Japanese Silk Cultivation and Deities

A vibrant collection depicting women involved in silkworm cultivation alongside representations of the seven Japanese gods of fortune, showcasing traditional Japanese art.

Women during various stages in the process of growing silkworms, in the background the seven Japanese gods of fortune. Silk was an important export product for Japan during this period and the cultivation of the silkworm an important part of the economy., The seven gods of fortune in the cultivation of silkworms, print maker: Utagawa Yoshiiku, (mentioned on object), publisher: Tsujiokaya Bunsuke, (mentioned on object), Japan, 1875, paper, colour woodcut, h 359 mm × w 720 mm

Women during various stages in the process of growing silkworms, in the background the seven Japanese gods of fortune. Silk was an important export product for Japan during this period and the cultivation of the silkworm an important part of the economy., The seven gods of fortune in the cultivation of silkworms, print maker: Utagawa Yoshiiku, (mentioned on object), publisher: Tsujiokaya Bunsuke, (mentioned on object), Japan, 1875, paper, colour woodcut, h 359 mm × w 720 mm

A group of seven female characters the roles of the actor Segawa Kikunojo Shun'ei, katsukawa (1762 1819)

Ishiyakushi, from the series The Fifty-three Stations of the Tokaido Road. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 7 x 9 in. (17.8 x 22.9 cm). Date: early 20th century. Museum: Metropolitan Museum of Art, New York, USA.

The Tenth Month ca. 1767 Ishikawa Toyomasa Japanese. The Tenth Month. Ishikawa Toyomasa (Japanese, active 1770-1790). Japan. ca. 1767. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

No. 3: Kato Kiyomasa, from the series "Three Tales of Valor (Buyu sanban tsuzuki)". Katsukawa Shuntei; Japanese, 1770-1824. Date: 1820. Dimensions: 21.2 x 18.2 cm (8 5/16 x 7 1/8 in.). Color woodblock print; shikishiban, surimono. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Kampei chasing away Bannais soldiers, scene from the 3rd act of the drama: Treasury of fideIIty /Chishingura

Enemy waves are approaching the modern Prince Genji; Imayo Genji Yoseru Adanami. evening scene with boat in which two women and a man, sailing between isrises; Prince Genji, standing in the middle with bamboo roeir belt in hands, looking at woman with impeller and drum; On his other side a woman with irises in the right hand; In the background a stone lantern and a night landscape.

Brocade Making by Women Nishikawa Sukenobu (Japanese, 1671-1750). , ca. 1730-1736. Woodblock print on paper, Image: 13 7/8 x 9 3/8 in. (35.2 x 23.8 cm). Asian Art ca. 1730-1736

Courtier leading a grey horse unknown

Artisans, from the series "An Up-to-Date Parody of the Four Classes". Artist: Utagawa Kunisada (Japanese, 1786-1865). Culture: Japan. Dimensions: Each 10 x 14 1/2 in. (25.4 x 36.8 cm). Date: 19th century.To represent artisans, one of the four classes (warriors, farmers, artisans, and merchants) of the Edo period, Kunisada replaced the men more typical of the theme with pretty women and illustrated the interior of a woodblock printer's atelier. The woman at a table at the right is incising fine lines into a woodblock through a sheet of paper bearing an artist's painted design. In the center near the window, another woman is using a gouge and mallet to remove unwanted wood from another block. The woman in the center foreground is applying sizing to a sheet of paper. At the left, in front of a printing alcove, a female printer is waiting for these preparations to be completed. Museum: Metropolitan Museum of Art, New York, USA.

Interior of a Public Bath 19th century Utagawa Yoshiiku Japanese. Interior of a Public Bath. Utagawa Yoshiiku (Japanese, 1833-1904). Japan. 19th century. Triptych of woodblock prints; ink and color on paper. Edo period (1615-1868). Prints

GRABADO JAPONES - SIGLO XIX - 36,4 x 24,6 cm. Author: UTAGAWA HIROSHIGE O ANDO TOKUTARO. Location: PRIVATE COLLECTION. France. EJIRI.

