Japanese Woodblock Prints

This cluster features traditional Japanese woodblock prints from the 19th century, showcasing various themes like nature, culture, and crafts with intricate details and vivid colors.

Twenty-four Japanese examples of filial piety for the Honors (series title), A young woman dances in front of a folding screen, with an open fan in her hand. The Azuma kagami (Spie, Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 203 mm × w 182 mm

Votive Pictures (Ema), from the series A Selection of Horses (Uma-zukushi) 1822 Japan. Color woodblock print; shikishiban, surimono . Katsushika Hokusai

Letter-Box and Plum Blossoms. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/4 x 7 5/16 in. (21 x 18.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Twenty-four Japanese examples of filial piety for the Honors (series title), A young woman dances in front of a folding screen, with an open fan in her hand. The Azuma kagami (Spie, Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 203 mm × w 182 mm

Willow with Hanging Scroll of Dragon Nagayama Koen (Japanese, 1765-1849). Willow with Hanging Scroll of Dragon, ca. 1850. Color woodblock print on paper, 7 3/16 x 9 3/4 in. (18.2 x 24.8 cm). Asian Art ca. 1850

Tools for the Carpenter 19th century Ryūryūkyo Shinsai Japanese. Tools for the Carpenter 54112

Drum, hofmuts and flowers, 1890 - 1900 print A drum with courtmate and flower branches. With three poems. The print is a B copy. paper color woodcut drum (musical instrument)

Weeping Cherry and Bluebird ca. 1838 Utagawa Hiroshige Japanese. Weeping Cherry and Bluebird. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1838. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Court Woman at her Desk with Poem Cards. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 5 3/8 x 7 1/4 in. (13.7 x 18.4 cm). Date: 1795 (Year of the Rabbit). Museum: Metropolitan Museum of Art, New York, USA.

Three Auspicious Friends: Pine, Bamboo and Plum Chôsui Yabu (Japanese, active 1830-1864). , ca. 1860. Woodblock print; horizontal Chûban yoko-e format, 7 1/8 x 9 3/16 in. (18.1 x 23.3 cm). Asian Art ca. 1860

Camellia and Bullfinch. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 15/32 x 6 11/16 in. (36.8 x 17.0 cm). Date: ca. 1833. Museum: Metropolitan Museum of Art, New York, USA.

Sake Cup with a Paper Ornament and a Senry for the New Year. Artist: Yashima Gakutei, Japanese, ca. 1786-1868

Sea of the Arts - Number Nine, 1896 book Number nine of 1896; cover on which river landscape with autumn leaves; Inside cover, autumn leaves; 10 sheets with pattern designs, of which stylized flowers against a black background on the first page; Last page, Colophon. paper color woodcut

Matsukaze, from the series CelebratedHorses. Artist: Yanagawa Shigenobu II, Japanese, active ca. 1820-60

Japan: 'Portraits and Poems of the Thirty-six Poetic Immortals'. Album of thirty-six paintings and poems by Sumiyoshi Gukei (1631-1705). Sumiyoshi Gukei (1631 - April 23, 1705), born Sumiyoshi Hirozumi, was a Japanese painter from Kyoto. He became the first official painter of the ruling Tokugawa shogunate, and was a Yamato-e artist, a painting technique based on traditional Japanese subjects and culture.

Various Shells with Sea Weeds. Artist: Kubo Shunman (Japanese, 1757-1820) (). Culture: Japan. Dimensions: 8 x 7 1/16 in. (20.3 x 17.9 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Horn Flower-Vase 19th century Totoya Hokkei Japanese. Horn Flower-Vase 54525

