Japanese Woodblock Prints

Colorful and stylized woodblock prints depicting traditional scenes, actors, and poetic imagery, vibrant with cultural significance from Edo period.

The guard Banjô (title on object) A series of ten people (series title) Jinbutsu jûbantsuzuki (series title on object), The chief carpenter Banjô is dressed like a nobleman and performs a ceremony prior to building a house. On the right a banner. With one poem., Totoya Hokkei (mentioned on object), Japan, 1820 - 1829, paper, colour woodcut, h 204 mm × w 178 mm

Pictures with Letters (Moji-e). Artist: Attributed to Iwasa Matabei (Japanese, 1578-1650). Culture: Japan. Dimensions: Image (a): 8 3/4 × 15 11/16 in. (22.3 × 39.9 cm)Image (b): 8 3/4 × 11 1/2 in. (22.3 × 29.2 cm)Image (c): 8 3/4 × 11 9/16 in. (22.3 × 29.3 cm)Image (d): 8 3/4 × 11 3/8 in. (22.3 × 28.9 cm)Image (e): 8 3/4 × 11 9/16 in. (22.3 × 29.4 cm)Image (f): 8 3/4 × 11 3/16 in. (22.3 × 28.4 cm)Image (g): 8 3/4 × 12 3/16 in. (22.3 × 30.9 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Asakuraan, Hokusai, Katsushika, Shogei sanjûroku no tsuzuki, A Series of Thirty-six Traditional Performances, Sho, Calligraphy, recto - stamped, A woman teaching a young girl calligraphy. With one poem., print, prent, surimono, prints, Japan (collection), height 138 mm, width 186 mm, 1760-10-12 - 1849-05-10, print maker, printmaker, 1803 - 1803, first quarter 19th century, paper, colour woodcut, Japanese, poet

Love of Yatsufuji 1837 Utagawa Kunisada Japanese. Love of Yatsufuji. Utagawa Kunisada (Japanese, 1786-1864). Japan. 1837. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

One of the Gods of Hell , ca. 1860. Woodblock print; horizontal Chûban yoko-e format, 7 1/16 x 9 7/8 in. (17.9 x 25.1 cm). Asian Art ca. 1860

Hikitejaya mae no yuki usagi, Presenting a snow bunny on a tray in front of a tea shop., Katsushika, Hokusai, 1760-1849, artist, 1798 or 1799, 1 print : woodcut, color ; 14 x 18.8 cm., Print shows a person walking to the left, mostly hidden by a snow-covered umbrella, a woman walking to the right, holding a tray with a snow sculpture of a bunny on it, and a woman sitting on a bench at a tea shop; they are wearing kimonos and geta.

Signboard with message, Shibanoya Sanyô (attributed to), 1826 A signboard between the flowering trees with a printed message underneath. The text on the sign reads 'made in the year of the dog, the 23rd year in the cycle of 60 years'. The paper message contains a poem in Chinese and two in Japanese. Japan paper color woodcut signboard

Courtesan Seated on a Carp. Artist: Yashima Gakutei (Japanese, 1786-1868). Culture: Japan. Dimensions: 8 1/16 x 7 1/4 in. (20.5 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Spinning Wheel and Spools 19th century Ryūryūkyo Shinsai Japanese. Spinning Wheel and Spools 54101 Artist: Ryuryukyo Shinsai, Japanese, active ca. 17991823, Spinning Wheel and Spools, 19th century, Part of an album of woodblock prints (surimono); ink and color on paper, 5 5/16 x 7 3/16 in. (13.5 x 18.3 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP2317)

Kiura Okaemon Sadayuki, Leaf 22 from the series: History of Loyal Fools. Gift by Justus Brinckmann

