Japanese Woodblock Prints

A collection of color woodblock prints showcasing traditional scenes, mythical characters, and historical events from Japan, featuring intricate details and vibrant colors.

Kumasaka Chohan to Ushiwakamaru, Utagawa, Toyokuni, 1786-1865, artist, between 1848 and 1854, 1 print (2 sheets) : woodcut, color ; 34.8 x 24.3 cm (left panel), 34.7 x 23.8 cm (right panel)

Fallen Blossoms in the Snow. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1874, November. Prints; woodblocks. Triptych; color woodblock prints

Hokusai, Katsushika, work, Robbery, (1000 - 2000), color woodcut, graphics, image and leaf width 33.6 cm, image and leaf height 23.8 cm

Raijin (or Raiden), the god of thunder, receiving medical treatment: various images. Colour woodcut by Kunitoshi, ca. 1884.

Demons, 1808 - 1911 print Two groups of demons and images of genitals. Accompanying magazine in the twelve -part Series Shunga prints based on the story of Raikô and the earth's spider. paper color woodcut demons ~ non-Christian religions. sexual organs (human)

Scene from chapter 14, 'Channel Buoys,' of The Tale of Genji right of a set of three, mid 17th century, Taketsugu, Japanese, active mid 17th century, 33 3/4 × 19 3/4 in. (85.73 × 50.17 cm) (image, without roller)66 1/2 × 24 3/4 in. (168.91 × 62.87 cm) (mount), Hanging scroll; ink and color on paper, Japan, 17th century, These three scrolls each illustrate a single scene from The Tale of Genji. The left scroll probably represents chapter 12, in which Genji is exiled to the desolate shore of Suma Bay. The center scroll illustrates a scene in chapter 28, in which the empresss ladies-in-waiting carry cages with cicadas into the garden to give the insects a sip of morning dew. The right scroll may depict chapter 14, in which Prince Genji travels to Naniwa Bay in an ox-pulled carriage.

Clearing Weather on the Togakushi Mountains: Taira no Koremori Ason. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1868, 1st month. Prints; woodblocks. Triptych; color woodblock print

The Devi defeats Mahasura, Folio from a Dispersed Devi Mahatmya Series Indian. The Devi defeats Mahasura, Folio from a Dispersed Devi Mahatmya Series, ca. 1770-1780. Opaque watercolor and gold on paper, sheet: 6 3/4 x 10 9/16 in. (17.1 x 26.8 cm). Asian Art ca. 1770-1780

The Courtesan Takamura of the Ogi House, left sheet of a triptych. Date: 1806-1810. Dimensions: 38 cm x 26 cm. Museum: Van Gogh Museum, Amsterdam. Author: UTAGAWA TOYOKUNI.

YOSHINO NI SHIKUZA HANGAN BETSURI GA, TSUKIOKA YOSHITOSHI, 1886 print paper. bronze powder color woodcut snow. mountains (+ landscape with figures, staffage). taking leave

Kumasaka Chohan to Ushiwakamaru, Utagawa, Toyokuni, 1786-1865, artist, between 1848 and 1854, 1 print (2 sheets) : woodcut, color ; 34.8 x 24.3 cm (left panel), 34.7 x 23.8 cm (right panel)

Japanese Woodblock. Date/Period: Ca. 1850. Author: Utagawa Yoshitsuna (Ittosai Yoshitsuna ga").

The Harugoma Dance. Torii Kiyomitsu I; Japanese, 1735-1785. Date: 1761-1771. Dimensions: 11 7/8 x 16 15/16 in. Color woodblock print; o-oban yoko-e, benizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

IshiyakushiNo 45, from the series Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi), also known as the Reisho Tokaido 1842-1857 Japan. Color woodblcok print; oban . Utagawa Hiroshige

Seven Actors as the Gods of Good Fortune. Utagawa Toyokuni I (Japan, 1769-1825). Japan, early 19th century. Prints; woodblocks. Triptych; color woodblock prints

Scroll 2, Scene 30, 1615 - 1868

Kimura Shigenari Overcoming Attackers. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1881. Prints; woodblocks. Color woodblock print

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.

Tsubone iwafuji churo onoe meshitukai hatsu, Three actors in the roles of Tsubo no Iwafuji, Churo Onoe, and Meishitsukai Hatsu., Utagawa, Kuniyoshi, 1798-1861, artist, between 1848 and 1854, 1 print (3 sheets) : woodcut, color.

