Japanese Traditional Scenes

Woodblock prints illustrating cultural narratives and traditional Japanese settings, featuring beautiful women and classic dramatic scenes.

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Ladies from a Balcony Looking at Cherry Blossoms, Viewing the parade down the main street, Nakanochô, in the Yoshiwara pleasure quarter, Third and fourth pages from Utamaro's book Fugenzo., page, prints, Japan (collection), height 254 mm, width 183 mm, Japanese, 1753 - 1806, print maker, printmaker, 1790 - 1790, fourth quarter 18th century, paper, gold powder, color woodcut, Publication (Event), Publication, publisher

A violent execution scene from Chinese theatre. Colour woodcut by a Chinese artist.

Plovers of the Noda Jewel River of Mutsu Province. Utagawa Kuniyoshi (Japan, 1797-1861). Japan, 1853, 4th month. Prints; woodblocks. Triptych; color woodblock prints

Chiyoda Castle (Album of Men) 1897 Yōshū (Hashimoto) Chikanobu Japanese. Chiyoda Castle (Album of Men) 55870

POKAZ LALEK W asakusa / asakusa Okuyama IKI Ningyō Utagawa, kuniyoshi (1797 1861)

A House of Courtesans, from the series "The Appearance of Yoshiwara (Yoshiwara no tei)". Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 31.6 x 46.7 cm. Hand-colored woodblock print; oban, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

A Long Tale for an Autumn Night (Aki no yo nagamonogatari). Artist: Unidentified Artist Japanese. Culture: Japan. Dimensions: Image: 12 3/16 in. × 41 ft. 6 in. (31 × 1264.9 cm)Overall with mounting: 12 5/16 in. × 43 ft. 5 5/8 in. (31.3 × 1324.9 cm). Date: ca. 1400.This set of illustrated handscrolls (emaki), with the narrative progressing from right to left, tells of an amorous affair between a Buddhist monk and a younger male acolyte (chigo), a genre of story popular in medieval Japan. Here, after the tragic suicide of the chigo, the monk renounces carnal pleasure and attains salvation. In 2011 the Museum acquired the missing final section of this scroll, which had earlier been remounted as a hanging scroll. Museum: Metropolitan Museum of Art, New York, USA.

PIcture Book of the Foot and Peak of the Mountain 1802 Kitao Shigemasa Japanese. PIcture Book of the Foot and Peak of the Mountain. Kitao Shigemasa (Japanese, 1739-1820). Japan. 1802. Set of three woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

De Wilg Bij De Van SHIMABARA, HIROSHIGE (I), Utagawa, 1832-1836 View of the entrance gate to the pleasure district Shimabara in Kyoto; A drunken man supported by a man and a woman, viewed by smiling Courtisanes and visitors on the balcony of the restaurant behind the gate; On the right at the gate a water basin and a willow. print maker: Japanpublisher: Tokyo paper color woodcut View of the entrance gate to the pleasure district Shimabara in Kyoto; A drunken man supported by a man and a woman, viewed by smiling Courtisanes and visitors on the balcony of the restaurant behind the gate; On the right at the gate a water basin and a willow. print maker: Japanpublisher: Tokyo paper color woodcut

A Banquet in a Joroya. Artist: Hishikawa Moronobu (Japanese, died 1694). Culture: Japan. Dimensions: 10 1/8 x 15 1/5 in. (25.7 x 38.6 cm). Date: ca. 1680.This party at a teahouse is at its height. The guest room is embellished with painted sliding panels and a flower arrangement. A pile of bedding is seen in the adjacent room. Museum: Metropolitan Museum of Art, New York, USA.

A Private Puppet Performance. Date: 18th century. Origin: Japan. Period: Edo period. Color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Three Actors on Stage: Kumagai Naozane. Artist: Utagawa Kunisada (Japanese, 1786-1865). Culture: Japan. Dimensions: Each: 14 1/4 x 9 7/8 in. (36.2 x 25.1 cm). Date: 1858. Museum: Metropolitan Museum of Art, New York, USA.