HOOFDSTUK 27, Utagawa Kunisada (I), 1849-1853 print Woman under parasol with court lady and maid, looking at Prince Genji sitting with fan; Temple and pagoda between blossoming trees in the background. Presentation enclosed by brown edge in which Genji emblems. Print Maker: Japantokotokyopublisher: Tokyo paper color woodcut / nishiki-e garden. fan. parasol, sunshade

A View of the Amusements of the Foreigners in Yokohama, Bushu 1st month, 1861 Utagawa Yoshitora Japanese. A View of the Amusements of the Foreigners in Yokohama, Bushu. Utagawa Yoshitora (Japanese, active ca. 1850-80). Japan. 1st month, 1861. Triptych of woodblock prints; ink and color on paper. Edo period (1615-1868). Prints

Entrance Hall of The Inn in Seki, 1841-1842, Utagawa Hiroshige, Japanese, 1797 - 1858, 7 3/8 x 12 3/8 in. (18.8 x 31.5 cm) (image)8 1/2 x 13 in. (21.6 x 33 cm) (plate), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Legendary Strongman Sakata Kinpira (Kintoki) Drinking Sake Ishikawa Toyonobu Japanese ca. 1750 View more. Legendary Strongman Sakata Kinpira (Kintoki) Drinking Sake. Ishikawa Toyonobu (Japanese, 1711-1785). Japan. ca. 1750. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Battle at Kumamoto Castle, Kagoshima War (Detail) Artist Unknown Japanese Woodblock Print Culver Pictures Inc.

Shell-Matching Game, from the illustrated book Gifts from the Ebb Tide (Shiohi no tsuto) 1789 Japan. Color woodblock print; double-page illustration from book

Godanme, Act five of the Chushingura., Utagawa, Kuniyasu, 1794-1832, artist, between 1815 and 1818, 1 print : woodcut, color ; 19.6 x 26 cm., Print shows a man (possibly the outlaw Sadakurô) holding an umbrella, glaring at a man (probably Yoichibei) holding a lantern, cowering in the rain; Sadakurô will rob and kill Yoichibei.

Yuranosuke in the Ichiriki tea house in Kyoto, scene from the 7th act of the drama: Treasury of fideIIty /Chishingura HIROSHIGE, Ichiryusai (1797 1858)

Gathering Lotus Flowers 1760-1770 Japan. Color woodblock print; chuban . Suzuki Harunobu

Women on street by Utagawa Hiroshige, colour woodcut, 1856-1858, 1797-1858, Russia, St Petersburg, State Hermitage, 39x26

Chapter 14; Faithful images of the beautiful prince; Sono Sugata Hikaru No Utsushi-e. Prince Genji with range standing at well, looking at woman sitting on first floor porch; A maid with sword in the right hand looks. Presentation enclosed by brown edge in which Genji emblems.

Nakamura Utaemon IV as a Warrior Standing in the Snow, c. 1835. Shunbaisai Hokuei (Japanese, d. 1837). Color woodblock print; sheet: 37.9 x 25.2 cm (14 15/16 x 9 15/16 in.).

The poem of abe if it's namaro, from the series: One hundred poems painted according to the Explanations of the Nurses /Haininin Isshu Ubaga Etoki Katsushika, hokusai (1760 1849)

The Loyal League of Forty-seven Rnin (Chshingura), Act III: Kampei attacked by Bannai and his men. Artist: Katsushika Hokusai, Japanese, 1760-1849

Ushiwakamaru (Minamoto no Yoshitsune) defeats Benkei in a game of sugoroku 1820-1830 Japan. Color woodblock print; shikishiban, surimono . Totoya Hokkei

Three actors at a temple gate. A snow scene for a temple with a large Buddha image, visible through the open window on the first floor. On the balcony a woman (actor Iwai Hanshirô v (1776-1847) in the woman's role Ishikawa Masagoji) is a long letter in her hands that rolls down and is grabbed by a man under an umbrella (actor Ichikaiwa Danjûrô (1791-1859) In the role of Konoshita Tôkichi). Below the gate is a woman (actor Nakamura Daikichi (1773-1823) in the women's role of Tôkichi's wife Oshizu) with a travel hat and a framed image in her hands. With one poem.