Portrait of physician Wang Ji: Chinese C16 woodcut

Portraits and Poems of the Thirty-six Poetic Immortals (Sanjurokkasen). Artist: Sumiyoshi Gukei (Japanese, 1631-1705). Culture: Japan. Dimensions: Image (each leaf): 6 7/8 × 6 5/16 in. (17.4 × 16 cm)Album: 8 3/4 × 7 11/16 × 2 5/8 in. (22.3 × 19.5 × 6.7 cm). Date: 1674-92.This album contains the imaginary portraits of thirty-six of revered masters of poetry from the Nara (710-794) and Heian (794-1185) periods, each accompanied by one of his or her verses on the facing page. Selections of the greatest poets were made by connoisseurs of the late Heian period, with Kakinomoto no Hitomaro (active 686-705), long regarded as the pre-eminent poet of Japan, given first place. The Sumiyoshi school of painting was founded by Jokei (1599-1670), a former member of the Tosa school who established his own atelier in Edo. It specialized in depictions of the "poetic immortals," and used fine detail and elements drawn from yamato-e--native "Japanese style" painting. Jokei's son Gukei (also known as Hiro

Cherry Blossoms and Shells. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 7/16 x 7 5/16 in. (13.8 x 18.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Actors Nakamura Takesaburo I as Kewaizaka no Shosho and Ichikawa Danjuro II as Soga no Goro dressed as a komuso in the play "Bando Ichi Kotobuki Soga," performed at the Nakamura Theater in the first month, 1715. Torii Kiyomasu I; Japanese, active c. 1704-18 (). Date: 1715. Dimensions: 11 5/16 x 16 3/4 in. Woodblock print; oban, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Eastern Brocade of One Hundred Poems by One Hundred Poets 1775 Katsukawa Shunshō　川春章 Japanese. Eastern Brocade of One Hundred Poems by One Hundred Poets. Katsukawa Shunshō　川春章 (Japanese, 1726-1792). Japan. 1775. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Grapes Bokusai (Motsurin Jt) Japanese ca. 1480s-1492 A still life of clusters of grapes and leaves on a vine rendered entirely in various tones of ink by the celebrated Zen monk-painter Bokusai occupies the bottom third of a nearly blank composition. As a finishing touch, the artist impressed his own fingerprints on some of the round grapes while the ink was still wet, imbuing the work with distinctive traces of the physical act of creation. Four columns of five-character lines of a Chinese poem in dynamic calligraphy operate in dialogue with the picture below. The red seals of the artist as both painter and calligrapher punctuate the composition with a bit of color. One of the seals on the artists signature was playfully impressed upside-down (an aspect overlooked by previous researchers). Splashed-ink paintings of grapes, with associations of drinking and fecundity, were cherished through medieval times across East Asia, most notably by the thirteenth-century Chinese Chan (Zen, in J

Kyūrō (Baitei) Picture Album preface and postscript dated 1797 Ki Baitei Japanese. Kyūrō (Baitei) Picture Album. Ki Baitei (Japanese, 1734-1810). Japan. preface and postscript dated 1797. Woodblock printed book; ink on paper. Edo period (1615-1868). Illustrated Books

Kabuki Actor Onoe Kikugoro I in The Belle of Asakusa Temple (Keisei Asakusa no Kane). Artist: Torii Kiyohiro (Japanese, active ca. 1737-66). Culture: Japan. Dimensions: 12 1/2 x 5 3/4 in. (31.8 x 14.6 cm). Date: 12th month, 1754 or 1st month, 1755. Museum: Metropolitan Museum of Art, New York, USA.

Drum with Stand, Sho (A Kind of Mouth Organ) and Helmet on the Stage for Bugaku Dance. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 3/8 x 7 1/4 in. (13.7 x 18.4 cm).The design of this surimono, a sumptuous print commissioned by one of the poetry clubs that flourished in the urban society of early-nineteenth-century Edo, uses the accoutrements of a Bugaku performance as auspicious imagery for a New Year's greeting. Museum: Metropolitan Museum of Art, New York, USA.