The Tale of the Bamboo Cutter. Culture: Japan. Dimensions: 9 1/8 x 6 9/16 in. (23.2 x 16.7 cm). Date: late 17th century.In the classical narrative depicted here, a baby found in a glowing bamboo stalk by an old bamboo cutter grows to be a woman of unearthly beauty. Unwilling to marry, Kaguya-hime (The Shining Princess) sets her suitors tasks they are unable to fulfill. The emperor desires her, but she reveals that she is from the moon and will soon return there. Although the emperor sends soldiers to guard her, a retinue from the moon arrives and ascends to the moon with her.The lacquer storage box for these three volumes is decorated with a maki-e ("sprinkled picture") design of a bamboo grove, two birds, and the crest of the Tokugawa family. Museum: Metropolitan Museum of Art, New York, USA.

Autumn. Woman, a boy and a servant on the Azuma mountainside /Haru Azumakudari, from the series: GirIIsh Narihira selection of scenes from four seasons /Musume Narihira. Shiki no erabi

Utagawa Kunisada; Daikokuya Kinnosuke / 'Tôsei genji shinobi tamakazura', 1857, Japanese School, Paper, 363 mm x 750 mm, G05667. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Japan, Shakuyakutei, Umekage, Rôgetsuan, Sadakage, Utagawa, Mutamagawa no uchi, The Six Jewel Rivers, Ômi - sono ni, Nose River in Ômi, Number Two, passe-partout, lower left - printed, Woman holds a man by his belt. The woman is from the lowest rank of prostitutes, the nighthawks (yotaka) who walked along the rivers in Edo at night with their sleeping mats. With two poems., surimono, prints, Japan (collection), verso - stamped, height 200 mm, width 184 mm, Japanese, print maker, 1832 - 1832, second quarter 19th century, paper, color woodcut, blind print, poet, 1767 - 1845

Procession of a Court Noble, central sheet of a triptych. Date: c. 1880. Dimensions: 36.1 cm x 24.9 cm. Museum: Van Gogh Museum, Amsterdam. Author: ONBEKEND.

Sino-Japanese Pitched Battles: Two Generals Fighting at Fenghuangcheng. Date/Period: Meiji Period, dated 1895. Print. Tryptich woodblock print, ink and colors on paper Tryptich woodblock print, ink and colors on paper. Height: 14 mm (0.55 in); Width: 27.75 mm (1.09 in). Author: Nobukazu Yosai.

Portrait of an imperial censor and his wife late 18th-early 19th century Unidentified artist This painting depicts a married couple seated on a low, backless couch in an elegantly opulent garden setting. The portrait subjects are backed by a screen of eight panels featuring landscape paintings, and they are framed above by an overhanging pine tree. To the proper left of the male figure is an incense stand, upon which sits a set of incense implements: archaic bronze burner, lacquer incense box, and implements for handling the incense and ash. To the proper right of the female is a long wooden table with marble top, upon which sit two boxes of books and a glass vessel with a fan and a small handscroll. The couch upon which the figures sit is placed on a tile patio. The figures, who sit erect, place their feet on raised wooden stands that sit upon a carpet on the patio surface. Throughout the garden are auspicious plantsnarcissus, blossoming plum, bamboo, and miniature cypress tree, alon

Boys playing under a pine tree. One of them is blindfolded, and another, who is clinging to the trunk of the tree, holds out a stick from which a paper folded to resemble a crane is suspended by a string., 1770, Woodcuts, 10 1/4 x 7 1/2 in. (26 x 19.1 cm)

Battlefield on the Kawanakajima Plain Utagawa, kuniyoshi (1797 1861)

Yodanme, Act four of the Kanadehon Chushingura., Katsushika, Hokusai, 1760-1849, artist, between 1804 and 1812, 1 print : woodcut, color ; 22.4 x 17 cm., Print shows several persons gathered for the ritual suicide, seppuku, of Enya Hangan (Asano). Scene from act four of the play Chushingura or revenge of the 47 Ronin.

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.

Numinous Treasure Emissaries, 16th century, 87 7/16 x 41 7/16 in. (222.09 x 105.25 cm) (image, sight)91 7/16 x 45 7/16 in. (232.25 x 115.41 cm) (outer frame), Ink, colors and gold on silk, China, 16th century, This colorful painting bears an inscription in a red cartouche in the upper left identifying the two persons depicted as 'numinous treasure emissaries who transmit speech, riding on a tiger and dragon.' Numinous treasures refers to Daoist scriptures, the blue books being carried down from heaven by attendants of the two emissaries who themselves are carried on a tiger and dragon.

