Japanese Ukiyo-e Theater Scenes

Vivid woodblock prints capturing dramatic theatrical scenes with actors in traditional attire, displaying intense expressions and rich colors.

Tattooed Man, Kunisada (Toyokuni III), Utagawa (1786-1865)

I Listen to the Sound of Cloth, Yoshitoshi, Tsukioka

Maid servant carrying wine cup in cherry time., 1830. Woodcuts, Surimono

Kabuki theatre actor Bando Mitsugoro by Utagawa Kunisada, 1786-1864, colored woodblock print

Beauty with a Kitten early 18th century Nishikawa Sukenobu A courtesan dressed in a grey patterned uchikake, or overrobe, a brilliant red kimono decorated with white dots arranged in a “faux tie-dyed” pattern, and a white underrobe, sits on the floor, her two-tiered chignon fastened with a white cloth tie and a tortoise shell comb. She leans against a kotatsu, a brazier covered by a low table and a cloth, for warmth during the winter season. In one hand she holds a kiseru, a long-stemmed tobacco pipe, and with the other she caresses a kitten partially tucked into her garment. In front of her is a lacquered, handled tray containing a set of utensils used for smoking, along with the pipe of her unseen male client. A shamisen (three-stringed instrument) lies beside her, its plectrum tucked beneath the strings.The courtesan herself is soft-featured and youthful, more delicate and fragile in appearance than beauties by Sukenobu’s contemporaries of the ukiyo-e world, like painters of th

Hunting for skylights in the cold summer evening / nōryō no hotaru, from the series: Pleasures of the Four Seasons / Shiki Yūkan Utagawa, kuniyoshi (1797 1861)

Japan: Heaven-shaking Thunder Ling Zhen or Kotenrai Ryoshin, one of the 'One Hundred and Eight Heroes of the Water Margin', on the shore loading a cannon, wearing a headdress. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. 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 Ghost of Akugenta Yoshihira Attacking His Executioner Namba Jirō at Nunobiki Waterfall. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1889, December. Prints; woodblocks. Color woodblock print

The actor Kataoka Nizaemon Vll as Iyo no Taro in the play Seiwa Nidai Oyose Genji, performed at the Miyako Theater in the eleventh month, 1796 1796 Japan. Color woodblock print; oban . Utagawa Kunimasa

Leaf from Album of Actor Portraits, c. 1790-1810. Shōrakusai (Japanese). Album of 25 leaves; ink and color on silk; painting only: 21.8 x 17.6 cm (8 9/16 x 6 15/16 in.); each page: 28.1 x 21 cm (11 1/16 x 8 1/4 in.).

Actor Jitsukawa Enzaburo I as Hayano Kanpei; print from the series: Churetsu gishi den (The Exemplary Loyalty of the Faithful Samurai). Hirosada, Gosotei (fl. 1826-1863), graphic artist

An actor as Saito Toshimasa. Donation Gerhard Schack

Emperor Yūryaku (略天皇 Yūryaku-tennō) was the 21st emperor of Japan, according to the traditional order of succession. Yūryaku is remembered as a patron of sericulture. No firm dates can be assigned to this emperor's life or reign, but he is notionally considered to have reigned from 456-479.

Nine Prints Depicting Dual Portraits of Actors in Roles ca. 1852 Utagawa Hirosada Japanese. Nine Prints Depicting Dual Portraits of Actors in Roles. Utagawa Hirosada (Japanese, active 1825-75). Japan. ca. 1852. Nine woodblock prints. Edo period (1615-1868). Prints

Female pearl fisher with a pearl defending against the dragon with a dagger. Utagawa, Kuniyoshi (1798-1861), graphic artist

Girl on River Bank. Katsukawa Shuncho; Japanese, 1726-1792. Date: 1775-1800. Dimensions: 68.9 x 24.4 cm. Hanging scroll; ink and colors on silk. Origin: Ueno. Museum: The Chicago Art Institute, Chicago, USA.

Japan: Ruan Xiaowu or Tanmeijiro Gen Shogo, one of the 'One Hundred and Eight Heroes of the Water Margin', fights an unarmed adversary underwater. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. 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.

