, Japan (collection), height 183 mm, width 505 mm, 1805 - 1882, print maker, prentmaker, 1815 - 1882, paper, papier, colour woodcut, kleurenhoutsnede

Offering Colza at the Kameido Tenjin Shrine (Kameido Tenjin natane no jinji), section of a sheet from the series "Cutout Pictures of Famous Places in Edo (Edo meisho harimaze zue)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1857. Dimensions: 37.5 x 8.2 cm. Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, USA.

Chrysanthemums by a Rock Gao Fenghan Chinese At the age of fifty-four Gao Fenghan lost the use of his right hand. Painfully retraining himself to write and paint with his left hand, he came to prize the naive awkwardness of his left-handed brushwork. He lived in a Buddhist monastery in Yangzhou for four years, became close friends with several of the so-called Eight Eccentrics of Yangzhou, then retired to his hometown in Shandong Province in 1741. Chrysanthemums by a Rock is a dashing performance of Gao's mature years. Although done in his highly expressive left-handed style, his vigorous wet brushwork is a direct outgrowth of the lush exuberant flower paintings of Shitao (1642-1707), who lived in Yangzhou for the last twelve years of his life. Gao's calligraphy is dynamically integrated with his painting. Filling in the leftover space, the robust rhythms of the writing seem a natural companion to the flowers and rock.. Chrysanthemums by a Rock. Gao Fenghan (Chinese, 1683-1749). China.

Orchids After a painting by Zhang Yujian Chinese printed 1922 View more. Orchids. After a painting by Zhang Yujian (Chinese, Qing dynasty, Qianlong period, (1736-1795)). China. printed 1922. Hanging scroll of polychrome woodblock print; ink and color on paper. Modern period. Prints

April 1911, 1910 - 1911 book. magazine Number 8 of volume 14 (April 1911) of the literary monthly magazine Hototogisu: red -brown cover with sake bottle on which image of blue devil with brush; Back, image of bridge over the river in which rowing boats. paper letterpress printing / color woodcut

Bamboo and Rocks, 1835, Nukina Kaioku, Japanese, 1778 - 1863, 7 3/4 × 17 3/8 in. (19.69 × 44.13 cm) (sheet)18 × 22 in. (45.72 × 55.88 cm) (mount), Ink on mica paper, Japan, 19th century

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

Ōban gold coin and mameita-gin silver bean coin” against peony-motif decorated paper 1822, year of the horse Watanabe Kazan Japanese The first poem, with its mention of badai (horse payments), no doubt inspired the imagery in this print. It was a time-honored tradition to make a gift offering of a horse to a Shinto shrine, but for centuries it was also the custom to make a monetary payment—equal to the value of a fine horse. The ohiroma mentioned in the verse suggests that the setting is the reception room of a daimyo’s residence. A large horse payment” (ō-badai) would be paid in gold, and a small horse payment” (ko-badai) in silver. Also, the depiction of a ten-ryō coin on a print devoted to equine themes recalls the story of Chiyo, the wife of Yamauchi Kazutoyo(one of Oda Nobunaga’s generals) who skimped and saved—wearing robes patched with old cloth—to raise ten ryō to acquire a fine horse for her husband, which he rode into many military victories.The second poem is by Kyōkado,

Kanshi on Shikishi, Chinese Poem on Sheet Mounted as Hanging Scroll Hon'ami Koetsu (Japanese, 1558-1637). , ca. 1600. Hanging scroll, ink, gold wash and silver wash on paper, Image: 7 1/2 x 6 3/4 in. (19.1 x 17.1 cm). Asian Art ca. 1600

Kakemono: Orchids, Bamboo, and Thorns - Right panel Gyokuen Bompo (Japanese, 1348-1420). Kakemono: Orchids, Bamboo, and Thorns - Right panel, late 14th-early 15th century. Ink on Korean paper, Image: 25 x 12 1/4 in. (63.5 x 31.1 cm). Asian Art late 14th-early 15th century

Landscape Tang Yin (Chinese, 1470-1523). Landscape, last quarter 15th-first quarter 16th century. Ink and color on paper, Overall: 77 x 20 1/2 in. (195.6 x 52.1 cm). Asian Art last quarter 15th-first quarter 16th century

Loquat and bird. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1825-1849. Dimensions: . Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Poetic couplet 19th century China The couplet embroidered on these two panels suggests they were meant for the birthday celebration of an official who earned great honors from the imperial court.. Poetic couplet 69869