EMPRESS JING During An ARMED ATTACK in KOREA / JING WHOM SANKAN SEIBATSU NO ZU Utagawa, kuniyoshi (1797 1861)

The Dance at Furuichi for the Hisagataya Group, mid 1820s. Gakutei Harunobu (Japanese, 1786()-1868). Color woodblock print; sheet: 21.3 x 18.8 cm (8 3/8 x 7 3/8 in.).

Two men on a roof at night Kunisada, UTAGAWA (1786 1864)

Beauties of the Three Capitals Shimabara in Kyoto (right), Yoshiwara in Edo (center), and Shinmachi in Osaka (left) 1750-1760 Japan. Hand-colored woodblock print; uncut hosoban triptych, urushi-e . Torii Kiyohiro

Fujieda, Jimba tsugitate Fujieda Station 23, Changing horses. And, Hiroshige, 1797-1858. Prints. 1832. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. Travel , Japan, Postal service , Japan, Tokaido (Japan), Porters, Shipping, Warehouses, Horses, Government officials, Fujieda-shi (Japan)

Two Young Men and Several Women Dining at a Tea-house on the Bank of the Sumida River. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: H. 15 in. (38.1 cm); W. 20 1/2 in. (52.1 cm). Date: ca. 1788. Museum: Metropolitan Museum of Art, New York, USA.

Popular Ōtsu-e Phenomenon', 1848, Utagawa Kuniyoshi; Publisher: Minatoya Kohei, Japanese, 1798 - 1861, 14 5/16 × 28 3/4 in. (36.4 × 73.1 cm) (image, sheet, vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, Folk paintings produced by anonymous artists in Ōmi Province (present-day Shiga Prefecture) during the Edo period came to be called Ōtsu-e (Ōtsu paintings) because they were sold in and around the town of Ōtsu, an official way station on the Tōkaidō road.

Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings. The Yamato-e often tell narrative themes with text along with them, show the beauty of nature, e.g. famous places (meisho-e), and the four seasons (shiki-e). The pictures are non-symbolic and have the objective of depicting the beauty in nature. The pictures are often on scrolls that can be hung on a wall (kakemono) or handscrolls (emakimono) that could be read from right to left with the accompanying story or on a folding screen (byoubu) or panel (shouji). Although they received their name from the Yamato period (250-710 CE), Yamato-e pictures rather stand for a style and are not restricted to a particular period.

Danjuro VII's Benkei as Fudo Myoo. Artist: Utagawa Kunisada (Japanese, 1786-1865). Culture: Japan. Dimensions: 8 7/16 x 7 3/8 in. (21.4 x 18.7 cm). Date: ca. 1824.Benkei is an armed and courageous warrior. Seated on a pile of humans, this character presents overlapping images of the superpowerful heroes Benkei and Fudo Myoo (Immovable Guardian King of the Buddhist Law), holding a sword and a rosary. Fudo Myoo, particularly at the Shinshoji temple in Narita, is a protector of the Ichikawa family. This surimono, a privately commissioned print, might have been a New Year's gift to celebrate the birth of the future Danjuro VIII. Museum: Metropolitan Museum of Art, New York, USA.

Girls Getting on Board a Boat, from the illustrated book Flowers of the Four Seasons 1801 Kitagawa Utamaro Japanese. Girls Getting on Board a Boat, from the illustrated book Flowers of the Four Seasons. Kitagawa Utamaro (Japanese, ca. 1754-1806). Japan. 1801. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Court Nobles and Farmer with Rat and Rabbit, left sheet of the triptych Poetry About Modern Rustic Subjects. Date: c. 1880. Dimensions: 37.5 cm x 25.7 cm. Museum: Van Gogh Museum, Amsterdam. Author: ONBEKEND.