The Actors Nakajima Mihoemon II as Aramaki Mimishiro (right), Matsumoto Koshiro II as Otomo no Yamanushi (center), and Ichikawa Danzo III as Hannya no Goro (left), in the Play Kuni no Hana Ono no Itsumoji, Performed at the Nakamura Theater in the Eleventh Month, 1771. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1767-1777. Dimensions: 17.1 x 27.2 cm (6 3/4 x 10 11/16 in.). Color woodblock print; from the illustrated book Yakusha Kuni no Hana (Prominent Actors of Japan). Origin: Japan. Museum: The Chicago Art Institute, USA.

Kunisada,C, work, Actors Ichikawa Danzo VI and Ichikawa Ichizo in the play Dan-no-ura Kabuto gunki (Battle of Dan-no-ura), 1857, color woodcut, major category: graphics

Artist: Utagawa Hiroshige, Japanese, 1797-1858, Plum Blossoms in KameidoGarden, 18th-19thcentury, Polychrome woodblock print, sheet: 9 13/16 × 14 5/8 in. (25 × 37.2cm), Japan, Japanese, Edo period(1615-1868), Works on Paper -Prints

The Four Pleasures, c. 1620-50. Attributed to Iwasa Matabei (Japanese, 1578-1650). Hanging scroll, ink, color and gold on paper; image: 115.9 x 51.3 cm (45 5/8 x 20 3/16 in.); overall: 211.1 x 64 cm (83 1/8 x 25 3/16 in.); with knobs: 211.1 x 69.6 cm (83 1/8 x 27 3/8 in.).

Two inscriptions, signature and seal. Date: 19th century. Origin: Japan. Period: Edo period. Full color, ink, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Courtisanes with two male guests. Eighth and ninth page of part two from Utamaro`s book: Events in the Lusthuizen during the year.

Fishing men by Katsushika Hokusai, color woodcut, 1830-1833, 1760-1849, Russia, Moscow, State A. Pushkin Museum of Fine Arts, 25x37

Double-page Illustration from Vol. 2 of "Picture Book of Spring Brocades (Ehon haru no nishiki)". Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1771. Dimensions: . Color woodblock print; double-page illustration from book. Origin: Japan. Museum: The Chicago Art Institute, USA.

Yatsushi kokei sansho, Transformation of three ridiculous laughs., Kubo, Shunman, 1757-1820, artist, between 1789 and 1791, 1 print : woodcut, color ; 14.1 x 20.7 cm., Print shows a priest addressing a nobleman and a lady in waiting on a roadway, next to a tree, with the sun setting in the background.

Egoyomi for the year of the OS, 1793 print Ossekar without OS, in which woman, looking at a tree -sleeping man; The numbers of the short months are indicated on the cover of the cart. paper color woodcut two-wheeled, animal-drawn vehicle. sleeping; unconsciousness - BB - out of doors

Spring in the Rice Fields. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: H. 9 9/16 in. (24.3 cm); W. 14 7/16 in. (36.7 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Katsushika Hokusai; Tsutaya Jûzaburô / 'Kameido Tenjin', 1800, Japanese School, Paper, 205 mm x 297 mm, G05646. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Onakatomi no Yoshinobu Ason, from the series One Hundred Poems by One Hundred Poets (Hyakunin isshu no uchi) 1837-1847 Japan. Color woodblock print; oban . Utagawa Kuniyoshi

Numazu, section of a sheet from the series "A Harimaze Mirror of Joruri Plays (Harimaze joruri kagami)". Utagawa Kuniyoshi; Japanese, 1787-1861. Date: 1854. Dimensions: 9.8 x 10.5 cm (3 7/8 x 4 1/8 in.). Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

View of Benten Shrine on Nakanoshima Island in Shinobazu Pond, Ueno Park, from the series Famous Views of Tokyo (Tōkyō Tokyo meisho yori Ueno kōen Shinobazu no ike Nakanoshima Benten no kei) May, 1881 Utagawa Hiroshige III Japanese. View of Benten Shrine on Nakanoshima Island in Shinobazu Pond, Ueno Park, from the series Famous Views of Tokyo (Tōkyō Tokyo meisho yori Ueno kōen Shinobazu no ike Nakanoshima Benten no kei) 55274

Sumidagawa funa-asobi = Pleasure-boating on the Sumida River, Kitagawa, Utamaro (1753?-1806), (Artist).