Memorial Anniversary (Shunen), from the series One Hundred Ghost Tales (Hyaku monogatari) 1831-1832 Japan. Color woodblock print; chuban . Katsushika Hokusai

Ushioda Masanojo Takanori, Sheet 28 from the series: History of Loyal Fools. Gift by Justus Brinckmann

Portrait of the Poet Rosen Yokoi Kinkoku (Japanese, 1761-1832). Portrait of the Poet Rosen, 18th century. Ink and color on paper, Image: 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm). Asian Art 18th century

One of Six Impressions from Worn Old Blocks Unidentified artist. One of Six Impressions from Worn Old Blocks 56125

Drying Laver, 1830s, Yamada Hōgyoku, Japanese, fl. c.1804-1844, 9 3/16 × 11 9/16 in. (23.3 × 29.4 cm) (image, sheet, uchiwa-e), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Plums and Biwa. Tanomura Shosai; Japanese, 1847-1909. Date: 1860-1869. Dimensions: 25.6 x 19.2 cm. Color woodblock print; surimono. Origin: Japan. Museum: The Chicago Art Institute, USA.

Gathering Shells at Low Tide, from the illustrated book Gifts from the Ebb Tide (Shiohi no tsuto) 1789 Japan. Color woodblock print; double-page illustration from book . Kitagawa Utamaro

Ogura imitation of the one hundred poems. Nagoya Sanzaburo wipes the blood of his enemy of his sword with his sandal. Scene from a Kabukite team. Poem by Abe No Nakamaro.

Mending Clothes by Daylight Unidentified artist calligraphy datable to 1240s This austere image of a monk mending his robes in the sunlight is an exceptionally important example of apparition painting, an artistic type that emerged in the monasteries of Chan (Japanese: Zen) Buddhism during the twelfth century. Chan doctrine teaches that all images are illusory, and paintings such as these, in which ink is applied so lightly that the picture seems to flicker and fade before the viewers eyes, are among the most eloquent artistic manifestations of that belief. Using dilute ink for most of the picture, the artist has applied dark tones only to the eyes of the main figure and the needle in his hand, imparting special emphasis to these key narrative and emotive elements. The result is a painting that appears indistinct at first but is revealed upon closer examination to be alive with intensity. The brushwork is assured and steady; see, for instance, the fine line that indicates the single th

Spring Rain Collection (Harusame shū), vol. 2: Cut Flowers: Clematis, Bush Clover, Iris, Camellia, and Azalea 1815 (Year of the Ox) Kubo Shunman Japanese Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.. Spring Rain Collection (Harusame shū), vol. 2: Cut Flowers: Clematis, Bush Clover, Iris, Camellia, and Azalea 55062

First Dream Pickles (Hatsu-yumeZuke). Artist: Kubo Shunman, Japanese, 1757-1820

De EDELMAN, TOTOYA HOKKEI, C. 1821 Kugi, a nobleman at the Hof in Kyoto, dressed in Heian style, walks between small pine trees. With one poem. Japan paper color woodcut trees: pine

Surimono Shibata Zeshin (Japanese, 1807-1891). Surimono, 1844. Woodblock print on paper, 6 7/8 x 5 3/8 in. (17.5 x 13.7 cm). Asian Art 1844

The Actor Onoe Kikugorō III at Umemoto Teahouse. Utagawa Kunisada (Toyokuni III) (Japan, Edo, 1786-1865). Japan, circa 1825. Prints; woodblocks. Surimono; color woodblock print

Bust Portrait of Woman with Mirror 1796 Kubo Shunman Japanese. Bust Portrait of Woman with Mirror. Kubo Shunman (Japanese, 1757-1820). Japan. 1796. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Mariko, Twenty-first in the series Fifty-three Stations of theT?kaid?. Artist: Katsushika Hokusai, Japanese, 1760-1849

Peacock on Pine Tree and Peonies, from the series Three Sheets (Mihira no uchi) mid- 1810s Totoya Hokkei Japanese. Peacock on Pine Tree and Peonies, from the series Three Sheets (Mihira no uchi) 54155