The Poet Kiyohara Motosuke, from the Tameshige Version” of Thirty-six Poetic Immortals (Tameshige-bon Jidai fudō utawase emaki) 15th century Unidentified artist The figure of the poet is simply rendered, in sharp contrast to the bold, assertive calligraphy that fills the space above. He turns his head toward his name, inscribed to the right in Chinese characters. This fragment comes from a handscroll of the Thirty-six Poetic Immortals (Sanjūrokkasen) known as the Tameshige Version” because its calligraphy was once attributed to the influential poet Nijō Tameshige (1334-1385).The poem here reads:Aki no no no hagi no nishiki o furusato ni shika no ne nagara utsushiteshigana How I wish I could bringback to the place I was bornthe brocade of bush clovercovering these autumn fields,as well as the baying of deer.—Trans. John T. Carpenter. The Poet Kiyohara Motosuke, from the Tameshige Version” of Thirty-six Poetic Immortals (Tameshige-bon Jidai fudō utawase emaki) 60441

Young man in a red wig YANAGAWA, SHIGENOBU (1787 1832)

The Poetess Gishumon-in no Tango, from the series The Thirty-six Immortal Women Poets (Nishikizuri onna sanjurokkasen) 1795-1805 Japan. Page from a color woodblock-printed volume . Chôbunsai Eishi

Still life: a drum and a bookcase for the Noh Dance Kubo Shunman Japanese. Still life: a drum and a bookcase for the Noh Dance. Kubo Shunman (Japanese, 1757-1820) (). Japan. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

The Chinese Poet Pan Lang on a Donkey 17th century Kano Kya. The Chinese Poet Pan Lang on a Donkey. Kano Kya (Japanese, died 1673). Japan. 17th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

A Smoking Set and Turnips, Ryûryûkyo Shinsai, c. 1815 - c. 1820 print A smoke set consisting of a very luxurious pipe holder and a tobacco bag, with two turnips behind it. With three poems. paper color woodcut (non-fruit) products of plants or trees: turnip. pipe ~ tobacco

The Hobby-horse Dance, Maki Bokusen, 1810 print A young page performs the spring horse dance with a hobby horse in his right hand. Surimono made for the new year of the horse, 1810. With one poem. paper color woodcut hobby-horse. one person dancing alone

Magic (Tezuma), from the series Various Arts (Shogei tsukushi) 1806-1818 Japan. Color woodblock print; yatsugiriban surimono . Hotei Gosei

Piece 18th-19th century Japan. Piece. Japan. 18th-19th century. Silk. Textiles-Woven

Landscape and Poem Kim Myong-kuk (Korean, active first half of the 17th century). Landscape and Poem, ca. 1643. Ink on gold leaf on paper, image: 8 1/2 x 11 in. (21.6 x 27.9 cm). Asian Art ca. 1643

Table of contents, 1893 print Cover of the incomplete twelve -part series; On the front white flowers against a light brown background; On the back the twelve different print titles. paper color woodcut flowers

Halberd, Brocade Robe and Seal. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/8 x 7 3/8 in. (20.6 x 18.7 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

. Different types of toys, with multiple poems.

Box of Face Powder and Hair Ties; Specialities of Shimomura in Ryogaecho. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 8 1/8 x 7 1/4 in. (20.6 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Illustration for lyrics du Fu; 1959-1962 (1959-00-00-1962-00-00);

Collection of Japanese Paintings 1809 Tani Bunch. Collection of Japanese Paintings. Tani Bunch (Japanese, 1763-1840). Japan. 1809. Eight woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Benkeigani to tsubaki, Benkei crab and camellia., Katsushika, Taito II, approximately 1810-approximately 1853, artist, between 1825 and 1830, 1 print : woodcut, color ; 21.1 x 17.9 cm., Print shows two crabs and a camellia blossom.

Society Finches (Jushimatsu). Kitao Masayoshi (Kuwagata Keisai); Japanese, 1764-1824. Date: 1790-1799. Dimensions: 9 1/2 x 15 in. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA. Author: Kitao Masayoshi (Kuwagara Keisai).