Defeat at the Battle of Ueno, on the fifteenth day of the fifth month of Meiji 1.(1868). Kawanabe Kyōsai (Japan, 1831-1889). Japan, November, 1874. Prints; woodblocks. Triptych; color woodblock prints

fine arts, Japan, graphic, the sedution, colour woodcut, student of Utagawa Kunisada, circa 18700, private collection,

Kunisada, B, C, Kanadehon Chusingura (Faithful vassals), c.1835-40, color woodcut: color woodcut, graphics

Ferry boat 1804-1814 Japan. Color woodblock print; nagaban, surimono . Katsushika Hokusai

Man catching a fish on the seashore Katsukawa, Shunsen II

Scene 2c. handscrolls. 1660. Spencer Collection. Manuscripts, Japanese

Junkei machi Yomise no Zu ca. 1828 Utagawa Hiroshige Japanese. Junkei machi Yomise no Zu 55120

Japan,Tokyo,Ryogoku,Edo Tokyo Museum,Ukiyo-e Print depicting Famous Restaurants in Edo (Old Tokyo) dated 1835

Yanari, Japanese Prints

No 53. Kusatsu: One of the Fifty-Three Noted Places on Tokaido, Painted by Hiroshige; Hiroshige's Tôkeidô; Hiroshige No Fude Tôkaidô. Face of several tea houses with supporting baskets in the foreground.

Japan - 16th-17th century - Azuchi-Momoyama Period. Namban Art (1594-1618). Portuguese arrival in Japan. Paper screen

Dancer and Musicians in a Garden. Date: 18th century. Origin: China. Period: Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A Police Patrol Preventing a Rape in a Graveyard. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1875, April. Prints; woodblocks. Color woodblock print

Tartars Playing Polo early 18th century Kano Eisen'in Furunobu Japanese Along with hunting, polo exercised great appeal as a subject for poets, painters, and craftsmen in ancient China. During the late sixteenth and early seventeenth centuries, hundreds of years after the sport's decline in the region, polo made a sudden reappearance as a subject for painting in Japan. The burgeoning warrior class favored such ancient themes as Tartars playing polo and Tartars hunting for decorations in their new castles and mansions.Unlike the grand-scale Momoyama (1573-1615) screen paintings on sumptuous gold backgrounds, this work is quite modest in its execution. The landscape details that usually accompanied Momoyama polo scenes are absent, so that the equestrians, captured as they strike characteristic polo postures, seem like quick studies of pure form.. Tartars Playing Polo. Kano Eisen'in Furunobu (Japanese, 1696-1731). Japan. early 18th century. Hanging scroll; ink and color on s

Night fete at Yedo (Tokyo) - girls in boats arrive to join the revellers Date: circa 1800

The 47 Ronin incident immediately inspired a succession of kabuki and bunraku plays; the first, 'The Night Attack at Dawn by the Soga' appeared only two weeks after the ronin died. It was shut down by the authorities, but many others soon followed, initially in Osaka and Kyoto, farther away from the capital. Some even took the story as far as Manila, to spread the story to the rest of Asia. The most successful of the adaptations was a bunraku puppet play called Kanadehon Chushingura (now simply called Chushingura, or 'Treasury of Loyal Retainers'), written in 1748 by Takeda Izumo and two associates; it was later adapted into a kabuki play, which is still one of Japan's most popular. In the play, to avoid the attention of the censors, the events are transferred into the distant past, to the 14th century reign of shogun Ashikaga Takauji. Asano became Enya Hangan Takasada, Kira became Ko no Moronao and Oishi became Oboshi Yuranosuke Yoshio; the names of the rest of the ronin were disguise

View of Miyozaki in Yokohama (Miyozaki Yokohama ichiran). Utagawa Yoshimori; Japanese, 1830-1884. Date: 1860. Dimensions: . Color woodblock print; oban diptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Feast in front of a palace (12th-13th c.). Japanese art. Kamakura period. Painting. Private Collection.

