Japanese Woodblock Prints

Colorful woodblock prints illustrating traditional scenes, featuring women, mythology, and nature, with meticulous details and dynamic compositions.

Bishamon dreaming, 1830, Woodcuts, Surimono

Two women in a boat with a fish caught on a rod EISHI, CHOBUNSAI (1756 1829)

Momotarō Scattering Beans. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1859. Prints; woodblocks. Triptych; color woodblock print

Bishamon dreaming, 1830, Woodcuts, Surimono

Sparrows among Millet and Asters, first half 16th century, Geiai, Japanese, act. first half 16th cent., 32 5/8 × 18 3/16 in. (82.87 × 46.2 cm) (image)67 1/2 × 23 3/16 in. (171.45 × 58.9 cm) (mount, without roller ), Ink on paper, Japan, 16th century, In this lively autumnal scene, five sparrows romp and bicker near millet and blooming asters. The artist Geiai used almost no contour lines in this work, which is quite distinct from his other painting displayed nearby, opting instead for the so-called 'boneless' technique that relied on ink wash rather than lines to define the volume and mass of motifs. Little is known about the artist, who impressed a red seal reading 'Geiai' at lower right. He may have been active in Kyoto at the end of the 1400s, and the handful of surviving paintings bearing his seals reveals his fluency in a number of styles of Chinese bird-and-flower painting introduced to Japan in the 1300s and 1400s.

Samurai and Two Blindmen, Album Leaf Painting Samurai and Two Blindmen, Album Leaf Painting, early 19th century. Ink and color on paper, 10 3/4 x 13 5/8 in. (27.3 x 34.6 cm). Asian Art early 19th century

Two men and a woman with swords on the background of castle walls Kunisada, UTAGAWA (1786 1864)

Shimadai and Sambo 19th century Kubo Shunman Japanese. Shimadai and Sambo 55006

Scroll 2, scene 9. 1650 - 1699. text. Manuscripts, Illustrations. Spencer Collection

The Oiran Hanagiku Reading a Love Letter While Standing ca. 1769 Ippitsusai Bunchō Japanese. The Oiran Hanagiku Reading a Love Letter While Standing 36921

Early Ferns, Chapter 48 of The Tale of Genji. Origin: Japan. Period: Edo period. Ink and color on silk. Date: ca. 1810-1814. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

AridoshiShrine. Artist, style of: Hanabusa Icch?, Japanese, 1652-1724

Fan-shaped image showing counsellor for Emperor Yo-zei (869-949) seated right, delivering poem to poetess Ono Komachi (c825-c900). No 5 in Nana Komachi series. Katsukawa Sunsho (1726-1792) Japanese painter and printmaker.

Print 19th century Utagawa Kunisada Japanese. Print 58010

Mother and Children at the New Year. Artist: Utagawa Toyoharu (Japanese, 1735-1814). Culture: Japan. Dimensions: 40 3/4 x 12 1/2 in. (103.5 x 31.8 cm). Date: 18th century.Toyoharu, the founder of the Utagawa school, depicted women more often in paintings than in prints. The gentle elegance of his images of women is also seen in works by other artists of the late eighteenth century. Here, a boy entertains his younger brother by hiding in the layers of their mother's kimono while she tries to hold onto the wriggling child. The playful, swirling movement of the three figures reflects the pleasant festivities of the New Year season, represented by the pine and bamboo decoration in the background. Museum: Metropolitan Museum of Art, New York, USA.

Drawing. Date/Period: 1878. Drawing. Author: Hachisuka Kuniaki II.

Grasshopper on Rock 15th century Wen Liang Chinese. Grasshopper on Rock. Wen Liang (Chinese, active 15th century). China. 15th century. Miniature from album of eleven paintings; ink and color on silk. Ming dynasty () (1368-1644). Paintings

Pavilion on the spring river. Origin: China. Period: Ming or Qing dynasty. Ink and color on silk. Date: 16th-19th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Rocks, trees, brook, and hawks. Origin: China. Date: 14th century. Ink and color on silk. Period: Yuan or Ming dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

THREE ACTORS, NAKAMURA SHIKAN, BANDO MITSUGORO and Ichikawa Danjuro, The Background of IRISES Kunisada, UTAGAWA (1786 1864)