Belt and Fan on a Piece of Cloth Kubo Shunman Japanese. Belt and Fan on a Piece of Cloth 55100

Artist, attributed to: Hakuin Ekaku, Japanese, 1685-1768, Hotei in aBoat, first half 18thcentury, Hanging scroll, ink on paper, without mounting: 11 9/16 × 20 7/8 in. (29.3 × 53 cm), Japan, Japanese, Edo period(1615-1868), Paintings

Hanging Flower Arrangement with Butterflies Sato Hodai (Japanese). Hanging Flower Arrangement with Butterflies, ca. 1850. Color woodblock print on paper, 7 1/8 x 9 3/4 in. (18.1 x 24.8 cm). Asian Art ca. 1850

Japan, Ippô, Mori, Kamuro at offering table, A servant of a geisha (kamuro) with a large bow in her hair kneels at an offering table. A Shijô-style surimono with multiple poems., print, surimono, prints, Japan (collection), height 195 mm, width 275 mm, Japanese, 1798 - 1871, print maker, printmaker, 1857 - 1857, paper, colour woodcut

Purple shell, freshwater venus shells and a turban shell; MuraSakigai Shijimi Sazae; A series of shells; Kaitsukushi. A large turban scoop (Sazae) with three freshwater venus shells and smaller shells. With two poems.

Wine-Set. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 8 5/8 x 11 1/4 in. (21.9 x 28.6 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Spring Rain Collection (Harusame shū), vol. 3: Swallows and Peonies ca. 1820 Teisai Hokuba 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.All four compositions on these leaves (JP2362-2365) come from the same set of prints, Six Bird-and-flower Prints for Utsunomiya in Shimotsuke Province (Kachō rokuban no uchi, Shimotsuke Utsunomiya). The series was commissioned by a branch of the Asakusa kyōka poetry group based in the city of Utsunomiya, north of Edo (present-day Tokyo). The artist Teisai Hokuba, an early pupil of the great ukiyo-e master Katsushika

Dōran (Square Leather Box Used as an Inrō) with a Watch as a NetsukeFrom the Spring Rain Collection (Harusame shū), vol. 3 probably 1817 Hokusen Taigaku 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.This album forms part of a set of three containing more than four hundred surimono. The prints are arranged on facing leaves according to themes or in a way that creates an attractive arrangement of designs, complementary in both color and shape. The printing techniques, pigments, and paper used for surimono were often the highest quality, and represent t

Dolls, floral decorations and a kusudama (origami flower ball). Colour woodcut, ca. 1850 ().

Autumn Flower and Sparrow. Utagawa Hiroshige ; Japanese, 1797-1858; Publisher: Kawa-Cho; Japanese, unknown. Date: 1830-1840. Dimensions: 24 x 16.8 cm (9 3/8 x 6 1/2 in.). Woodblock print; koban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Edo, Ikku, Jippensha, Utamaro, Kitagawa, Poem with spring flowers, Poem and last page of the introduction to part one of Utamaro's book: Events in the pleasure houses during the year., page, prints, Japan (collection), height 224 mm, width 158 mm, Japanese, 1753 - 1806, print maker, printmaker, 1804 - 1804, first quarter 19th century, paper, colour woodcut, 1765 - 1831, writer

Number three from the Tokaido; Tokai San; Clipping tables of the Tokaido; Tokaido Harimaze Zue. Leaf with five small prints referring to stations of the Tokaido. Oiso: portrait, full-length portrait of the Courtisane Tora choses; Mishima: face over the sea and coast at Izu; Odawara: impeller on which a Uiro-Cake seller, seen on the back; Numazu: Horse; Hakone: Boxes and a branch of herbs.

A horse amulet Mayoke (title on object) A series with horses (series title) Umazukushi (series title on object), A porcelain pot with a bonzai pine and a spring anemone, stands next to a towel rack. In the foreground a water bowl and lacquer jug. The amulet from the title of this print probably refers to the mirrored water surface in the bowl (a mirror repels evil). With one poem, tea pot, samovar, Katsushika Hokusai (mentioned on object), Japan, 1822, paper, polishing, h 206 mm × w 183 mm

Bachi (Plectrum) Used in Playing Shamisen. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 5 1/4 x 10 13/16 in. (13.3 x 27.5 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Small Cabinet and Sword Stand. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 5/8 x 7 9/16 in. (14.3 x 19.2 cm). Date: probably 1816. Museum: Metropolitan Museum of Art, New York, USA.