Minamoto no Yorimitsu Cuts at the Earth Spider. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1892. Prints; woodblocks. Color woodblock print

This illustration is taken from the book "Sinbad the Sailor" that was published around 1914. It shows Lady Bedr-el-Budr. The illustrator was Edmund Dulac and the story is from the Arabian Nights. Aladdin fell in love with Lady Bedr-el-Buhr when he saw her.

Nakamura Kansuke Masasatsu, from the series: pictures of the sincere faithful warriors. .

Lady and Attendant 19th century Unidentified artist. Lady and Attendant 51771

Oiran () were the courtesans of Edo period Japan. The oiran were considered a type of yujo () 'woman of pleasure' or prostitute. However, they were distinguished from the yujo in that they were entertainers, and many became celebrities of their times outside the pleasure districts. Their art and fashions often set trends among the wealthy and, because of this, cultural aspects of oiran traditions continue to be preserved to this day. The oiran arose in the Edo period (1600-1868). At this time, laws were passed restricting brothels to walled districts set some distance from the city center. In the major cities these were the Shimabara in Kyoto, the Shinmachi in Osaka, and the Yoshiwara in Edo (present-day Tokyo). These rapidly grew into large, self-contained 'pleasure quarters' offering all manner of entertainments. Within, a courtesan’s birth rank held no distinction, which was fortunate considering many of the courtesans originated as the daughters of impoverished families who wer

A joro reading a letter. Beneath a conventional cloud above her head, bits of flowering cherry branches appear., 1798. Woodcuts., 11 3/4 x 5 1/2 in. (29.8 x 14 cm)

Mt. Fuji from the series Famous Mountains in Japan ca. 1865 Utagawa Yoshimori Japanese. Mt. Fuji from the series Famous Mountains in Japan 55532

The Actor Ichimura Kamezo Fighting with the Aid of a Large Hatchet. Artist: Torii Kiyomasu II (Japanese, 1706-1763). Culture: Japan. Dimensions: 12 1/2 x 5 7/8 in. (31.8 x 14.9 cm). Date: ca. 1748. 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.

Sekidera Komachi, from the series Pictures of No Performances (Nogaku Zue) 1893-1903 Japan. Color woodblock print . Tsukioka Kôgyo

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Chōchin o motsu onna | Library of Congress

MASATSUNE, 1846 print The fox couple Tadanobu, in human form, entertain themselves in the snow. Foxes were known in Japanese stories as transparents. Scene from a kabukitis piece. Poem by Sangi Masatsune. paper color woodcut playing with snow and ice - CC - adult(s) ~ snow and ice. group of actors, troupe; actors on the stage. couple of lovers

The actors Ichikawa Tomiemon (R) as Kanisaka Toma and Sanogawa Ichimatsu III (L) as the Gion Prostitute Onayo. Toshusai Sharaku ; Japanese, active 1794-95. Date: 1794. Dimensions: 37.9 x 25.0 cm. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The actor Ichikawa Omezo as the manservant Ippei. Toshusai Sharaku ; Japanese, active 1794-95. Date: 1794. Dimensions: 37.7 x 24.3 cm. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

The Actor Sawamura Tosshō II for a Fire Troupe. Tsukioka Yoshitoshi (Japan, 1839-1892)Daikokuya Kinnosuke (Japan, active mid-19th century). 1865, eighth month. Prints; woodblocks. Color woodblock print

Portrait of the Actor Ichikawa Danjuro VII, Toyokuni, Utagawa, 1807

The Actor Sawamura Sojuro I as Soga no Juro. Torii Kiyoshige; Japanese, active c. 1728-1763. Date: 1727-1737. Dimensions: 12 x 6 in. Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

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 series opens with spring. Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season. 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 a

Iwai Shijaku and another Actor in a NightScene. Artist: Shunk?sai Hokuei, Japanese, active ca. 1829-37

The Actors Ogino Yaegiri I and Unknown Kiyomasu Torii I (Japanese, active 1704-1718). The Actors Ogino Yaegiri I and Unknown, ca. 1730. Urushige (lacquer print) black and white hand colored, 9 5/16 x 6 in. (23.6 x 15.3 cm). Asian Art ca. 1730

A samurai standing on the lap of a great, outdoor stone statue of the King of Hell, fighting off a mob of assailants. Colour woodcut by Yoshitora, 1843/1846.