The ditch shell Mizogai (title on object) A comparison of Genroku poems and shells (series title) Genroku kasen kaiawase (series title on object), Three girls and a boy play between open sliding doors in a departure. They blow marbles over the baseboards of the sliding door. On the veranda a feather ball and racket and a bag with marbles. The shell to which the title refers is depicted in the fan-shaped cartouche. With two poems, (playing with) toys, Katsushika Hokusai (mentioned on object), Japan, 1821, paper, h 199 mm × w 176 mm

Hiroshige's One Hundred Famous Views of Edo, actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate. The people of Edo marked the autumn season with excursions to scenic attractions and harvest festivals, and viewing fall foliage at its peak. The prints numbered 73 through 98 suggest the activities of this season in Japan, the Seventh, Eighth, and Ninth Months. Utagawa Hiroshige (1797 October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andi Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyusai Hiroshige.

MISHIMA, 1906 Two travelers leave the Mishima station early in the morning, one on horseback and the other in a carrying basket. cardboard color woodcut

The Umegawa at Ryogoku Yanagibashi ca. 1835-42 Utagawa Hiroshige Japanese. The Umegawa at Ryogoku Yanagibashi 45308

The fourth deed; Yondanme; Scenes from the Kanadehon Chushingura story; Kanadehon Chushigura. Group of people on the street at the wall of a palace; a spectator on the wall; Behind the wall a face in different rooms.

Procession of a Daimyo. Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 27.2 x 38.3 cm. Hand-colored woodblock print; oban yoko-e, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Warriors on a Boat, sheet of a triptych. Date: 1870-1880. Dimensions: 26 cm x 20 cm. Museum: Van Gogh Museum, Amsterdam. Author: UTAGAWA YOSHITORA.

Seki. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Date: ca. 1838. Museum: Metropolitan Museum of Art, New York, USA.

Oda Nobunaga (June 23, 1534 - June 21, 1582) was the initiator of the unification of Japan under the rule of the shogun in the late 16th century, a rule that ended only with the opening of Japan to the Western world in 1868. He was also a major daimyo during the Sengoku period of Japanese history. His work was continued, completed and finalized by his successors Toyotomi Hideyoshi and Tokugawa Ieyasu. He was the second son of Oda Nobuhide, a deputy shugo (military governor) with land holdings in Owari Province. Nobunaga lived a life of continuous military conquest, eventually conquering a third of Japanese daimyo before his death in 1582. His successor, Toyotomi Hideyoshi, a loyal Oda supporter, would eventually become the first man to conquer all of Japan and the first ruler of all Japan since the Ōnin War.

Japan: 'Cherry-blossom Viewing at Asuka Hill'. From the series 'Famous Places in Edo' by Utagawa Hiroshige I (1797-1858), 1853. Utagawa Hiroshige (1797 - October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Ando Hiroshige, and by the art name of Ichiyusai Hiroshige. Among many masterpieces, Hiroshige is particularly remembered for 'The Sixty-nine Stations of the Kisokaido' (1834-1842) and 'Thirty-six Views of Mount Fuji' (1852-1858).

Edo, Utamaro, Kitagawa, Preparations for the Lantern Festival, Pages 28 and 29 of part one of Utamaro`s book: Events in the pleasure houses during the year., page, prints, engravings, Japan (collection), height 224 mm, width 158 mm, Japanese, 1753 - 1806, print maker, printmaker, 1804 - 1804, first quarter 19th century, paper, colour woodcut

Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his kyoka poetry and surimono woodblock works.