Portrait of Sen no Riky with his Death Poem early 17th century Painting by Unidentified artist This solemn portrait of the revered tea master Sen no Riky (1522-1591)—seated on a tatami mat, dressed in the robes of a Buddhist monk, wearing a cloth hat, and holding a closed fan—belies the tragic circumstances it commemorates. Brushed above the portrait is Riky’s death poem, composed just before he followed through on the command of the most powerful military leader of the day, Toyotomi Hideyoshi (1536-1598), to commit ritual suicide (seppuku), on the twenty-eighth day of the second month of 1591 at the warlord’s Jurakudai Palace. Historians still debate over the reasons the megalomaniacal military leader ordered the foremost master of tea to take his own life, though it seems that at least one motive was that Hideyoshi could not tolerate anyone rivaling his own fame and cultural prestige.For the tragic occasion Riky’s composed a “departing this world” poem (jisei no ku), also sometim

Triptych of Umbrellas. Artist: Okumura Masanobu (Japanese, 1686-1764). Culture: Japan. Dimensions: H. 11 3/4 in. (29.8 cm); W. 16 15/16 in. (43 cm). Museum: Metropolitan Museum of Art, New York, USA.

Eggplants in a Basket 19th century Totoya Hokkei Japanese. Eggplants in a Basket 54165

Tiger Striking aPose. Artist: Totoya Hokkei, Japanese, 1780-1850

In Japanese mythology, the tide jewels-- individually, the kanju (珠?, lit. '(tide-)ebbing jewel') and manju (満珠?, lit. '(tide-)flowing jewel')-- were magical gems that the Sea God used to control the tides. Classical Japanese history texts record an ancient myth that the ocean kami Watatsumi 海神 'sea god' or Ryūjin 龍神 'dragon god' presented the kanju and manju to his demigod son-in-law Hoori, and a later legend that Empress Jingū used the tide jewels to conquer Korea. The fable of Tamatori-hime 玉取姫 'Princess Jewel Taker', which was a favorite ukiyo-e subject of Utagawa Kuniyoshi, is a variation of the Hoori and Toyatama-hime love story. Tamatori was supposedly an ama diver who married Fujiwara no Fuhito and recovered a precious jewel that the Sea God stole.

Kannon on Horseback. Princess Rinkyuji Teruko (Japanese, 1634 - 1727). late 17th-early 18th century. Paintings; scrolls. Hanging scroll; ink on silk

Vijfenvijftig Japanse prentbriefkaarten in doos van karton; De Tôkaidô van Hiroshige; Hiroshige no fude Tôkaidô.Box for fifty postcards with designs to the series The 53 stations of the Tokaido (Tokaido Gojusan No Uchi) from Utagawa Hiroshige.

The actor Arashi Rikan II as Wada Yoshimori. Donation Gerhard Schack

Title Page from the series An Assortment of Women's Customs Ogata Gekko (Japanese, 1859-1920). , 1891. Color woodblock print on paper, 14 x 9 15/16 in. (35.6 x 25.2 cm). Asian Art 1891

Plum, Narcissus and Rock, 1679, Wang Wu, Chinese, 1632 - 1690, 44 7/16 × 17 11/16 in. (112.87 × 44.93 cm) (image)40 5/16 × 3 3/4 in. (102.39 × 9.53 cm) (object part, right text field)39 1/2 × 3 3/4 in. (100.33 × 9.53 cm) (object part, left text field)81 × 26 5/16 in. (205.74 × 66.83 cm) (without roller), Ink on paper, China, 17th century, Wang Wu was a member of an important Ming dynasty literati family and was also a noted connoisseur and poet. His painting of plum, narcissus, and rock makes use of standard literati subject matter, the plants and rock symbolizing the harmony of nature and the tenacious character of the scholar-official.

Table-Clock and Kakemono of a Treasure Boat 19th century Ryūryūkyo Shinsai Japanese. Table-Clock and Kakemono of a Treasure Boat 54969

Cock, Hen, and Rising Sun, from the series Seven Bird-and-flower Prints for the Fuyo Circle of Kanuma in Shimotsuke Province (Yamagawa Shimotsuke Kanuma Fuyo-ren kacho nanaban tsuzuki no uchi) 1805-1815 Japan. Color woodblock print; shikishiban, surimono . Kubo Shunman

FUKUROKUJU AND A COURTESAN Katsushika, hokusai (1760 1849)

Children in traditional dress, playing ball on a verandah overlooking a garden. Colour woodcut by Chikanobu, 1883.