Section of a Handscroll with Waka and Underpainting of Pines early 17th century Hon'ami Ketsu This detached section of a long poetry handscroll was remounted to serve as a self-sufficient calligraphic composition, with a single complete waka (31-syllable court verse) inscribed atop an abstract landscape of pine trees painted in gold. The calligraphy is in the distinctive style of Hon’ami Ketsu, rendered in a dynamic yet ever so elegant array of “scattered writing” (chirashigaki) rhythmically composed in nine columns—some long, some comprising but a single character—that playfully regroups the 5-7-5-7-7 syllable structure of the poem into a new composition. The overall balance of this constellation of kanji and kana characters works well, with a focal point of the composition in the cluster of boldly inked characters “aki no tsuyu” . These three characters reveal two other trademark features of Ketsu’s hand. First, he has reversed the two parts of the character aki so that

Day-Lily 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.

Augustus 1911, 1910 - 1911 book. magazine Number 13 of volume 14 (August 1911) of the literary monthly HOTOTOGISU: Oranjebruin cover with sake bottle on which image of blue devil with brush; Back, people on a river bank. paper letterpress printing

Japan - part five, Anonymous, 1868 - 1912 book Part five of a series of pattern books; blue cover with image of a pink stylized kimono; 50 sheets with various dust patterns, kimono designs and some flowers and plants. Japan paper color woodcut

Courtesan Dreaming of her Childhood, c. 1770. Suzuki Harunobu (Japanese, 1724-1770). Color woodblock print; sheet: 68 x 12.8 cm (26 3/4 x 5 1/16 in.). This print depicts a courtesan dreaming about the time she was taken from her family to become a courtesan. The man leading the girl by the hand is probably escorting her to the Yoshiwara, the entertainment district in Edo. This format is called a pillar print, or hashira-e (literally, "pillar picture"). It is made by pasting two sheets together vertically to form a long, narrow picture, often hung as a decoration on the narrow support posts of the interior of Japanese houses.

Recalling an Imperial Visit, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 70 5/16 × 18 1/4 in. (178.59 × 46.36 cm) (image)88 3/4 × 23 15/16 in. (225.43 × 60.8 cm) (mount, without roller), Ink on paper, Japan, 19th century

Anonymous. Square box containing 4 perfume boxes. Lacquer. Museum of Fine Arts of the City of Paris, Petit Palais. Perfume box, floral decor, lacquer object

Evening Glories. Date/Period: 18th century. Painting. Hanging scroll; ink, color, and gold on paper. Height: 239 mm (9.40 in); Width: 302 mm (11.88 in). Author: Ogata Kenzan.

Munja-Chaekgeori Screen (Character-Books Screen), late 1800s. Korea, Joseon dynasty (1392-1910). Eight-panel folding screen, ink on paper; overall: 150.5 x 330.2 cm (59 1/4 x 130 in.); painting only: 85.1 x 27.3 cm (33 1/2 x 10 3/4 in.). During the late 1800s in Korea, local and central governments actively promoted Confucian teachings in fear of the influx of foreign ideas and beliefs like Christianity. Under the patronage of such leadership, many types of munjado (literally meaning characters”) screens were produced. Such paintings adorned Korean aristocrats’ studies as well as the classrooms of Confucian academies. The eight Korean characters inscribed on the upper portion of each panel of this screen refer to the values of Confucian teachings of the Joseon dynasty: filial piety (hyo), brotherly love (je), loyalty (chung), trust (sin), propriety (yae), righteousness or justice (eui), modesty or integrity (yeom), and humility or the feeling of shame (chi). The lower section of each

Breaking Waves. Date: 1847. Origin: Japan. Period: Edo period. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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

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

Kanagawa by Hokusai Katsushika (1706-1849). Woodcut, colour. Print of two men in a boat fishing with nets.

Flowers and Birds of the Four Seasons mid-19th century Ikeda Koson The right-hand scroll depicts flowers of the spring and summer seasons; the left, flowers and foliage of autumn and winter. Both works are executed in subtle yet rich tones and soft washes of color; leaves, branches, and flowers are rendered in the boneless” manner—devoid of outline—that was typical of established Rinpa style. In numerous areas pigments are pooled or puddled together to create a mottled effect, a technique known as tarashikomi. Among the more talented students of Sakai H?itsu, Suzuki Kiitsu (1796-1858) is perhaps the most famous, but his younger contemporary Ikeda Koson was also an artist of great ability and dedication to the ideals of the Rinpa tradition. Koson was open to influences from other styles of painting, however; this pair of hanging scrolls owes much of its poetic appeal and its almost sensuous yet subdued colors to Koson’s Rinpa training.. Flowers and Birds of the Four Seasons. Ikeda Koso

After Wang Xianzhi's (344-385) Foxglove Broth Letter. Artist: Wen Peng (Chinese, 1498-1573). Culture: China. Dimensions: 6 x 19 in. (15.2 x 48.3 cm). Date: dated 1567. Museum: Metropolitan Museum of Art, New York, USA.