Night scence aboard a pleasure boat 1825-1845 Japan. Color woodblock print; shikishiban diptych, surimono . Utagawa Kuniyoshi

Li Ying, Japanese name Bokuteno Rio, wielding a mace with a chained weight. Mu Hong, Japanese name Botsusharan Bokko, with tattooed back, preparing a sword-stroke. The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu), known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces. In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suik

Poem by Minamoto no Muneyuki Ason, from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki). Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: Overall: 9 7/8 x 14 1/2 in. (25.1 x 36.8 cm). Date: ca. 1835.This print is from Hokusai's last important print series, left incomplete at his death. One Hundred Poems by One Hundred Poets is a famous anthology of classical waka poems.On a label at the upper right corner, a poem by Minamoto Muneyuki (d. 939) is inscribed: In a mountain hamlet winter's loneliness grows deeper.Both people and grasses are withered--so runs my thoughts.In contrast to the waka poem, which concentrates on the loneliness of winter in the mountains, Hokusai's hunters, clustered around a big fire in the snow, have a mad animation characteristic of kyoka, the playful verse more popular in the late Edo period than waka. Museum: Metropolitan Museum of Art, New York, USA.

As I knew to Savan Hates Hates Hates Hates, Kibrowing 1799 39999999999999999999 BCE 1810 print Two warriors in fight, the left standing with sword in hand, the right sitting. Japanese paper (handmade paper) color woodcut fighting. weapons. adult man (+ two persons)

Shanao Yoshitsune Learns Martial Arts in Sojogatani (Shanao Sojogatani ni heijutsu o manabu zu). Artist: Utagawa Kunisada (Japanese, 1786-1865). Culture: Japan. Dimensions: Image: 14 3/4 × 10 1/8 in. (37.5 × 25.7 cm). Date: 1830s (Tenpô era). Museum: Metropolitan Museum of Art, New York, USA.

Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu), also known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese, the story, set in the Song Dynasty, tells of how a group of 108 outlaws gathered at Mount Liang (or Liangshan Marsh) to form a sizable army before they are eventually granted amnesty by the government and sent on campaigns to resist foreign invaders and suppress rebel forces. In 1827, Japanese publisher Kagaya Kichibei commissioned Utagawa Kuniyoshi to produce a series of woodblock prints illustrating the 108 heroes of the Suikoden. The 1827-1830 series, called '108 Heroes of the Water Margin' or 'Tsuzoku Suikoden goketsu hyakuhachinin no hitori', made Utagawa Kuniyoshi's famous.

Kusatsu, A Station Famous for its Rice Cakes, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi), Ando Hiroshige, Japanese, 1797-1858, Woodblock print (ukiyo-e) on mulberry paper (washi), ink with color, Large teahouse with travelers eating rice cakes which are being made under the veranda. Lower half, two litters, one open and one closed, both carried by coolies., Japan, ca. 1834, figures, Print, Print

Man and woman with fan, on veranda above pond containing flowering irises and large carp. Representation enclosed by brown border in which Genji emblems., Chapter 50 Faithful Depictions of the Splendid Prince (series title) Sono sugata Hikaru no utsushi-e (series title on object), print maker: Kunisada (I), Utagawa, (mentioned on object), Kinugasa Fusajiro, (mentioned on object), Murata Heiemon, (mentioned on object), print maker: Japan, Tokyo, Tokyo, publisher: Tokyo, 1851 - 1853, paper, colour woodcut, h 252 mm × w 374 mm

Chiyoda Castle (Album of Men) 1897 Yōshū (Hashimoto) Chikanobu Japanese. Chiyoda Castle (Album of Men) 55892

Kanaya, from the series "Fifty-three Stations of the Tokaido (Gojusan tsugi)," also known as the Figure Tokaido (Jinbutsu Tokaido). Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1852. Dimensions: 25.4 x 18.1 cm (10 x 7 1/8 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

The Seven Gods of Fortune, by Katsushika Nakajima known as Hokusai, 19th Century, 1810, ink and colors on silk, cm 68 x 82

No 3 - Autumn Chrysanthemum Festival, from the series Pleasures of the Four Seasons (Shiki no asobi) 1725-1735 Japan. Hand-colored woodblock print; hosoban yoko-e, urushi-e . Okumura Toshinobu

Akasaka no zu, View of Akasaka., Utagawa, Toyokuni, 1786-1865, artist, between 1837 and 1844, 1 print : woodcut, color ; 24.8 x 18.2 cm., Print shows a woman standing on a cloud outside an inn where women are serving and entertaining men at the Akasaka station on the Tokaido Road.