Courtesan-Dancer (Shirabyshi) for the New Year 1764-88 Isoda Korysai. Courtesan-Dancer (Shirabyshi) for the New Year. Isoda Korysai (Japanese, 1735-ca. 1790). Japan. 1764-88. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Japan, Ibaya Senzaburô, Hiroshige (I), Utagawa, Cherry Blossoms by Tree Trunk, Mossy Trunk and Cherry Blossoms, under print - stamped, Fan print depicting cherry blossoms by a tree trunk covered with moss; against a yellow background., print, picture, uchiwa-e, prints, pictures, Japan (collection), under picture - stamped, height 223 mm, width 280 mm, Japanese, 1797 - 1858, print maker, printmaker, 1833 - 1837, second quarter 19th century, paper, colour woodcut, colour woodblock, Publication (Event), Publication, publisher

Uzume (Okame) and flowers. Date: 18th-19th century. Origin: Japan. Period: Edo period. Color, ink, and gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Pictures of the most celebrated calligraphers of China and Japan., 1801 - 1825. Woodcuts., Surimono

Immortals ca. 1620s-30s Hasegawa Sakon Japanese The Chinese Daoist immortals are legendary mountain recluses who attained supernatural powers and longevity by practicing meditation and alchemy. Auspicious personalities, they became a popular subject for screens and sliding-door panels in sixteenth-century Japan. The attributes seen here, such as the flute, the basket of life-extending fungus, and the gourd, suggest that these figures represent four of the Eight Immortals. The remaining four (including the two female immortals) were presumably depicted on the missing mate to this screen.The Hasegawa workshop was one of the most important producers of screens and paintings for the great lords and merchants of the Momoyama (1573-1615) and early Edo periods. This example demonstrates the Hasegawa expertise both with ink and with exotic Chinese subjects. Bold, exaggerated brushstrokes give the figures their eccentric energy—an effect enhanced by the shallow foreground space framed by

Pleasures of the Seasons Made 1700 Japan. Handscroll; ink and colors on silk . Hishikawa Morohira

A scene from the play Osome, Hisamatsu. Artist: Shunk?sai Hokuei, Japanese, active ca. 1829-37

Landscape, 1667, Wang Shimin, 1592 - 1680, 9 1/8 x 20 3/8 in. (23.18 x 51.75 cm) (image, sheet), Ink and color on gold-dusted paper, China, 17th century

Artist: Kano Tsunenobu, Japanese, 1636-1713, Six panelscreen, 18thcentury, Six-panel screen, color and gold leaf on paper, unframed: 65 1/4 × 140 in. (165.7 × 355.6cm), Japan, Japanese, Edo period(1615-1868), Paintings

A Pair of Peafowl, late 1400s-early 1500s. Lin Liang (Chinese, 1416-1480). Hanging scroll, ink on silk; painting: 160 x 106 cm (63 x 41 3/4 in.); overall with knobs: 256.5 x 133.3 cm (101 x 52 1/2 in.).

Lake Suwa in Shinano Province (Shinsh Suwako), from the series Thirty-six Views of Mount Fuji (Fugaku sanjrokkei) ca. 1830-32 Katsushika Hokusai Japanese. Lake Suwa in Shinano Province (Shinsh Suwako), from the series Thirty-six Views of Mount Fuji (Fugaku sanjrokkei). Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. ca. 1830-32. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

Seven Gods of Good Fortune 1837 Nagasawa Rosh Japanese The Seven Gods of Good Fortune, principal icons of popular culture in the Edo period, were depicted by Nagasawa Rosh in an accessible and lively manner, as though partaking in a meal—replete with wine—together. Most of the deities are shown seated beside the attributes or animals commonly associated with them; for instance, Jurjin leans against a deer, Fukurokuju has a scroll (in this instance, three scrolls), and Bishamonten holds a miniature pagoda. The long-tailed tortoise below the only female deity, Benzaiten, could belong to either Jurjin or Fukurokuju. Although he never attained the stature of his father, Nagasawa Rosetsu (1754-1799), Rosh perpetuated his style of soft, impressionistic brushwork in emotionally compelling paintings on natural and figural subjects. The artist signed the painting “Rosh, Old Man of 71 Years” (Shichij-ichi , Rosh), which is seventy years old by Western reckoning, so we know the work was

Scene from the Noh theater piece 'Genjo', Tsukioka Kôgyo, 1904 print Actor with wild red wig and headgear on which dragon in a decor with pine trees and a space screen. paper. bronze powder color woodcut actor (on the stage)