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.

Strongman throwing the trunk of a huge tree over a precipice YOSHIKAZU, UTAGAWA (FL. 1850 1870)

Picture of the Heike Clan Sinking and Perishing at Sea, 1853, 6th lunar month, Tsukioka Yoshitoshi; Publisher: Kazusaya Iwazō, Japanese, 1839 - 1892, 14 × 9 5/8 in. (35.56 × 24.45 cm) (image, sheet, each panel; vertical oban triptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century, This is the earliest known work by Yoshitoshi, published when he was just 14 years old. Three years earlier he had entered the studio of Utagawa Kuniyoshi (1798-1861), at that time one of the leading print designers in Japan, especially sought after for his prints of warriors. It is therefore not a surprise that Yoshitoshis debut would also be a warrior subject. What is unusual is that this debut was a full-size triptych, instead of a smaller-sized print, which was common for young artists.

An actor with a torch standing near a bridge and water., 1801 - 1900. Woodcuts., Probably part of a triptych. Paper / Sheet 14 1/4 x 10 5/8 in. (36.2 x 27 cm)

The Strange Occurence of Ukiyo Matahei and his Famous Paintings, 1853. Utagawa Kuniyoshi (Japanese, 1797-1861). Color woodblock print; overall: 37.8 x 26.4 cm (14 7/8 x 10 3/8 in.).

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

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

Battle on roof of Hōryūkaku, from the Play "Tale of the Eight Dogs" (Hakkenden). Utagawa Kunisada II (Japan, 1823-1880). fifth month 1854. Prints; woodblocks. Color woodblock print triptych

Pages from Strange Tales of the Crescent Moon’. Katsushika Hokusai (Japan, 1760-1849). 1807-1811. Books. Double-page book illustration; black and white woodblock print

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.

Persian painting. Colour plates

A duel of Knights in Fur Coat on Armor / Heike no Meisho no shigemori hachijn wo hiite Teki wo () Utagawa, kuniyoshi (1797 1861)

Shuinsen, or 'Red Seal ships', were Japanese armed merchant sailing ships bound for Southeast Asian ports with a red-sealed patent issued by the early Tokugawa shogunate in the first half of the 17th century. Between 1600 and 1635, more than 350 Japanese ships went overseas under this permit system. Japanese merchants mainly exported silver, diamonds, copper, swords and other artifacts, and imported Chinese silk as well as some Southeast Asian products (like sugar and deer skins). Pepper and spices were rarely imported into Japan, where people did not eat a great deal of meat due to the local preponderance of adherents to the Buddhist belief system. Southeast Asian ports provided meeting places for Japanese and Chinese ships. In 1635, the Tokugawa shogunate, fearful of Christian influence, prohibited Japanese nationals from overseas travel, thus ending the period of red-seal trade. This measure was tacitly approved of by Europeans, especially the Dutch East India Company, who saw their

Bathing of the Buddha Festival. Hua Ziyou; Chinese, 19th century. Date: 1833. Dimensions: 108.9 × 54.2 cm (42 7/8 × 21 3/8 in.). Hanging scroll, ink and color on paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Recovering the Stolen Jewel from the Palace of the Dragon King 1853 Utagawa Kuniyoshi Japanese. Recovering the Stolen Jewel from the Palace of the Dragon King 45281

A ship on the high seas, Anonymous, 1700 - 1800 One of a series of seven paintings that together represent the miracles of Mazu. China paper. ink One of a series of seven paintings that together represent the miracles of Mazu. China paper. ink

Visit of two samourai to a lady, right a garden. Double blade, on which the visit of two Samourai on a lady in her destinated is depicted, right a garden.

Processing Rice from One Hundred Women Classified According to their Rank. Nishikawa Sukenobu (Japan, 1671-1750). Japan, 1723. Prints; woodblocks. Double-page book illustration; woodblock print

Yatsushi kuramayama, A parody of the play Mount Kurama., , artist, between 1801 and 1804, 1 print (3 sheets) : woodcut, color ; 35.4 x 25.4 cm (left panel), 35.1 x 25 cm (center panel), 35.2 x 25.2 cm (right panel), Print shows a god or warrior appearing on a cloud before several women gathered in a wooded grove on Mount Kurama with view of Mount Fuji in the background.