Telescope with dragon-cloudmotif. Artist: Ry?ry?kyo Shinsai, Japanese, 1764-1820

The kite, A kite in the shape of a falcon (takadako) hangs on New Year's decorations of ferns (urajiro). This is a calendar print for the year 1816, the rope of the kite indicates the short months of the year, (flying a) kite, Yashima Gakutei (mentioned on object), Japan, 1816, paper, colour woodcut, h 210 mm × w 89 mm

Mirror With the Design of a Nine-Tailed Fox Harukawa Goshichi Japanese Edo period (1615-1868) The kyōka ("mad poem") by Tsurunoya reads:Kumori naki I shōma no Kagami I kage susa wa I Dakki no shaku no I kyūbi saki kamoReferring to the legend of the manipulative and provoking Dafei, favorite concubine of King Zhou of the Shang dynasty, this poem asks: May not the tips of nine tails reflected in an unspotted mirror be the Nine-Tailed FoxSurimono were privately commissioned prints for special occasions, such as New Year's. Both an unstained mirror and this magical animal are auspicious New Year's omens.

Mirror With the Design of a Nine-Tailed Fox Harukawa Goshichi Japanese The kyōka ("mad poem") by Tsurunoya reads:Kumori naki I shōma no Kagami I kage susa wa I Dakki no shaku no I kyūbi saki kamoReferring to the legend of the manipulative and provoking Dafei, favorite concubine of King Zhou of the Shang dynasty, this poem asks: May not the tips of nine tails reflected in an unspotted mirror be the Nine-Tailed FoxSurimono were privately commissioned prints for special occasions, such as New Year's. Both an unstained mirror and this magical animal are auspicious New Year's omens.. Mirror With the Design of a Nine-Tailed Fox 55068

Desk Screen, Writing Set, Painting of Tiger, and Mounting Paraphernalia, from Spring Rain Surimono Album (Harusame surimono-jō, vol. 1) probably 1818 Ryūryūkyo Shinsai Japanese Surimono are privately published woodblock prints, usually commissioned by 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.This album belongs to a set of three compiled by Hayashi Tadamasa, the great Parisian dealer of Japanese art. Hayashi arranged the more than four hundred prints in the set on facing leaves according to themes, or in a way that created an attractive arrangement of designs, complementary in both color and shape. The pigments, printing techniques, and pa

Japan, Umekane, Ôseiken, Umeteru, Ashien, Tatsuo, Gangyokudô, Hokkei, Totoya, Hanazono bantsuzuki, A series for the Hanazono poets' association, Bungo ume, Bungo plum blossom, A porcelain bowl with lid and a pot with flowering primrose. In the foreground an ivory stand for a shamisen (Japanese stringed instrument). On the right the Bungo plum blossom against a background with a cloud pattern. With three poems., print, prent, surimono, prints, Japan (collection), height 208 mm, width 184 mm, Japanese, 1790 - 1850, print maker, prentmaker, 1823 - 1823, first quarter 19th century, paper, colour woodcut, blind stamping, poet

Fan painting of rabbit and moon, on a red feltblanket. Artist: Kubo Shunman, Japanese, 1757-1820

Pictorial Ideograph (Munjado), 1 of 6 , 19th century. Ink and color on paper, 11 x 11 1/8 in. (27.9 x 28.3 cm). Asian Art 19th century

Men Watching a Waterfall 13th century Unidentified artist. Men Watching a Waterfall 40089

Bridle district Kutsuwamachi (title on object) A series with horses (series title) Umazukushi (series title on object), A partially unrolled hand roll with an image of two members of the samurai class, in front the entrance to Yoshiwara, the pleasure district of Edo. Behind the hand roll a guide for the Yoshiwara (Yoshiwara saiken). With two poems., Katsushika Hokusai (mentioned on object), Japan, 1822, paper, colour woodcut, h 206 mm × w 183 mm