Reception of the Diplomatique & his Suite, at the Court of Pekin. James Gillray (English, 1756-1815); published by Hannah Humphrey (English, c. 1745-1818). Date: 1792. Dimensions: 305 × 390 mm (image); 315 × 400 mm (plate); 330 × 415 mm (sheet). Hand-colored etching on paper. Origin: England. Museum: The Chicago Art Institute, USA.

. Color woodblock print; double-page illustration from book . Suzuki Harunobu

Illustration - departure to the capital city for an exam. unknown, graphic artist

'Seizure of Adou on the Changjiang River'. China, late 19th - early 20th century. Dimensions: 99x56,5 cm. Museum: State Hermitage, St. Petersburg.

Album of Daoist and Buddhist Themes: Kings of Hells: Leaf 29, 1200s. China, Southern Song dynasty (1127-1279). Album, ink on paper; sheet: 34.2 x 38.3 cm (13 7/16 x 15 1/16 in.).

Playing the Zither under Pine Trees. Origin: China. Date: 1368-1644. Period: Possibly Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Procession of a Daimyo. Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 27.2 x 38.1 cm. Hand-colored woodblock print; oban yoko-e, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Shiki no Nagame Maru-ni-I no Toshi, Toshi actor, scene from The Four Seasons, 1839, by Utagawa Kunisada (1786-1864), print, Japan. Japanese Civilisation, Edo period, 19th century.

Yokohama hatoba keshikiA View of the Wharves in Yokohama. Artist: Utagawa Yoshitora (Japanese, active ca. 1850-80). Culture: Japan. Dimensions: Image (a): 14 3/8 x 9 3/4 in. (36.5 x 24.8 cm)Image (b): 14 5/8 x 9 3/4 in. (37.1 x 24.8 cm). Date: 2nd month, 1861. Museum: Metropolitan Museum of Art, New York, USA.

The Night Attack, Part 4 sic; actually 5: The Retreat across Ryogoku Bridge (Youchi yon, Ryogoku hikitori), from the series "The Revenge of the Loyal Retainers (Chushingura)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1829-1844. Dimensions: 25.4 x 37.2 cm (10 x 14 5/8 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Dancer in the street, detail on screen with eight panels depicting moments of everyday life signed by Kim Hong-do (1745-1814), ink and colours on silk. Korean civilization, Choson period (18th-19th century).

Wall painting in a temple, Wat Pho, Phra Nakhon District, Bangkok, Thailand

Painting, from the set The Four Accomplishments 1550-1644 China. Hanging scroll mounted on a panel; ink and colors on silk .

Two funny scenes Man and an apparition. Man and an octopus HIROSHIGE, Ichiryusai (1797 1858)

Imoseyama (the Japanese Romeo and Juliet). Utagawa Toyokuni I (Japan, 1769-1825). tenth month 1806. Prints; woodblocks. Color woodblock print triptych

View of Boston Common. Date/Period: Ca. 1750. Textiles. Wool, silk, metallic threads, and beads on linen ground; predominately tent stitch; original frame and glass. Height: 615.90 mm (24.24 in); Width: 1,339.80 mm (52.74 in). Author: Hannah Otis.

Courtisanes in a room. Second and third page of part two from Utamaro`s book: Events in the Lusthuizen during the year.

Parade of the Puppets. Okumura Masanobu; Japanese, 1686-1764. Date: 1695-1705. Dimensions: Each sheet 10 1/4 x 14 1/2 in. Hand-colored woodblock prints; oban yoko-e, tan-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Japan, Rolland, H., Drawing, One of ten pen drawings, Asian figures, sometimes accompanied by horses, moving to the right and on two sheets to the left, carrying packages partly with the emblem of the VOC Zeeland. Signed; ll: H. Rolland pinxit. Inscription; ll: 15. lr: 521, 9. Note: see NG-1007-A to J., drawing, teken, drawings, tekeningen, height 27.2 cm, width 76.3 cm, draughtsman, tekenaar, 1775 - 1775, third quarter 18th century, derde kwart 18e eeuw, fourth quarter 18th century, vier kwart 18e eeuw, paper, papier, ink, inkt, pen, brush, Borstel, Expression creation

Traveling Warriors Stopping at a Farm, c. 1800. India, Rajasthan, Jodhpur school, early 19th Century. Ink and color on paper; overall: 25.8 x 35.6 cm (10 3/16 x 14 in.).