Ladies dressed as the Shichikenjin., 1801 - 1825. Woodcuts., Surimono

Woman is scared of a phallic skeleton. Donation Gerhard Schack

Fireworks at Ryogoku (Ryogoku hanabi), from the series Reflections on Water at Famous Places in Edo (Edo meisho mizu no omokage) 1852 Japan. Color woodblock print; uchiwa-e . Utagawa Hiroshige

The First Nakamura Nakazo as a Samurai ca. 1780 Katsukawa Shunkō Japanese. The First Nakamura Nakazo as a Samurai 36758

Tsukioka Yoshitoshi (1839 - June 9, 1892), also named Taiso Yoshitoshi, was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras - the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many outstanding aspects of traditional Japanese culture, among them traditional woodblock printing.

Kunisada, B, work, Actors Ichikawa Danzo VI, Nakamura Fukusuke and Kataoka Ichizo in the play Irifune Soga Nihon no torikachi (The Soga clan conquers Japan), 1857, color woodblock print, major: graphics

Colour woodcut triptych print depicting the Horyu Tower. The print shows two Japanese men fighting with swords on the roof of a tower.

Beauty in Summer Breeze 18th century Torii Kiyonaga Japanese. Beauty in Summer Breeze 45796

At the Clothing Shop, left sheet of a diptych. Date: c. 1860. Dimensions: 25.8 cm x 37.3 cm. Museum: Van Gogh Museum, Amsterdam. Author: ONBEKEND.

Sekkyo or Ishibashi, from the series Pictures of No Performances (Nogaku Zue) 1893-1903 Japan. Color woodblock print . Tsukioka Kôgyo

Leaf from Album of Actor Portraits, c. 1790-1810. Shōrakusai (Japanese). Album of 25 leaves; ink and color on silk; painting only: 21.8 x 17.6 cm (8 9/16 x 6 15/16 in.); each page: 28.1 x 21 cm (11 1/16 x 8 1/4 in.).

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

Atelier of a print maker, Unknown, c. 1850 - c. 1900 print paper color woodcut artist at work, in his workshop (+ graphic arts). print, e.g.: engraving, etching, lithograph. tools, implements of graphic artist

Ichikawa Monnosuke as a Courtesan and Nakajima Mioemon Bursting Out of a Barrel, c. early 1720s. Torii Kiyomasu (Japanese). Color woodblock print; sheet: 32.8 x 16 cm (12 15/16 x 6 5/16 in.).

Actors in procession and a fight. Colour woodcut by Yoshitaki, early 1860s.

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Oniwakamaru Observing the Great Carp in the Pond. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1889, October. Prints; woodblocks. Color woodblock print

The Actoe Ichikawa Komazo llI as Nitta Yoshisada, Actually Oyamada Taro Takaie (Sandai-me Ichikawa Komazo no Nitta Yoshisada, jitsuwa Oyamada Taro Takaie). Toshusai Sharaku ; Japanese, active 1794-95. Date: 1789-1799. Dimensions: 31.4 x 14.1 cm. Color woodblock print; hosoban, nishiki-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Still life with painting utensils and room screen. A red dress on which a small room screen with a painting of a tiger; In the foreground a flower arrangement with blossom branch and painting utensils including paper, brushes and paint.

Empress Jingu was consort to Emperor Chuai (notionally 192 - 200 CE), she also served as Regent from the time of her husband's death in 209 until her son Emperor jin acceded to the throne in 269. No firm dates can be assigned to this historical figure's life or reign. Jing is regarded by historians as a 'legendary' figure because of the paucity of information about her. Legend has it that she led an army in an invasion of Korea and returned to Japan victorious after three years. However, this theory is widely rejected even in Japan as there is no evidence of Japanese rule in any part of Korea at this early period. Some believe that Empress Jing's conquest is only based on the Gwanggaeto Stele (in Jilin, China). But the legend of Jing's invasion of the Korean peninsula also appears in the ancient Japanese chronicles Kojiki written in 680 and Nihon Shoki written in 720.