OKITSU, Board 18 from the Series: Fifty Three Stages of the Tokyo Tokyo TOKAIDO ROAD/TOKAIDO GOJUSAN TSUGI No Uchi

Pleasure Boats on the Sumida River 1787-1797 Japan. Color woodblock prints; oban pentaptych . Chôbunsai Eishi

'Boys Sitting on Different Animals'. China, late 19th - early 20th century. Dimensions: 109x62 cm. Museum: State Hermitage, St. Petersburg.

The conquest of Korea by Empress Jingu. Sumiyoshi Hiroyuki (1755-1811). Manuscript, ink on silk, illustrations in ink, gofun and colour on silk, endpapers on brocade.

Plum Blossoms in the Forrest of Ikuta, from the series Bravery-Beauty of the four seasons (Buyu setsugekka no uchi-Ikuta no mori, Ebira no ume). Artist: Tsukioka Yoshitoshi (Japanese, 1839-1892). Culture: Japan. Dimensions: Overall (a): 14 3/4 x 10 in. (37.5 x 25.4 cm)Overall (b): 14 9/16 x 10 in. (37 x 25.4 cm)Overall (c): 14 9/16 x 10 in. (37 x 25.4 cm). Date: 1867. Museum: Metropolitan Museum of Art, New York, USA.

Scene from the 'Spring Shoots II' Chapter of The Tale of Genji, late 16th century, Unknown Japanese, 10 3/8 × 22 in. (26.35 × 55.88 cm) (image)45 3/8 × 25 3/8 in. (115.25 × 64.45 cm) (mount), Ink, color, and gold on paper, Japan, 16th century, The scene on this folding fan is from chapter 14 of The Tale of Genji. Genji makes a pilgrimage to Sumiyoshi Shrine to thank the gods after the end of a period of exile. Genji and his entourage have parked their elegant carriages near Sumiyoshis pine-lined beach. Illustrations of this scene, including several in this exhibition, often show a single boat floating off the coast, signaling the simultaneous arrival of Genjis former lover, the Akashi Lady. The magnificence of Genjis entourage makes the Akashi Lady painfully aware of her own lower social status, so she retreats without ever announcing her presence. When Genji learns she is nearby, they exchange a series of poems.

Reading a marriage contract, painter from the Tosa school, from a traditional literature novel, Japan. Japanese Civilisation, 19th century.

Japan, Kuniyoshi, Utagawa, Shijonawate nite Nanke no eiyu taiteki o, The Last Attack of the Kusunoki at Shijonawate, verso - stamped, Warrior of the Kusunoki clan, standing on a dead horse with spear, during an arrow attack by the Ashikaga troops at Shijonawate. Fifth sheet of six-part print, print, prints, Japan (collection), height 370 mm, width 255 mm, Japanese, 1798 - 1861-04-14, print maker, printmaker, 1847 - 1847, second quarter 19th century, paper, nishiki-e, colour woodcut, colour woodblock print

The Death of Murata Sansuke. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1877, March. Prints; woodblocks. Triptych; color woodblock prints

Ronins going to Sengakuji Temple on the banks of the water, the scene from the 11th 10th act of the drama: Treasury of fideIIty /Chishingura HIROSHIGE, Ichiryusai (1797 1858)

Scenes in and around Kyoto by Anonymous / Art Gallery of South Australia / ca 1690 / Japan / Watercolour and ink on paper / Landscape / 155,5x379

Fujiwara no hidesato no mukade taiji, The warrior Fujiwara Hidesato battling the giant centipede., Katsukawa, Shuntei, 1770-1820, artist, between 1815 and 1820, 1 print (3 sheets) : woodcut, color ; 37.2 x 25.2 cm (left panel), 37.1 x 25.1 cm (center panel), 36.9 x 24.9 cm (right panel), Print shows Fujiwara Hidesato and another warrior on board a ship with a woman being attacked by a sea monster.

Matsumoto koshiro, iwaya hanshiro, nakamura shikan, The actors Matsumoto Koshiro, Iwai Hanshiro, and Nakamura Shikan., Utagawa, Toyokuni, 1786-1865, artist, between 1825 and 1830, 1 print (3 sheets) : woodcut, color., Print shows two actors on the shoulders of a giant and the third actor leaping onto the giant.