La lidia. División de opiniones en la plaza. Matador silbado y aplaudido por la afición tras su faena. Año 1893. Author: Daniel Perea y Rojas.

Case (Inrō) with Design of People Riding in Ferryboats late 19th century Japan. Case (Inrō) with Design of People Riding in Ferryboats 58600

Picture of Men and Women from Many Countries (Bankoku danjo jinbutsu zue). Ochiai Yoshiiku; Japanese, 1833-1904. Date: 1861. Dimensions: 36.6 x 72.5 cm. Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA. Author: Utagawa Yoshiiku.

Barefoot elderly men with walking sticks, 1820, (1924). Creator: Hokusai.

Narasimhavatara 17TH C Indian Art(- ) Musee Guimet, Paris, France

Upper Floor of the Gankirō Tea House in Yokohama 4th month, 1860 Utagawa Hiroshige II Japanese. Upper Floor of the Gankirō Tea House in Yokohama 73427

Cherry blossoms in full bloom along Sumida River. (Bokusui tsutsumi hanazakari no zu) by Hiroshige, Utagawa (1797-1858) / Private Collection / 1881 / Japan / Colour woodcut / Landscape / 34,9x72,3 / The Oriental Arts

Japan, Tsutaya Kichizo, Hiroshige (II), Utagawa, Edo meisho, Famous places in Edo, Ryogoku hanabi, Fireworks at Ryogoku, The Sumida River, crowded with boats; in the background the Ryogoku Bridge above which are fireworks; on the bank, left, the lantern-decorated verandas of teahouses, crowded with spectators. The large boat in the foreground on the left bears the name Utagawamaru (Utagawa ship)., print, prent, prints, Japan (collection), height 252 mm, width 370 mm, 1826 - 1869, print maker, prentmaker, 1862 - 1862, third quarter 19th century, paper, papier, nishiki-e, colour woodcut, colour woodblock, Publication (Event), Publicatie, Japanese, publisher

Dejima (literally 'exit island'; Dutch: Desjima or Deshima, sometimes latinised as Decima or Dezima) was a small fan-shaped artificial island built in the bay of Nagasaki in 1634. This island, which was formed by digging a canal through a small peninsula, remained as the single place of direct trade and exchange between Japan and the outside world during the Edo period. Dejima was built to constrain foreign traders as part of the 'sakoku' self-imposed isolationist policy. Originally built to house Portuguese traders, it changed to a Chinese and Dutch trading post from 1641 until 1853. Covering an area of 120 m x 75 m (9000 square meters, or 0.9 hectares) it later became integrated into the city. 'Dejima Dutch Trading Post' has been designated a Japanese national historic site.

Crossing the the Ojikawa River on the Tokaido Road HIROSHIGE, Ichiryusai (1797 1858)

Japan/Ryukyu Islands: 'Scene After the Prince of Loo Choo's Feast', from 'Account of a Voyage of Discovery to the West Coast of Corea, and the Great Loo-Choo Island', Basil Hall, London, 1818

CHINA, BEIJING, SUMMER PALACE, LONG CORRIDOR, PAINTING AND BAT

Samuel Prout, 1783-1852, British, Study of Figures at Schaffhausen, before 1841. Graphite and watercolor on moderately thick, slightly textured, cream wove paper.

Seki: Early Departure of a Daimyō, from the series Fifty-three Stations of the Tōkaidō Road Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Seki: Early Departure of a Daimyō, from the series Fifty-three Stations of the Tōkaidō Road, ca. 1833-1834. Color woodblock print on paper, Sheet: 10 x 14 3/4 in. (25.4 x 37.3 cm). Asian Art ca. 1833-1834

THE JAPANESE EMBASSY TO PEKIN, PRINCE DAT AND SUITE; FROM LEFT TO RIGHT, FIRST ROW

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