Kintarô dreams of his childhood, The old Kintarô (also known as Kintoki) fell asleep against a sake barrel and dreams of his childhood when he conquered a bear with his ax. With three poems, beasts or prey, predatory animals: bear, Totoya Hokkei (mentioned on object), Japan, 1829, paper, colour woodcut, h 209 mm × w 183 mm

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Japan, Satake Eiko, Tokyo, Fukuda Kumajirô, Watanabe Tsunejiro, Kunichika, Toyohara, Ichikawa Danjuro engei hyakuban, One Hundred Scrolls of Ichikawa Danjuro IX, Kato Kiyomasa, Ichikawa Danjuro IX as Kato Kiyomasa, verso - stamped, The actor Ichikawa Danjuro IX in the role of the warrior Kato Kiyomasa, in armor, with a fan in his right hand; against a light blue background; cartouche with a view of a temple roof among flowering trees., print, prints, Japan (collection), height 350 mm, width 240 mm, 1835 - 1900, print maker, printmaker, 1894 - 1894, fourth quarter 19th century, paper, mica, color woodcut, nishiki-e, blind stamping, Japanese, block cutter, Publication (Event), Publication, publisher, 1835 - 1909

Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th-19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meisho), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachoga).

Honchô Hyakuyûden; One hundred stories about courage, from our own country. Kataoka Ichizô I like Daroku and Arashi Rikan III (with hat) as Ono No Tôfû. Chûban with Koban Diptiek

The actor Ichikawa Danjuro IX as Musashibo Benkei in the play "The Subscription List (Kanjincho)". Tsukioka Yoshitoshi; Japanese, 1839-1892. Date: 1890. Dimensions: 72.8 x 36.5 cm. Color woodblock prints; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

'Portrait of a Functionary with a Boy'. China, late 19th - early 20th century. Dimensions: 33,2x56 cm. Museum: State Hermitage, St. Petersburg.

The Moon in Smoke: #22 of One Hundred Aspects of theMoon. Artist: Tsukioka Yoshitoshi, Japanese, 1839-1892

The Radish from the province of Higo: I want to make it warm!, Sheet 49 from the series: Lucky pictures of mountains and the sea. .

Japan: Ruan Xiao'er or Ricchitaisai Genshoji, one of the 'One Hundred and Eight Heroes of the Water Margin', being attacked on his boat by sharp pointed and hooked balls which are attached to ropes; one is embedded in his hair and another is wrapped around his leg. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. 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.

Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries. Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice. His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Oshi-e ("Push Picture"), A Geisha (Female Entertainer) Oshi-e ("Push Picture"), A Geisha (Female Entertainer), 19th century. Cloth and cardboard, 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm). Asian Art 19th century

King Frederick the Great, Frederick II., Friedrich der Große, Friedrich II. 1712-1786 in his last days on the terrace in Sanssouci, Germany, 1786, historical illustration, 1880, Germany, Europe

The Actor Nakamura Nakazo. Katsukawa Shunko I; Japanese, 1743-1812. Date: 1770-1800. Dimensions: 25 x 14.9 cm (9 13/16 x 5 7/8 in.). Color woodblock print; hosoban; left sheet of diptych (). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Kohada Koheiji, from the series: 100 stories. .

Torii Kiyomasu (c. 1690s - 1720s) was a Japanese painter and printmaker of the Torii school, in the genre of ukiyo-e. Like the other Torii artists, his primary focus was on Kabuki billboards, advertisements, actor prints, and other related material.