A Collection of Lively Sketches Of Flowers and Insects of the Ming dynasty ca. 1812 Ooka Shunboku Japanese. A Collection of Lively Sketches Of Flowers and Insects of the Ming dynasty. Ooka Shunboku (1680-1763). Japan. ca. 1812. Set of three woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Kakemono and Its Box 18th-19th century Kubo Shunman Japanese. Kakemono and Its Box 55089

Immortal Poet. Artist: Kano Shoun (1637-1702). Culture: Japan. Dimensions: 7 1/4 × 6 1/2 in. (18.4 × 16.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Sorimachi 409, 1746, Osaka

Episode 11 (Juichi dan), from the series Tales of Ise for the Asakusa Group (Asakusagawa Ise Monogatari) 1810-1819 Japan. Color woodblock print; shikishiban, surimono . Kubo Shunman

Eggplant. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Lobster in the form of a Takarabune ship TOYOHIRO, UTAGAWA (1773 1828)

Fragment textiel, anonymous, 1764 - 1772 Textile fragment, embroidery and pressure from chrysanthemums and leaves on beige stock. Japan silk Textile fragment, embroidery and pressure from chrysanthemums and leaves on beige stock. Japan silk

Offering Colza at the Kameido Tenjin Shrine (Kameido Tenjin natane no jinji), section of a sheet from the series "Cutout Pictures of Famous Places in Edo (Edo meisho harimaze zue)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1857. Dimensions: 34 x 9 cm (13 5/16 x 3 1/16 in.). Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, USA.

C19 Chinese ink drawing: Boils - facial boils and tumours

Clock. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 8 1/2 x 7 1/2 in. (21.6 x 19.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Narcissus. Culture: China. Dimensions: 9 3/8 x 9 3/5 in. (23.8 x 24.4 cm). Date: 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Designs of Writing-Paper with Flowers 19th century Ryūryūkyo Shinsai Japanese. Designs of Writing-Paper with Flowers 54693

Autumn Landscape 1654 Xiang Shengmo Chinese This painting and its accompanying inscription belonged to an album made for the noted Nanjing collector and high official Zhou Lianggong (1612-1672). A leading patron of contemporary artists, Zhou assembled a number of these albums during the last twenty-five years of his life, when his career required him to travel extensively. Such collaborative works have long been a means for a group of artists to commemorate special occasions, but Zhous albums, which sometimes encompassed hundreds of contributions, fulfilled a different function: they included works by professionals and scholar-amateurs, Ming loyalists and Qing officials, traditionalist orthodox painters and innovative individualists. By inviting a wide spectrum of artists to both view and contribute to these albums, Zhou created a unique forum for artists to learn from and appraise one anothers productions. Listen to experts illuminate this artwork's story Listen Play or pause #7303.

Candles of Aizu. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 5 9/16 x 7 1/8 in. (14.1 x 18.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Index; Flower and bird sketches of Beibun part one; Keibun Kacho Gafu Zenpen. Cover of the twelve-part series; On the front an image of a makimono (hand roller) on which the serene title and two flying cranes above pine trees; On the back the twelve different print titles and an advertisement advertisement with other titles from the series.

Hanging Scroll (Furnishing Fabric) Made 1801-1850 China. Silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, slit and single dovetailed tapestry weave with interlaced outlining wefts; painted details; mounting silk, 4 1 satin damask weave; outer edge mounting silk, plain weave; outer wrapper silk and gold-leaf-over-lacquered-paper-strip-wrapped silk, warp-float faced 6 1 satin weave with supplementary brocading wefts bound in plain interlacings; inner wrapper silk, plain weave; wooden scroll ends .