Chiryu, 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.

View of Shiba Shinmei Shrine, from an untitled series of Famous Places in Edo Kitao Shigemasa (Japanese, 1739-1820). View of Shiba Shinmei Shrine, from an untitled series of Famous Places in Edo, ca. 1770. Color woodblock print on paper, 8 1/2 x 6 1/8 in. (21.6 x 15.5 cm). Asian Art ca. 1770

Covered Bridge Railing Baishu (Japanese). Covered Bridge Railing, ca. 1850. Color woodblock print on paper, 7 3/16 x 9 5/8 in. (18.2 x 24.5 cm). Asian Art ca. 1850

Princess Sotoori, from the series A Selection of Framed Paintings of Women for the Katsushika Club. Artist: Yashima Gakutei, Japanese, ca. 1786-1868

Ise monogatari = The Tales of Ise.. text. Illustrations. 1608. Spencer Collection

Three poems from the "Collection of Poems Ancient and Modern" (Kokin wakashu), known as the "Imaki Fragment" (Imaki-gire). Artist: Calligraphy by Fujiwara no Norinaga (Japanese, 1109-1180). Culture: Japan. Dimensions: Image: 9 15/16 × 6 1/4 in. (25.3 × 15.9 cm)Overall with mounting: 51 3/16 × 14 3/16 in. (130 × 36 cm)Overall with knobs: 51 3/16 × 16 1/8 in. (130 × 41 cm). Date: mid-to late 12th century. Museum: Metropolitan Museum of Art, New York, USA.

Takao Sange no Den ca. 1798 Eishōsai Chōki Japanese. Takao Sange no Den 54851

Akoya with her maid; Fujiwara No Toshiyuki Ason; Decorative paper described according to the hundred poets; Ogura Nazorae Hyakunin Isshu. Woman, Akoya, sitting at sword and wicker hat (referring to her beloved Fujiwara No Kagekiyo), witching towards maid with parasol. Poem in orange striped cartouche top left; Above hat a commentary on the show.

Mounted Courtier Crossing the River Tamagawa at Ide

Japan: Traditional crafts and trades of the 18th century from a hand-painted album by an anonymous artist. Folio 35. Hand-coloured illustration from a Japanese miscellany on traditional trades, crafts and customs in mid-18th century Japan, dated Meiwa Era (1764-1772) Year 6 (c. 1770 CE).

Stongwoman pulIIng a tree Gakutei, yashima (1786 1868)

Ming herbal (painting): Longan

Dressing hair, 1814, Woodcuts, Surimono

Eight Views of the Genji Story: Still Life 19th century Yashima Gakutei Japanese. Eight Views of the Genji Story: Still Life 54813

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

Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers) Gishi Shozo Sanshi (Annotated Portraits of Loyal Retainers), 1850. Paper, 10 3/8 x 7 in. (26.4 x 17.8 cm). Asian Art 1850

Lobster with charcoal, Totoya Hokkei, 1830 - 1839 A red lobster climbs on a piece of charcoal. With two poems. Japan paper color woodcut / polishing crustaceans

Kinchaku to kusazoshi, Coin purse and novelettes., Yusai Kuniteru, artist, 1824., 1 print : woodcut, color ; 19.4 x 17.3 cm., Print shows a coin purse and two books, one with a portrait of a man on the cover.