Mother and Son. Artist: Suzuki Harunobu (Japanese, 1725-1770). Culture: Japan. Dimensions: 10 3/4 x 7 15/16 in. (27.3 x 20.2 cm)medium-size print (chu-ban). Date: ca. 1769.The relationship of mother and son in daily life is a recurrent Harunobu theme, shown here in a scene of intimacy and tenderness. This is a rare example of a print bearing the seal of an American collector, Hamilton Easter Field (1873-1922). The seal, placed between the fan and the artist's signature at the lower right, consists of a stylization of his initials. The H at the center is flanked by an E on the left and an F on the right, which form the continuous outline of the stamp. Field, a collector, artist, and critic from Brooklyn, New York, adopted the Western tradition of stamping a specially designed seal on his Japanese ukiyo-e prints. Museum: Metropolitan Museum of Art, New York, USA.

Ichikawa Sadanji in de Rol Van Narukami, Natori Shunsen, 1926 print Portrait of the actor Ichikawa Sadanji in the role of Narukami, with white painted face, red and blue accents, black high hairstyle with two tails. paper color woodcut portrait of actor, actress

Japan, Kunimasa, Utagawa, Bust portrait of Ichikawa Omezo, The actor Ichikawa Omezo in green and red checked suit, rolling up his right sleeve., print, prent, prints, Japan (collection), height 384 mm, width 255 mm, 1773 - 1810, print maker, prentmaker, 1795 - 1800, fourth quarter 18th century, paper, papier, nishiki-e, color woodcut

The actor Ichikawa Udanji I as Sugawara no Michizane in the play "Shinrei Sugawara Jikki," performed at the Haruki Theater in the fourth month, 1883. Toyohara Kunichika; Japanese, 1835-1900. Date: 1883. Dimensions: 36.7 x 74.5 cm. Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Tsukioka Yoshitoshi (1839 - 9 June 1892) one of the last great masters of the classical Japanese woodblock print, here the work Moon's Invention, The, Hozo Temple

Tsukioka Yoshitoshi (30 April 1839 9 June 1892, also named Taiso Yoshitoshi) was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. Eimei nijuhasshuku (28 Famous Murders with Verse), also known as the 'Bloody Prints', is a collection of Japanese ukiyo-e from the 1860s, which depicted gruesome acts of murder or torture based on historical events or scenes in Kabuki plays. Although most of the works are solely violent by nature, it is perhaps the first known example of ero guro or the

Tokyo, Fukuda Kumajirô, Japan, Kunichika, Toyohara, Samurai Aoyama and the Ghost Okiku, verso - stamped, Middle sheet of a triptych, showing the actor Onoe Kikugoro in the role of the ghost Okiku floating above a fan shape., print, prints, Japan (collection), height 37.2 mm, width 25.4 mm, 1835 - 1900, print maker, printmaker, 1892 - 1892, fourth quarter 19th century, vier kwart 19e eeuw, paper, colour woodcut, Publication (Event), Publication, Japanese, publisher

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Crane and rising sun, Hiroshige (I), Utagawa, 1840 - 1850 print Crane on a floating piece of wood, in a wave, with reeds and large red sun. The crane and rising sun are often associated with New Year. print maker: Japanprint maker: Tokyo paper nishiki-e / color woodcut shore-birds and wading-birds: crane. sun as celestial body

The lovers Komurasaki and Gompachi, 1806, Woodcuts, Pillar print, 23 3/4 x 4 in. (60.3 x 10.2 cm)

Yamato Takeru (c. 72-113), originally known as Prince Osu, was a legendary and mythical figure in Japan. He was a prince of the Yamato Dynasty, son of 12th emperor of Japan, Emperor Keiko. The life and death of Yamato are primarily chronicled in the tales 'Kojiki' (712 CE) and 'Nihon Shoki' (720 CE). For slaying his elder brother, Osu was sent to fight in Izumo Province by his father, who feared his brutal temperament. Instead of being killed however, Osu succeeded in defeating his enemies and was gifted the title 'Yamato Takeru' (The Brave of Yamato). His father was not convinced, still fearing him and wishing his death. Next, Yamato was sent eastwards to deal with those who had disobeyed the imperial court, armed with the holy sword 'Kusanagi'. During a great storm, his wife sacrificed herself to appease the sea god, and in his anger he defeated many enemies. However, his blaspheming of a local god of Mount Ibuki led to him being cursed and dying. His soul turned into a great white b

Ogiya uchi hanaogi, The courtesan Hanao of Ogi-ya., Utagawa, Kuniyoshi, 1798-1861, artist, between 1830 and 1844, 1 print : woodcut, color ; 38.7 x 25.9 cm., Print shows Hanao of Ogi-ya, full-length portrait, standing, facing left, with attendant.