Textile fragment, embroidery and yuzen on damask., anonymous, Japan, 1661 - 1673, Kanbun period, silk, height 19.2 cm × width 27.8 cm

Patterns of Brocades Worn at Court 1815 Matsuoka Shiben. Patterns of Brocades Worn at Court. Matsuoka Shiben. Japan. 1815. Ink and color on paper. Edo period (1615-1868). Illustrated Books

Monk Rensh Riding His Horse Backwards after 1782, ca. 1784 Matsumura Goshun Japanese A famed military hero of the Genpei War (1180-1185), Kumagai Naozane, haunted by regrets for the lives he took on the battlefield, renounced his worldly ways to become a follower of the Pure Land School of Buddhism. Changing his name to Rensh, he vowed to never again turn his back on Amida, the Buddha of the western paradise. Artistic renditions often draw on the resulting anecdote that Rensh, when traveling from Kyoto to the Kant region of Japan (in the east), quite literally had to sit on his horse backwards in order to not break his promise. Goshun paints the theme in the typical casual manner of haiga (painting in the spirit of haiku). According to the signature, it was executed in a guest house in Minume, a place of ancient poetic associations, now part of the city of Kobe.. Monk Rensh Riding His Horse Backwards. Matsumura Goshun (Japanese, 1752-1811). Japan. after 1782, ca. 1784. Hanging scr

The Hell Courtesan late 19th century Seikei Japanese Perhaps reflective of the unstable political climate, the Hell Courtesan (Jigoku Day) was popularly depicted in woodblock prints and paintings especially during the transitional years between the Edo and Meiji periods. Centrally located on the back of the high-ranking courtesan’s robe is Emma-, one of the Ten Kings of Hell, getting ready to sentence a sinner. He is surrounded by horned demons, strategically depicted along the garment folds, whose job it is to carry out punishments. By contrast, the obi shows a bodhisattva with attendants, who are descending from the heaven as saviors for the deceased.No biographical information about this artist or other works with the same signature have come to light. A nearly identical painting by Haruki Nanmei (1795-1878), dated to 1865 and in a private Japanese collection, was no doubt the inspiration for this later work.. The Hell Courtesan. Seikei (Japanese, active second half of the 19th ce

Fan leaf with a poet on a mountain, Suzuki Kiitsu, 1800 - 1900 Fan painting, representing a poet. Signed Suzuki Kiitsu (1796-1858). Japan paper. brush Fan painting, representing a poet. Signed Suzuki Kiitsu (1796-1858). Japan paper. brush

Prostitute Standing by Willow Tree, c. 1775, Tsukioka Settei, Japanese, 1710 - 1786, 29 1/8 x 11 7/16 in. (74 x 29 cm) (image)63 x 15 3/8 in. (160 x 39 cm) (mount) 44 cm W w/roller, Ink, color, and gofun on silk, Japan, Nikuhitsu ukiyo-e

Lady in waiting sitting, leaning on a fan, board from the album: Nishiki zuri onna sanju rokkasen e zukushi EISHI, CHOBUNSAI (1756 1829)

Cranes with Pine right of a pair of Cranes with Pine and Bamboo, 18th-19th century, Kano School, Japanese, 61 3/8 × 139 1/2 in. (155.89 × 354.33 cm) (image)67 1/2 × 145 1/2 × 3/4 in. (171.45 × 369.57 × 1.91 cm) (outer frame), Ink, color, and gold on paper, Japan, 18th-19th century

Japan, Maruya Jinpachi, Kunisada (I), Utagawa, Actor as a lion dancer, under print - stamped, Actor with a large red wig, performing a lion dance barefoot among rocks overgrown with peonies; at night., print, prints, Japan (collection), above print - stamped, height 351 mm, width 238 mm, Japanese, 1786 - 1865, print maker, printmaker, 1860 - 1860, third quarter 19th century, paper, papier, nishiki-e, colour woodcut, Publication (Event), Publication, publisher

Villa Dongshan, Yuan Jiang, 1721 Landscape with architecture. The beautifully modeled contour lines of the rocks in this painting are a feature of the work of both Yuan Jiang and Yuan Yao. A musicianing company on the terrace in the middle. Yangzhou ink. silk Landscape with architecture. The beautifully modeled contour lines of the rocks in this painting are a feature of the work of both Yuan Jiang and Yuan Yao. A musicianing company on the terrace in the middle. Yangzhou ink. silk