Scroll 3, scene 22. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

The Battle of Ichinotani right of a pair of Scenes from the Tale of the Heike, mid 17th century, Kano School, Japanese, 60 1/2 × 144 1/2 in. (153.67 × 367.03 cm) (image)66 1/2 × 150 1/2 × 3/4 in. (168.91 × 382.27 × 1.91 cm) (outer frame), Ink, color, gold, and silver on paper, Japan, 17th century, These screens illustrate two battles of the epochal Genpei War (1180-85) as narrated in the Tales of the Heike, an epic semihistorical account of two rival clans fight for control of Japan, written in the early 1200s. Each screen narrates a single battle through a number of small episodes divided and framed by gold clouds, landscape elements, and architectural spaces. The right screen shows scenes related to the Battle of Ichinotani, during which the Minamoto clan, identified by the white banners they carry, made a daring attack on the rival Taira clan at a Taira stronghold. The left screen shows the Battle of Yashima, another defeat for the Taira. The devastating war came to an end only a m

Akbar the Great Crossing the River Ganges Great Mogul of India Unknown

Thirty-Six ImmortalPoets. Artist, attributed to: Ikeda Koson, Japanese, 1801-1866

Akasaka, 37; Fujikawa, 38. Katsushika Hokusai (attributed to) (飾北斎) (Japan, 1760-1849). circa 1802. Prints; woodblocks. Color woodblock print, koban yoko-e

Utagawa Kuniyoshi 1798-1861. Dragon Palace Dragon King Presents Three Gifts to Tawara Toda Hidesato (Ryugujo. Tawara Toda Hidesato ni sanshu no tosan o okuru). 1858. Oban vertical triptych.

Illustration to Water Margin". unknown, author

Japan: Amaterasu and the 'Origin of Music and Dance at the Rock Door', Meiji Period triptych by Shunsai Toshimasa (1866-1913), 1887

Early in the Morning of the 15th Day of the 12th Month, 1702, the 47 Loyal Retainers, Having Achieved Their Goal, All Crossed Ryōgoku Bridge with the Head of Their Enemy and Proceeded to the Memorial Temple. Utagawa Kuniyoshi (Japan, 1797-1861). circa 1847-1850. Prints; woodblocks. Color woodblock print

Festival Scenes, 1600s. Japan, Edo period (1615-1868). One of a pair of six-panel folding screens; ink, color, gold, and gold leaf on paper; overall: 51.1 x 208.9 cm (20 1/8 x 82 1/4 in.).

Shutendō JI, BLATT 2..

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. They rose to new fame and popularity after the Ansei great earthquakes that happened near Edo in 1855. Catfish woodblock prints became their own popular genre. They were usually unsigned. The Tokugawa Shogunate censored and destroyed the prints. Only a handful survive to this day.

The Great Battle at Kawanakajima. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1866. Prints; woodblocks. Triptych; color woodblock print

Flower-Viewing Party with Crest-Bearing Curtain, from the series "Flower Viewing at Ueno (Ueno hanami no tei)". Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 27.8 × 42.5 cm (10 7/8 × 16 5/8 in.). Woodblock print; oban, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The ogres of Oyeyama, anonymous, 1891 book Number 19 from the series: the Japanese fairy tale The Ogers of Oyeyame, in English; Cover with title and image of warrior with large mask on head; Inside cover, colophon; 16 magazines, English text with illustrations; Inside the back, list of series of series; Black and white cover with image of Monster. print maker: Tokyoprinter: Tokyopublisher: Tokyopublisher: Yokohama paper color woodcut / polishing

Splendor of the Procession of General Grant from America (Beikoku Guranto-shi go tsūkō no han'ei) 1879 Toyohara Kunichika Japanese This print was commissioned to commemorate the former American president's visit to Tokyo (Edo was renamed Tokyo when the emperor made it his residence in 1868) and his attendance at a Kabuki performance. Like many prints executed during the Meiji era, this one acted as a type of Japanese photojournalism. As such, the speed with which it was executed and the number of copies made are partly responsible for the general decline in quality most noticeable in the color registration and uneven paint application. The setting of the print can be identified as Tokyo's new Western-style Main Street located in the Ginza district and designed by the English architect Thomas Waters. In their choice of setting, Kunichika and Kunisada III consciously celebrate the advent of modernism in Japan. Likewise, the artists made a bold statement of the Meiji era's strong national

Japan: 'Sakakibara Yasumasa and Toyotomi Hideyoshi on Mount Komaki', part of a Meiji Period triptych by Toyohara Chikanobu (1838-1912), late 19th century

Figure Assemblage I. Eldzier Cortor; American, 1916-2015. Date: 1959. Dimensions: 319 x 508 mm (image/block); 355 x 544 (sheet). Color woodblock on cream Japanese paper. Origin: United States. Museum: The Chicago Art Institute, USA.