The hobby dance Harugoma. .

The Top of Mount Fuji ca. 1800 Katsushika Hokusai Japanese. The Top of Mount Fuji 54887

Dainagon tsunenobu, Katsushika, Hokusai, 1760-1849, artist, 1835 or 1836, 1 print : woodcut, color ; 24.5 x 37.2 cm., Print shows two men carrying baskets suspended from a long shoulder pole approaching a building with an overflowing spring-fed fountain where two women have come to wash their containers, and further downstream a man washes his feet; also a traveling monk is holding his hat against the autumn wind which blows the grass in the distant fields.

Woman at a balcony The story of Genji (series title) Genji monogatari (series title on object), Seated lady in clothing from the Heian period (794-1185), a large fan in her hand, leaning against the balustrade of a wooden terrace that overlooks the sea. The reference to Uji in the poem identify the lady as Ukifune, from the 51 chapter of The Story of Genji. With two poems., Karyôsai Hokuga (mentioned on object), Japan, c. 1820, paper, colour woodcut, h 207 mm × w 183 mm

Battle of the kawanakajima / kawanakajima ryōshō jikisen no zu plain Utagawa, kuniyoshi (1797 1861)

Lieutenant Commander Sakakibara Fighting Bravely to the South of Ximucheng (Takubokujo nan ni oite Sakakibara shosa funsen no zu). Adachi Ginko; Japanese, active c. 1874-97. Date: 1895. Dimensions: . Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Kisaragi, Kisaragi: the second month., Isoda, Koryusai, active 1764-1788, artist, 1772 or 1773, 1 print : woodcut, color ; 19.2 x 26.1 cm., Print shows a man and woman at a low table in a room with open window and view of the landscape; the woman is resting her head on her arms on the table.

Hagitsubo - A Parody of Shibaraku. Torii Kiyonaga; Japanese, 1752-1815. Date: 1785. Dimensions: 22.9 x 36.4 cm. Color woodblock print; o-oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Yoshiwara Picture Book of New Years Festivities, vol. 2, 1804, Kitagawa Utamaro; Author: Jippensha Ikku; Publisher: Kazusaya Chūsuke; Carver: Fuji Issō; Printer: Kakushōdō Tōemon; Assistant: Kitagawa Hidemaro, Japanese, fl. 1800-1810s, 5/16 x 6 1/4 x 8 15/16 in. (0.8 x 15.9 x 22.7 cm), Woodblock printed book; ink and limited color on paper, Japan, 19th century, This book, from a two-volume set, depicts annual events and ceremonial scenes in Edo's licensed pleasure quarter, known as the Yoshiwara. The niwaka festival depicted here was one of the most extravagant of these occasions. Niwaka, meaning 'spontaneous,' originally referred to impromptu comedy skits. The festival consisted of costumed processions, a parade of floats, and the niwaka skits. This scene shows a shishi-mai, a lion dance in which performers carry a large, fantastic lion-like mask. Traditionally lion dances in the more stately Nō theater were performed as an act of exorcism, but in the Yoshiwara's niwaka festival the

Series of twelve Koban Shunga with prostitutes in the role of acrobatic firefighters, c. 1830 - c. 1835 print Series of twelve Koban prints with twelve half -naked women who do acrobatic tours on a ladder. The twelve numbered magazines placed in one six of them form a parody of similar representations of firefighters who do neck -breaking stunts. The inscriptions on the buckets on the second lower print left refer to the Nakanocho street in the Yoshiwara District - the prostitution district of Edo. This includes the large water barrel that stood at the gate of the Yoshiwara; The gate is on the right. The twelve prints may be a calendar with references to the short and long months. paper