Poppies, late 19th - early 20th century, Sakai Dōitsu, Japanese, 1845 - 1913, 15 × 10 11/16 in. (38.1 × 27.15 cm) (image)47 1/8 × 15 7/8 in. (119.7 × 40.32 cm) (mount, without roller), Ink and color on silk, Japan, 19th-20th century

The four seasons of the capital, 1907 book Pattern book; one part (complete); Cover with image of four women, bearing different materials on the head, above the title; 15 magazines: first leaf, introduction; second sheet, table of contents; 12 sheets with fabric designs that are suitable for every month of the year; Last sheet, Colophon. paper

Painting of Mount Fuji Attributed to Sakai Hoitsu (Japanese, 1761-1828). Painting of Mount Fuji, 1615-1868. Hanging Scroll, painting on silk, 30 11/16 x 51 11/16 in. (78 x 131.3 cm). Asian Art 1615-1868

Swallows and Cherry Blossoms. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1834. Dimensions: 37.5 x 12.7 cm (14 3/4 x 5 in.). Color woodblock print, chu-tanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Colored Paintings Pavilion late 19th-early 20th century Workshop of Jian Guzhai Chinese This ink tablet is from a sixty-four-tablet set (30.76.216-.279) commissioned by the Jiaqing emperor from the Studio for Appreciating the Antique (Jiangu Zhai) manufactory of the Wang Jinsheng family in Huizhou, Anhui Province. Each ink tablet commemorates a hall or pavilion in one of the imperial gardens. Each sites name is written in gilt characters on one side; a view of the site is presented on the other. Such inks were purely decorative and not intended for use.. Colored Paintings Pavilion 41826

Portrait of Emperor Shennong 1665 Kano Tan'yū Japanese Seasonal landscapes in a Chinese style evoking summer and winter flank an imaginary portrait of Shennong (Japanese: Shinnō), the legendary Chinese emperor and reputed inventor of agriculture and herbal medicine. The landscapes, markedly asymmetrical in keeping with the Chinese Southern Song (1127-1279) conventions, also follow the popular Japanese late medieval formula for landscapes: the summer scene features a tall waterfall with a gushing stream, while its companion is enveloped in the silence of winter snow, a solitary traveler and a single pennant denoting a wine shop as the sole signs of human presence.The pair of landscapes (14.76.26, .28) were signed and dated by Tanyū to his sixty-first year (1662), while the Shennong portrait (14.76.27), according to the signature, was brushed three years later, when the artist was sixty-four. Following the custom of having landscapes flank religious paintings to create a triptych, this

Landscape in the Style of Ancient Masters frontispiece title by Lu Hui (1851-1920) 1637-1647 China. Album leaf; ink and colors on paper . Lu Hui

Dr. Portrait Friedrich Getike. Bust to the right, in oval

Japanese flower arrangement with plum in a vase on a beam. Handcoloured woodblock engraving hanga from a book of the Shinshintei school of Ikebana, 1835.

Daruma Hakuin Ekaku (Japanese, 1685-1768). , ca. 1765. Hanging scroll, ink on paper, Image: 22 x 8 1/4 in. (55.9 x 21 cm). Asian Art ca. 1765

Ukiyo-e print of a fan with maple leaves . Dated 1850

Albumblad, Hui Nian, 1850 - 1900 Album magazine with a landscape. Belongs two albums with 24 landscapes in the style of various masters. China ink. paper Album magazine with a landscape. Belongs two albums with 24 landscapes in the style of various masters. China ink. paper

Hotei, flanked by panels of birds late 15th century After Kenk Shkei. Hotei, flanked by panels of birds. After Kenk Shkei (Japanese, active ca. 1478-ca. 1523). Japan. late 15th century. Paint on paper. Muromachi period (1392-1573). Paintings

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

Detail of hand painted cupboard doors in bedroom, residential home, Dehra Dun, Himalayan foot hills, Uttar Pradesh state, India, Asia

Beauty Admiring a Warbler on a Plum Tree. Tsukioka Settei (Japan, 1710-1786). Japan, 18th century. Paintings; scrolls. Hanging scroll; ink and color on silk