Poem by Sarumaru Dayu, 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: H. 10 in. (25.4 cm); W. 14 3/8 in. (36.5 cm). Date: 1839. Museum: Metropolitan Museum of Art, New York, USA.

Utagawa Kuniyoshi 1798-1861. The Flourishing of Seven Coasts with Big Fish (Nana ura tairyo hanjo no zu). 1853. Nishiki-e Oban vertical triptych. detail.

The house of Kinpeiro in New Yoshiwara. Print shows several women, in a large room, playing shamisens and a koto.

Scroll 3, scene 40. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

Rajput prince on lion hunting. Draughtsman: anonymous. Dating: 1675 - 1699. Measurements: h 234 mm × w 172 mm. Museum: Rijksmuseum, Amsterdam.

Depiction of Emperor Maximilian Is triumphal procession including the Bohemian Battle and a Bohemian trophy car, executed by Albrecht Altdorfer in dark brown pen, brush, watercolor, and gold on parchment, circa 1512-1515.

'Three Stars'. China, late 19th - early 20th century. Dimensions: 54x35 cm. Museum: State Hermitage, St. Petersburg.

Japan,Tokyo,Ryogoku,Edo Tokyo Museum,Screen Decoration depicting Life in Edo (Old Tokyo)

Ferries Crossing a River. Japan, 18th century. Prints; woodblocks. Page from a woodblock printed book

SUBLEVACION DE IRAQ - MINIATURA DEL SIGLO XVIII. Location: PALACIO TOPKAPI-BIBLIOTECA. ISTANBUL. TURQUIA.

China: Cao Cao (155 - 15 March 220 CE) retakes Yanzhou from Lu Bu (- February 199 CE), from a Ming Dynasty edition of 'Romance of the Three Kingdoms', called Sanguo zhi tongsu yanyi

Stewart Wheeler, Bandbox Cover, c 1936 Bandbox Cover

Boating Episode right of the pair Episodes from the 'Butterflies' Chapter of the Tale of Genji, late 18th century, Tosa Mitsusada, Japanese, 1738 - 1806, 23 7/16 x 68 1/2 in. (59.5 x 174 cm), Ink, color, and gold on paper, Japan, 18th century, This screen, along with its mate, illustrates an episode from 'Butterflies,' chapter 24 of The Tale of Genji, in which Genji organizes springtime festivities in the garden of Murasaki, his favorite consort. This screen shows the noblewomen with their multilayered robes enjoying the garden from exotic pleasure boats with phoenix and dragonhead prows. The other screen pictures the following morning, when Murasaki dresses several of her young attendants as birds and butterflies and has them dance for the empress.

EL PALACIO DE LOS VIRREYES - BIOMBO MEXICANO - SIGLO XVII - DETALLE DE LA PARTE IZQUIERDA - Conj nº 87022. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN.

'Wedding in a Flower Pavilion'. China, late 19th - early 20th century. Dimensions: 99x58 cm. Museum: State Hermitage, St. Petersburg.

Sinbad the Sailor. Illustration for Arabian Fairy Tales by Bilibin, Ivan Yakovlevich (1876-1942) / Private Collection / 1932 / Russia / Colour lithograph / Mythology, Allegory and Literature / 32x91 / Book design

Japan: Liu Bang (Emperor Gaozu, r. 206 - 195 BCE, founder and first ruler of the Western Han Dynasty (206 BCE - 9 CE) Kills the White Serpent (Ryuho hakuja o kiru), Totoya Hokkei (1780 - 1850), 1832

Scroll 3, scene 14. 1650 - 1699. Illustrations, Manuscripts. Spencer Collection

Standing Beauty, left sheet of the triptych The Iris Garden at Horikiri in the Eastern Capital. Date: 1865, Edo. Museum: Collection unknown. Author: UTAGAWA KUNISADA.

Utagawa Yoshiiku (1833 - February 6, 1904, also known as or Ochiai Yoshiiku), was a Japanese printmaker and newspaper illustrator. The son of a tea house proprietor, he was a student of Utagawa Kuniyoshi. Utagawa went to school with Tsukioka Yoshitoshi, recognized as the last great masters of Ukiyo (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 erotic grotesque in Japanese culture, an art sub-genre which depicts either erotic or extreme images of violence and mutilation.