A High-ranking Noble in Priest's Robe, 1392-1573. Japan, Muromachi period (1392-1573). Hanging scroll; ink and color on silk; overall: 154 x 58 cm (60 5/8 x 22 13/16 in.).

Tartar Officer with Blond Lady Playing Musical Instruments 19th century Unidentified artist. Tartar Officer with Blond Lady Playing Musical Instruments 51680

Arhat kalika unknown

Portrait of Chief Minister Han Ik-mo Portrait of Chief Minister Han Ik-mo, last half of 18th century. Ink and light color on silk, 62 3/8 × 26 1/8 in. (158.4 × 66.4 cm). This sensitive portrait depicts a gentleman who served as prime minister in 1772. He wears a samo, the black silk hat of a high-ranking court official, with its distinctive wing-like protrusions of woven horsehair. In his depiction of the flaps, the artist captures the patterns created when two layers of fine mesh overlap. Unlike the wide-brimmed gat, which was worn by all members of the upper classes, the samo was initially reserved for the most important courtiers. Like many trappings of royalty, the samo was later adopted by commoners as part of wedding-day regalia: until recently it was the standard headgear for bridegrooms. Asian Art last half of 18th century

Traditional Chinese Painting, Lucky Patterns, Chinese New Year

Witch stained with blood, Japanese theater figure, by Utagawa Kunisada (1786-1864), woodcut, Japan. Japanese Civilisation, Meiji period, 19th century.

'Boy with Pumpkin ()'. China, late 19th - early 20th century. Dimensions: 34x54 cm. Museum: State Hermitage, St. Petersburg.

The cure, Beijing, China, engraving by Rapine from a Chinese painting photographed by Morache, from Beijing and North China, by T Choutze pseudonym of Gabriel Deveria (1844-1899), from Il Giro del mondo (World Tour), Journal of geography, travel and costumes, Volume V, Issue 9, February 1, 1877.

International Tea Party, Winslow Homer, American, 1836-1910, Graphite, brush and black, gray wash on paper, Horizontal view of four figures. Asian man and woman at right wearing long kimono and hold teacups; the male figure also holds a fan. Western male and female figure at left, the woman wears a long robe printed with five-pointed stars, her white shirt collar showing at top; the man viewed from the back with long hair and beard and striped trousers, his feet raised high into the air. Low table with bowl in foreground; decorative dragon at center in background., USA, ca. 1867, figures, Drawing, Drawing

Portrait of a Woman Standing Portrait of a Woman Standing, last half 16th century. Gouache colors and gold on brown rag paper, 4 1/8 x 6 5/8 in. (10.5 x 16.9 cm). Arts of the Islamic World last half 16th century

Shamisen Junicho-shi Yanagawa Shigenobu (1787-1832). Shamisen Junicho-shi, ca. 1820. "Shamisen Juni Cho-shi". Yanagawa Shigenobu, 10 1/8 x 7 3/16 in. (25.7 x 18.3 cm) each. Asian Art ca. 1820

Red Shoki, the Demon Queller. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: Image: 23 1/4 × 11 7/8 in. (59.1 × 30.2 cm)Overall with mounting: 61 × 19 1/2 in. (154.9 × 49.6 cm)Overall with knobs: 61 × 21 5/16 in. (154.9 × 54.1 cm). Date: dated 1847.Shoki (Chinese: Zhong Kui) was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shoki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease.In Japan, auspicious images of Shoki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month. Here, the artist Katsushika Hokusai, aged eighty-seven, painted with red pigment, as that color was thought to have magical efficacy in warding off smallpox. In fact, there was a small

Shunga (Erotic Pictures) Shunga (Erotic Pictures), 17th century. Handscroll, ink and color on paper, Image: 11 1/4 x 113 3/4 in. (28.6 x 288.9 cm). Asian Art 17th century

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