Tokyo, Haruna Shigeharu, Shimamura Kinjiro, Kogei oyo zuan zasshi, Designs for applied arts - part three, back cover - stamped, Part three; pink cover with various emblems and an image of a vase with title; 11 leaves: three pages of text; eight leaves, black and white designs; last leaf, colophon., book, magazine, prints, Japan (collection), National School of Applied Arts, height 240 mm, width 166 mm, print maker, printmaker, 1890 - 1890, fourth quarter 19th century, paper, woodcut, Japanese, printer, printer's, Publication (Event), Publication, publisher, editor

Nine Songs 14th century () After Zhao Mengfu Chinese The Nine Songs are lyrical, shamanistic incantations dedicated to nine classes of deities worshipped by the Chu people of south China during the first millennium B.C. The original text consists of eleven songs, ten of which are transcribed and illustrated here. The illustrations are preceded by a portrait of the poet Qu Yuan (343-277 B.C.), which is accompanied by an essay entitled "The Fisherman," recounting the poet's state of mind toward the end of his life.Zhao Mengfu's paintings for the Nine Songs in the baimiao, or "white-drawing" style, are based on compositions by Li Gonglin (ca. 1041-1106) and were a primary source for later fourteenth-century paintings of this theme by Zhang Wu (active 1333-65) and others. Because the calligraphy in the album does not compare with the best of Zhao Mengfu's writing, it is probable that these leaves represent close, reliable copies of Zhao's important work, executed during the fourteenth cen

Japan, Hiroshige (I), Utagawa, Bird and camellia, Bird, upside down, on branch of flowering camellia; against yellow background on which poem., print, prints, Japan (collection), height 384 mm, width 170 mm, Japanese, 1797 - 1858, print maker, printmaker, 1850 - 1920, third quarter 19th century, fourth quarter 19th century, first quarter 20th century, paper, colour woodcut, colour woodblock print, nishiki-e

Court Lady on Veranda. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 5 x 7 1/4 in. (12.7 x 18.4 cm). Date: 1796.The poem accompanying the image of a court lady on a veranda is by Horikawa Ishimaru. Museum: Metropolitan Museum of Art, New York, USA.

Laughing man in front of a screen with a painting depicting a large turnip carried by mice Your

Roller painting ,, 1800 Roller painting with Japanese characters. In wooden box with Japanese characters. Japan Painting: Ink. Paper. Mounting: Silk Roller painting with Japanese characters. In wooden box with Japanese characters. Japan Painting: Ink. Paper. Mounting: Silk

Poetic Quatrain, 1795, Makita Chōsai, Japanese, 1738 - 1801, 6 1/16 × 5 1/2 in. (15.4 × 13.97 cm), Ink on paper, Japan, 18th century

Orange Orchids, from an untitled series of flowers. Katsushika Hokusai ; Japanese, 1760-1849; Publisher: Hibino Yohachi; Japanese, unknown. Date: 1827-1837. Dimensions: 25.5 x 37.7 cm (10 x 14 1/2 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Japan, Geisodo, Nihon - ichi, Japan - part one, back cover - stamped, Part one of a series of pattern books; cover with image of autumn trees and a river; 50 leaves with various fabric patterns., book, prints, Japan (collection), National School of Applied Arts, height 240 mm, width 163 mm, print maker, printmaker, 1868 - 1912, third quarter 19th century, fourth quarter 19th century, first quarter 20st century, first quarter 20th century, paper, silver powder, colour woodcut, Publication (Event), Publication, publisher

Sparrowhawk and Macaw (Konori taka, inko). Attributed to Torii Kiyomasu I; Japanese, active c. 1704-18 (). Date: 1713-1723. Dimensions: 11 1/8 x 6 in. Hand-colored woodblock print; hosoban, tan-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Miscellaneous Studies one leaf dated 1619 Chen Hongshou Chinese This album plays on the theme of reality versus illusion. The moon is reflected in a basin of water, a flower is next to its image in a mirror, and a butterfly is attracted to chrysanthemums painted on a silk fan. Chen emphasized the multiple levels of his artifice on this album leaf by incorporating his signature within the composition of the fan painting and by screening one wing of the butterfly with the fan, forcing us to view the insect through the painting as well as through the medium of painting. Other artful manipulations are represented by a miniature potted garden, or penzai (bonsai, in Japanese), which shows how man can transform nature, and by a twig with worm-eaten leaves, which underscores how nature constantly transforms itself.There is no precedent for these symbolic still-life subjects in scholar painting. Instead, these highly sophisticated images, which relate to the ornamental designs found on deluxe c