The figure crouching on a rock beneath a waterfall is Mongaku (1139-1203), who was born into the Watanabe military clan and initially named Endo Morito. However, when he was in his late teens, he decided to become a Buddhist monk and changed his name to Mongaku. To test his spiritual sincerity and physical endurance, he travelled in the middle of winter to the Province of Ki where he planned to practice austerities by standing in the icy cold Nachi Waterfalls for 21 days while reciting 300,000 incantations to the deity Fudo Myoo. Toyohara Chikanobu (原周延) (1838-1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity. In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied t

Masakiyo Captures the Wild Tiger. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1864, 3rd month. Prints; woodblocks. Triptych; color woodblock print

fine arts, Hiroshige Utagawa (1797 - 1858), Prince Yorimoto armed on horse, woodcut, 2nd half 17th century, private collection,

Procession of a Daimyo. Hishikawa Moronobu; Japanese, ()-1694. Date: 1676-1689. Dimensions: 27.2 x 38.4 cm. Hand-colored woodblock print; oban yoko-e, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Ledger Book Drawing Possibly Cheyenne. , ca. 1890. Ink, crayon, woven paper, 7 1/4 x 14 in. (18.4 x 35.6 cm). Beginning in the 1860s, Plains warriors illustrated their battle exploits in ledger books and on ledger- book paper that were acquired through trade, gift, and booty. This practice continued a long visual tradition of Native warriors depictions of individual and tribal histories on hide shirts, robes, tipis, and tipi liners. Plains artists often represented warfare between Native tribes, as well as against the U.S. Army. Here, a warrior wearing a long eagle-feather headdress is scalping another fallen warrior, who just dropped his bow and arrows. Arts of the Americas ca. 1890

Preparatory Study for a Portrait of Man Singh and His Harem 1810-15 India (Rajasthan, Jodhpur) Rajput rulers generally married women from other royal families in order to forge political alliances. A powerful raja was, in turn, a sought-after husband, and there was no limit to the number of women he could marry. Man Singh's large female following shown in this sketch is certainly as much an expression of his practical power as it is a romantic conceit, flattering the prince by emphasizing his sexual appeal.The drawing appears to have been sketched quickly and conveys something of the breathless enjoyment of the romp in the spontaneity of its conception. The artist has marked each form in the composition with the color he would like his assistant to apply. The paper has been pricked to allow the image to be transferred to another sheet, presumably to make a finished painting of the subject.. Preparatory Study for a Portrait of Man Singh and His Harem 37878

The Battle at Uji Bridge. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1882, May. Prints; woodblocks. Color woodblock print

Kabuki Scene (Diptych) Hokushu (Japanese, ca. 1808-1832). Kabuki Scene (Diptych), ca. 1820. Woodblock print, 9 13/16 x 7 1/16 in. (25 x 18 cm). Asian Art ca. 1820

The Khitan people (or Khitai, Kitan, or Kidan), were a nomadic Mongolic people, originally located in Mongolia and Manchuria (the northeastern region of modern day China) from the 4th century. They dominated a vast area in northern China by the 10th century under the Liao Dynasty, but have left few relics that have survived until today. After the fall of Liao in 1125, many Khitans moved further west and established the state of Kara Khitai, which was finally destroyed by the Mongol Empire in 1218.

Tokyo Nihonbashi han ei no zu : Flourishing Nihonbashi section of Tokyo. by Yoshitora Utagawa, active 1850-1870, Japanese artist. dated 1861. Japanese triptych print shows various modes of transportation on street in Tokyo, Japan. Includes title page cover sheet with title and name of artist inscribed in ink brush

Dong Ho painting full name Dong Ho folk woodcut painting is a genre of Vietnamese woodcut paintings originating from Dong Ho village in Bac Ninh Province, Vietnam. Using the traditional diep paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories. In the past, Dong Ho painting was an essential element of the Tet holiday in Vietnam.

Captain Matsuzaki Bravely Fights at the Great Battle of Songhwan (Seikan no Gekissen, Matsuzaki Taii funyu no zu). Migita Toshihide; Japanese, 1863-1925. Date: 1894. Dimensions: . Color woodblock print; oban triptych. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

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