Foreign Business Establishment in Yokohama. Artist: Utagawa (Gountei) Sadahide (Japanese, 1807-1878/79). Culture: Japan. Dimensions: Image (a): 13 3/4 x 9 1/4 in. (34.9 x 23.5 cm)Image (b): 14 x 9 7/8 in. (35.6 x 25.1 cm)Image (c): 14 x 9 1/4 in. (35.6 x 23.5 cm). Date: 1861.A group of foreigners and Japanese gather at the gate of a foreign business. The Japanese women wear elaborate kimonos with decorative obi, while the foreign women have fantastically ornate gowns. This is a fanciful setting with an improbable juxtaposition of figures, since one would never expect to see such elegantly dressed people strolling leisurely among foreign trading houses. Museum: Metropolitan Museum of Art, New York, USA.

Battle scene from the series The Forty-seven Faithful Samurai. Coloured woodblock print, late 1840s. Utagawa Yoshitora (active 1850-1880) Japanese artist and printmaker..

'Grab a Combat Helmet, Grab a Plum Blossom 'Mae''. China, late 19th - early 20th century. Dimensions: 56x34,5 cm. Museum: State Hermitage, St. Petersburg.

Edelmen on a bridge, Nakamura Hôchû, 1826 print Three men on a bridge, the rear looking at a climbing boy. Or paper color woodcut adult man (+ three persons). bridge. climbing

Foreigners Enjoying a Party at the Gankir Tea House 1st month, 1861 Utagawa Yoshikazu Japanese. Foreigners Enjoying a Party at the Gankir Tea House. Utagawa Yoshikazu (Japanese, active ca. 1850-70). Japan. 1st month, 1861. Triptych of woodblock prints; ink and color on paper. Edo period (1615-1868). Prints

Print, Kusatsu, A Station Famous for its Rice Cakes, in The Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi-no Uchi); Ando Hiroshige (Japanese, 1797 - 1858); Japan; woodblock print (ukiyo-e) on mulberry paper (washi), ink with color; 23.5 x 36.3 cm (9 1/4 x 14 5/16 in.)

Dutchman and Maruyama Courtesan 18th century Chōkyōsai Eiri Japanese. Dutchman and Maruyama Courtesan 73557

Utagawa Kuniyoshi 1798-1861. Racoon Dog and Fox at Play (Tanuki to kitsune no asobi). about 1842. Aiban (uchiwae). detail.

Enoshima seen from the beach, Hiroshige (II), Utagawa, 1860 print Diptics: elegantly dressed man sitting on black ox, looking to bare feet running woman in Kimono with pattern of shells; On the beach at Woeste Branding; The island of Enoshima in the background. Japan paper color woodcut / nishiki-e riding on animal other than horse, ass, or mule. sea Enoshima

Bunya no Watamaro and Surrendering Rebels in Ōshū. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1880, February. Prints; woodblocks. Color woodblock print

Shirasuke En Futagawa, UTAGAWA YOSHIIKU, 1860 print Two images in Chuban format, printed on top of one leaf. Upstairs: the Shirasuke station, the thirty -two resting place along the Tokaido; Man and wife with child looking at Visnet stumbling man. Below: the Futagawa station, the thirty -three resting place along the Tokaido; Two men scared of old woman and man with hat. Japan paper nishiki-e / color woodcut landscapes (+ landscape with figures, staffage). stumbling

Cockfight. Date/Period: 17th century. Painting. Paint, ink and gold on paper. Height: 340 mm (13.38 in); Width: 430 mm (16.92 in). Author: Japanese Anonymous.

Poem by Minamoto no Muneyuki from the series One Hundred Poems by One Hundred Poets Explained by the Nurse, 1835-36. Katsushika Hokusai (Japanese, 1760-1849). Color woodblock print; overall: 24.2 x 35.3 cm (9 1/2 x 13 7/8 in.). This print by Katsushika Hokusai is inscribed with a melancholy poem by Minamoto no Muneyuki (died 939) on the upper right.In the mountain village,it is in winter that my lonelinessincreases most,when I think how both have dried up,the grasses and peoples visits.The mood of the hunters, however, contrasts with the poem. They appear to be merrily recounting stories of their hunting success while warming their hands around a roaring blaze. A long day in the winter cold has not dampened their spirits. With the bonfire, their straw winter gear, and the shelter of the hut at the right, they will enjoy both warmth and companionship this winters night.