Textile Fragment, textile, Textile Fragment, silver decoration of bamboo and sails on pink silk ground, anonymous, Japan, 1644 - 1648, Shoho period, silk, height 28.5 cm × width 18.5 cm

The Rakan Handaka Sonja with Dragon 1820 ( year of the dragon) Utagawa Hiroshige This woodblock print design by the highly esteemed artist Utagawa Hiroshige shows a dragon magically emanating from the alms bowl of an arhat (disciple of Buddha) depicted in a hanging scroll. It is an extremely rare surviving example of a surimono, or privately published woodblock print, from early in Hiroshiges career. Surimono like this one were often commissioned by poetry groups or individual poets—from the late eighteenth to early nineteenth century—as a form of New Years greeting card. This print celebrated spring of the year of the dragon, 1820. To our knowledge, only two other impressions of this print survive, and it is a rarity among rarities from the corpus of the young Hiroshige, still in his early twenties when he created this. The rakan Handaka Sonja (Sanskrit: Arhat Panthaka) is one of the sixteen disciples of Buddha often depicted together. Whether in paintings or netsuke carving he is u

A Lacquer Bowl, Kubota Shunman, c. 1815 - c. 1820 A black lacquered bowl filled with custards soup (Chawan Mushi), on a tray with chopsticks. With one poem. Japan paper color woodcut A black lacquered bowl filled with custards soup (Chawan Mushi), on a tray with chopsticks. With one poem. Japan paper color woodcut

Purse and mallet 1780-1850 Japan. Color woodblock print; shikishiban, surimono . Totoya Hokkei

Hotei Pointing at the Moon. Artist: Fugai Ekun (Japanese, 1568-1654). Culture: Japan. Dimensions: Image: 12 15/16 × 17 3/16 in. (32.9 × 43.7 cm)Overall with knobs: 45 9/16 × 20 1/16 in. (115.8 × 50.9 cm)Overall with mounting: 45 9/16 × 18 1/16 in. (115.8 × 45.9 cm). Date: datable to 1650.The portly monk Hotei is shown hoisting his satchel over his shoulder while he points a finger at the sky above, toward an unseen moon. The abbreviated brushwork and suggestive use of blank space were earlier associated with Zen monk painters of medieval times. The Zen monk Fugai Ekun of the Soto sect followed in this tradition, and often inscribed his paintings in a highly cursive script. Museum: Metropolitan Museum of Art, New York, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Camellia and basket, section of an untitled harimaze sheet 1850-1859 Japan. Color woodblock print; section of harimaze sheet . Utagawa Hiroshige

Canary and Peony (Kanaari, shakuyaku), from an untitled series of flowers and birds. Katsushika Hokusai ; Japanese, 1760-1849. Date: 1829-1839. Dimensions: 10 x 7 1/2 in. Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Collection of Thirty-six Kyōka Poems ca. 1814 Fukuchi Hakuei Japanese. Collection of Thirty-six Kyōka Poems. Fukuchi Hakuei (Japanese, active early 19th century). Japan. ca. 1814. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Panel with cranes over an immortal land. Culture: China. Dimensions: 41 1/2 x 72 3/4 in. (105.41 x 184.79 cm). Date: dated 1777.Two cranes holding sticks in their beaks fly above a landscape. A pavilion below holds a vase containing several more sticks. Cranes and sticks symbolize longevity; the source of the imagery is a legend about a man who measured his age by the number of sticks he stuck into an immortal land. The poem embroidered on the right is dated 1777 and describes this immortal land, making this panel an ideal gift for a birthday celebration. The poem bears seals of Niu Yizu (active late 18th century), a prefect of Xuzhou known for his calligraphy, who wrote the script that was used for the embroidery. Museum: Metropolitan Museum of Art, New York, USA.

Piece 18th-19th century Japan. Piece 65929

Rikka zu Flower arrangements, 1673, Kyoto, Japanese flower arrangement

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