C19 Chinese ink drawing: Boils - boil on the earlobe

Two children looking at grasshopper, Kawanabe Kyôsai, 1880 - 1890

Sudare-gai, hana-gai, sakura-gai, mumeno-gai, nadeshiko-gai, and kinuta-gai, from the illustrated book Gifts from the Ebb Tide (Shiohi no tsuto) 1789 Japan. Color woodblock print; double-page illustration from book . Kitagawa Utamaro

Kakinomoto no hitomaro, Utagawa, Kuniyoshi, 1798-1861, artist, between 1844 and 1854, 1 print : woodcut, color ; 34.3 x 23.1 cm., Print shows Kakinomoto no Hitomaro as an elderly man, writing while looking through the opening in his room at a pheasant on a hillside.

Two Men Wearing Yellow Coats and Straw Hats with Red Bows. Artist: Yashima Gakutei (Japanese, 1786-1868). Culture: Japan. Dimensions: 7 1/8 x 6 13/16 in. (18.1 x 17.3 cm). Date: 1840. Museum: Metropolitan Museum of Art, New York, USA.

Returning geese in Yamazaki, board 4 from the series: Chushingura compared to eight views /Chushingura hak`kei; scene from the 4th act Choki, Eishosai (FL. 17 .. 18 ..)

The not yet opened red Mikaibeni (title on object) A series for the Hanazono poetry association (series title) Hanazono bantsuzuki (series title on object), Folded brocade ceremonial robe and a court hat (eboshi) on a standard. Next to it plum blossoms against a green background. With three poems., Totoya Hokkei (mentioned on object), Japan, 1823, paper, polishing, h 208 mm × w 182 mm

Three Courtesans with a Client. Okumura Masanobu (Japanese, 1686-1764). Color woodblock print; sheet: 26.5 x 37.7 cm (10 7/16 x 14 13/16 in.). This double-page book illustration is called a sumizuri (meaning to print with sumi ink on paper). It may be an adaptation of a picture book by Kiyonobu I titled Keisei ehon, or Illustrated Book of Courtesans, portraying the most glamorous people in the ukiyo-e world. Masanobu had the greatest influence on the development of the ukiyo-e style during the first half of the 1700s. A publisher, print designer, and painter, he initiated new genres of prints such as the "perspective picture" (uki-e).

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

Five small scenes and two cartouches with poems HIROSHIGE, Ichiryusai (1797 1858)

Du Jardin, Karel, work, Lamb next to a straw fence, (1000 - 2003), line etching, graphics, plate width 9.9 cm, plate height 7.4 cm

Saohime and Take-tori-okina, 1814, Woodcuts, Surimono

Illustrated Collection of the Famous Products of Japan ca. 1820s Japan. Illustrated Collection of the Famous Products of Japan. Japan. ca. 1820s. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Picture Book of The Kōkyō Ch. Xiao Qing, Canon of Filial Piety 1850 Katsushika Hokusai Japanese. Picture Book of The Kōkyō Ch. Xiao Qing, Canon of Filial Piety. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1850. Set of two woodblock printed books; ink on paper. Edo period (1615-1868). Illustrated Books

Chusuke, Kazusaya, Kunimasa, Utagawa, Leaf from the book Haiju raku Hotsu (Yedo actors) 1799, print, prints, Japan (collection), 1773 - 1810, paper, colour woodcut, colour woodblock, Expression creation

Calligraphy learning at banana lines; Qian, Hui`an (1833-1911); 1888 (1888-00-00-1888-00-00);Albums, Chinese (culture), calligraphy, painting, Chinese art, purchase (provenance)

Sorimachi 409, 1746, Osaka

. Komachi looking at the blooming cherry blossoms from a veranda. Ono No Komachi (c. 825-900) was a Japanese waka poet who was very familiar to her beauty. With two poems. Facsimile from the Meiji period (1868-1912).