Distant view of Yokohama from the Daikokurō Restaurant at Kanagawa, 1864, 5th lunar month, Tsukioka Yoshitoshi; Publisher: Yamaguchiya Tōbei, Japanese, 1839 - 1892, 14 1/4 × 10 in. (36.2 × 25.4 cm) (sheet, each, approx., vertical ōban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

The Namazu, also called the Onamazu, is a creature in Japanese mythology and folktales. The Namazu is a gigantic catfish said to cause earthquakes and tremors. Living in the mud under the Japanese isles, the Namazu is guarded by the protector god Kashima, who restrains the catfish using the kaname-ishi rock. Whenever Kashima lets his guard down, Namazu thrashes about and causes violent earthquakes. The Namazu rose to new fame and popularity after the Ansei great earthquakes that happened near Edo in 1855. This led to the Namazu being worshipped as a god of world rectification (yonaoshi daimyojin), sent by the gods to correct some of the imbalances in the world. Catfish woodblock prints known as namazu-e became their own popular genre within days of the earthquake. They were usually unsigned and often depicted scenes of a namazu or many namazu atoning for their deeds. They were quickly squashed by the Tokugawa Shogunate, the prints censored and destroyed, with only a handful surviving

The Actors Ichimura Kamezo I as Yosaku and Arashi Tominosuke I as Koman 1749-1759 Japan. Color woodblock print; hosoban, benizuri-e . Torii Kiyomasu II

The Main Gate, New Yoshiwara 1740-1750 Japan. Hand-colored woodblock print; toku-oban yoko-e, beni-e . Torii Kiyotada I

Minakuchi. Utagawa Hiroshige (Japan, Edo, 1797-1858). Japan, circa 1840-1842. Prints; woodblocks. Color woodblock print

The Courtesan Shirotama of the Tama House, from the series A Modern Storehouse of Loyal Retainers. Date: c. 1825, Edo. Museum: PRIVATE COLLECTION. Author: Utagawa Kuniyasu.

Blindman playing, Torii Kiyonaga, 1792 - 1796 print View of the Kankanro Theehuis with various Courtisanes in the foreground playing blind man in the garden with a man in black Kimono. Tokyo paper color woodcut blind-man's buff

Leaf from: Wood cut book about contemporary clothes. .

Akasaka: Waitresses at an Inn (Akasaka, ryosha shofu no zu), from the series "Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi no uchi)," also known as the Hoeido Tokaido. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1828-1839. Dimensions: 24 x 36.2 cm (9 7/16 x 14 1/4 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Japan: Abe no Nakamaro, also known as Chao Heng, Japanese scholar, administrator, and waka poet in the Nara period (710-794). Katsushika Hokusai (1760-1849), c. 1835

HOOFDSTUK 40, Utagawa Kunisada (I), 1851-1853 print Prince Genji and bodyguard sitting with sword, looking at three young men with fans under blossoming tree; In the foreground a river in which two fans; Striped cloths in the background. Presentation enclosed by brown edge in which Genji emblems. Print Maker: Japantokotokyopublisher: Tokyo paper color woodcut / nishiki-e river (+ landscape with figures, staffage). open-air recreation. trees

Fujikawa, from the series Fifty-three Stations of the Tokaido (Gojusan tsugi), also known as the Figure Tokaido (Jinbutsu Tokaido) 1852 Japan. Color woodblock print; chuban . Utagawa Hiroshige

View of Nihonbashi Tori-itchome (Nihonbashi Tori-itchome ryakuzu), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) 1858 Japan. Color woodblock print; oban . Utagawa Hiroshige

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