Figures of donors - fragment of Buddhist stele. unknown, graphic artist

Blossoming Cherry Trees. Artist: Sakai Hoitsu (Japanese, 1761-1828). Culture: Japan. Dimensions: Image: 38 x 82 3/16 in. (96.5 x 208.8 cm)Overall with mounting: 39 9/16 × 83 3/4 in. (100.5 × 212.8 cm). Date: ca. 1805.Paintings of cherry trees in isolation are surprisingly rare, considering they are the quintessential symbol of Japan. The cherry tree serves in literature and painting as an emblem of spring or an allusion to certain famous sites (meisho) such as Yoshino, near Nara. This small-screen composition--which originally probably lacked the wide silver band at the bottom--illustrates Sakai Hoitsu's unerring sense of space, created here by an expanse of gold leaf. Hoitsu, an ardent admirer of the Kyoto artist Ogata Korin (1658-1716), strove to transplant the Rinpa aesthetic to Edo. Hoitsu was trained in painting as well as in the literary arts of haikai (seventeen-syllable seasonal verse) and kyoka (thirty-one-syllable witty verse). His immersion in haikai, with its sensitivity to

An Arrangement of Valerian (Ominaeshi) and Chinese Bell Flowers (Kikyo) 1791-1801 Japan. Color woodblock print; aiban . Kitagawa Utamaro

Parody of Bodhidarma Embarking on a Reed Leaf Suzuki Harunobu (Japanese, 1724-1770). Parody of Bodhidarma Embarking on a Reed Leaf, ca. 1766. Woodblock color print, 28 3/8 x 5 3/16 in. (71.9 x 13.1 cm). Asian Art ca. 1766

Flowers and Bird, 18th century, Suzuki Kiitsu, Japanese, 1796 - 1858, 38 1/2 × 12 1/8 in. (97.79 × 30.8 cm) (image)74 1/2 × 17 3/8 in. (189.23 × 44.13 cm) (mount, without roller), Ink and color on silk, Japan, 18th century

Kuwana 42. stop. Captain Tokuzō and the spectrum of Umi Bōzu / Kuwana, from the series: Comparison with fifty three stages of the Tōkaidō / Tōkaidō Gojūsan Tsui road Utagawa, kuniyoshi (1797 1861)

Panel China. Panel. China. Silk; on silk; lined with silk; silk tassels. Qing dynasty (1644-1911). Textiles-Embroidered

Portrait of Emperor Shennong. Artist: Kano Tan'yu (Japanese, 1602-1674). Culture: Japan. Dimensions: 41 1/2 x 18 3/16 in. (105.4 x 46.2 cm). Date: 1665.Seasonal landscapes in a Chinese style evoking summer and winter flank an imaginary portrait of Shennong (Japanese: Shinno), the legendary Chinese emperor and reputed inventor of agriculture and herbal medicine. The landscapes, markedly asymmetrical in keeping with the Chinese Southern Song (1127-1279) conventions, also follow the popular Japanese late medieval formula for landscapes: the summer scene features a tall waterfall with a gushing stream, while its companion is enveloped in the silence of winter snow, a solitary traveler and a single pennant denoting a wine shop as the sole signs of human presence.The pair of landscapes (14.76.26, .28) were signed and dated by Tan'yu to his sixty-first year (1662), while the Shennong portrait (14.76.27), according to the signature, was brushed three years later, when the artist was sixty-fo

Carp, Calligraphy, from an untitled series of harimaze Katsushika Taito (Japanese, active 1810-1853). Carp, Calligraphy, from an untitled series of harimaze, ca. 1830-1844. Color woodblock print on paper, 14 15/16 x 10 3/8 in. (37.9 x 26.4 cm). Asian Art ca. 1830-1844

Stone plate with a relief stage with two characters in the interior unknown

Calligraphy: The moon fills the pure clouds with light. Nakahara Nantenbō (Japan, 1839-1925). no date. Drawings; calligraphy. Hanging scroll; ink on paper

Staff and Whisk. Hakuin Ekaku (Japan, 1685-1768). 1758. Paintings; scrolls. Hanging scroll; ink on paper

Tiger. Padrol painting in box.

Single-line Calligraphy, mid 19th century, Shinozaki Shōchiku, Japanese, 1781 - 1851, 54 3/16 × 4 9/16 in. (137.64 × 11.59 cm) (image)75 9/16 × 7 1/4 in. (191.93 × 18.42 cm) (mount, without roller), Ink on paper, Japan, 19th century

Hollyhocks. ink on paper. Origin: Japan. Period: Edo period. Date: 1615-1868. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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