Seki Sanjuro, Utagawa Kunisada, 1822

Kingfisher and hydrangea. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1840. Dimensions: 35.6 x 16.8 cm (14 7/8 x 6 5/8 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

A Cauldron on a Moonlit Night (Tsukiyo no kama), from the series "One Hundred Aspects of the Moon (Tsuki hyakushi)". Tsukioka Yoshitoshi; Japanese, 1839-1892. Date: 1886. Dimensions: 37.5 x 25.4 cm (14 3/4 x 10 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Title print for the series Engraved Eight Views of the Omi Province Doban Omi hakkei (series title on object), Front of the envelope containing the eight prints from this series., Katsushika Hokusai (mentioned on object), Japan, 1809 - 1814, paper, colour woodcut, h 90 mm × w 122 mm

Black Lacquer Box with Koto Strikers, 19th century, A Pupil of Katsushika Hokusai, Japanese, 1760 - 1849, 5 1/2 x 7 3/16 in. (14 x 18.3 cm) (image, sheet), Woodblock print (surimono); ink and color on paper, Japan, 19th century

Japan: Traditional crafts and trades of the 18th century from a hand-painted album by an anonymous artist. Folio 29: (right)

Kumagai Naozane and Taira no Atsumori at the battle of Ichi-no-tani. Kondo Kiyoharu; Japanese, active c. 1704-36. Date: 1715-1725. Dimensions: 13 1/2 x 12 5/8 in. Hand-colored woodblock print; uncut hosoban diptych, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Jabara-mon hara no hakacho. Katsushika Hokusai; Japanese, 1760-1849. Date: 1781-1791. Dimensions: 15 x 22.5 cm (5 7/8 x 8 7/8 in.). Woodblock-printed book; incomplete, mounted in 11 sheets. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Parrot and Bells 1810-1858 Japan. Tanaka Shutei, a painter and print designer, created a design of an exotic pet parrot on a metal stand for the haiku poet Kyuso, who seems to have been the leader of various poetry groups.In each of these three prints, Kyuso chose to repeat the same basic design, although he was celebrating poetry collections by different groups on different occasions. He appears as host in every print, but he supplied a separate poem for each, and the other members were also different. The repetition of design implies that poetry hosts were not merely passive customers; they were often actively engaged in the production of prints.. Color woodblock print; surimono . Tanaka Shutei

The Poets Henjo and Jichin, from Stylus-Illustrated Competition of Poets of Different Periods (Mokuhitsu jidai fudo uta awase-e). Artist: Unidentified Artist. Culture: Japan. Dimensions: Image: 12 5/16 in. × 21 in. (31.2 × 53.3 cm)Overall with mounting: 48 1/4 × 26 5/16 in. (122.5 × 66.9 cm)Overall with knobs: 48 1/4 × 28 9/16 in. (122.5 × 72.5 cm). Date: mid-14th century.A popular pastime among Heian period (794-1185) courtiers was the poetry contest, or uta-awase. Poetry connoisseurs devised lists of renowned poets of the past, usually thirty-six in number; this was followed in the Kamakura period (1185-1333) by the creation of handscrolls illustrating imaginary competitions among various authors, not all of whom had lived at the same time.During the thirteenth and fourteenth centuries, numerous kasen-e, "pictures of poetic immortals," were produced. Differing versions of uta-awase handscrolls were also created, depicting the poets--who by this time could number as many as 100--i

Page from the Wakan meihitsu gaei. Yoshimura Shuzan; Japanese, c. 1700-1773. Date: 1750. Dimensions: 27 x 18 cm. Woodblock print book. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Chinese woodcut: Abscesses -- breast tumours and swellings

Arrival of the Korean Embassy in Edo. Torii Kiyonobu I; Japanese, 1664-1729. Date: 1704-1714. Dimensions: 28 x 36.5 cm (11 1/24 x 14 3/8 in.). Woodblock print; oban sumizuri-e, 1 of 6 sheets from a 12-sheet composition (see 1925.2334a-f). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Poems from Shūi gusō and Shin kokin wakashū, Six Immortal Poets from the Shinkokinshu, 1718, Unknown Japanese, 6 1/4 × 5 5/8 × 3/4 in. (15.88 × 14.29 × 1.91 cm)4 3/4 × 4 7/8 in. (12.07 × 12.38 cm) (image), Ink and color on paper, Japan, 18th century

Snake and Melons,' created in 1809, features woodcuts in the form of a Surimono

of 3