The Hole in the Wall 1760-1770 Japan. This is a calendar print for 1765 (second year of the Meiwa era). The numbers for the short months appear in the pattern of the girlís robe, and the long months are given in the manís robe. The design recalls the Hole-in-the-Wall affair from the Tales of Ise, a ninth-century collection of vignettes about the poet Narihira (825ñ880) and his loves. The book indicates that Narihira visited the empress in secret, entering through a crumbling palace wall, and, when discovered, was sent into exile in northern Japan.. Color woodblock print; chuban . Suzuki Harunobu

Rice Culture, or Sowing and Reaping before 1353 Unidentified artist Rice Culture depicts China's most fundamental economic activity: the cultivation and harvesting of rice. It is based closely on a set of texts and illustrations first created by the Southern Song court painter Lou Shou (1090-1162). The scroll, which preserves the final nine scenes from this series, bears an inscription, dated 1353, by a Mongolian named Hugechi that states that, after he acquired this painting, he had it remounted and presented it to the Grand Preceptor as a resource for establishing policy.The work not only documents the continuation of the Song-style court painting tradition but demonstrates how Mongol officials, in spite of their nomadic heritage, had come to appreciate both the fundamental nature of agriculture in Chinese society and its importance in sustaining the fiscal health of the dynasty.. Rice Culture, or Sowing and Reaping 72769

Kunisada, work, Actor in Nakamura Shinka's play Iroha Nikkei (Alphabetical Diary), 1830, color woodblock print, graphics

Four Admirers late 17th-early 18th century Kano Tsunenobu Japanese One of the many pictorial subjects of Chinese origin adopted by the Kano school of painters, images of the Four Admirers portray beloved Chinese literary figures with the flower, and by extension the season, that each admired most. In this painting by Tsunenobu, a second-generation head of the Kano schools Kobikichō branch in Edo (now Tokyo), the four literary heroes appear within a single pictorial space replete with seasonal, historical, and literary allusions.At far right is the poet Lin Hejing (967-1028), known for admiring plum blossoms at the hermitage he shared with pet cranes. Nearby is Tao Yuanming (365-427), who famously wrote of gathering chrysanthemums at his country estate in autumn. The scholar Zhou Maoshu (1017-1073) relaxes on a boat surrounded by lotuses. At far left, Huang Tingjian (1045-1105) sits on the riverbank with a potted orchid at his side.. Four Admirers 45042

Zen Master with Meditation Staff, and Chinese-Style Landscapes probably late 1620s-1644 Painting by Unkoku Teki Pre-modern Japanese portraiture does not necessarily display accurate likeness, but the figure here, in the chins tradition of portraiture of Zen masters, seems individuated; it may be the Zen master Ten’y Jk himself, or his master. He holds an “admonition staff” (shippei) in his hands for alerting sleepy students in meditation. Landscapes were common in Zen ink painting from the late fourteenth century, and it became a convention to create triptychs of work with a natural images flanking an image of a Buddhist deity or eminent monk. Here we find the common motifs of cliffs, rocky outcrops, pavilions, and a lone figure crossing a bridge. The painter Unkoku Teki was the son of Tgan, founder of the Unkoku school which claimed descent from Sessh, the great master of monochrome ink painting. In the early 1620s, Teki worked at the sub-temples of Daitokuji, where Ten’y wa

Catching cockles, Mekichi, c. 1790 A man with a child watches another child fishing cockles with a net from the water. In the boat a mountain of cockles and a wooden bucket with pampas grass. This print was made by three different designers: Mekichi designed the boat with shells, Tsutsumi Seppô de Figuren in the boat and Settan designed the fishing boy. Japan paper color woodcut A man with a child watches another child fishing cockles with a net from the water. In the boat a mountain of cockles and a wooden bucket with pampas grass. This print was made by three different designers: Mekichi designed the boat with shells, Tsutsumi Seppô de Figuren in the boat and Settan designed the fishing boy. Japan paper color woodcut

Sketch Kawanabe Kyosai (Japanese, 1831-1889). , 19th century. Ink, watercolors on paper, Image: 10 5/8 x 15 3/8 in. (27 x 39 cm). Asian Art 19th century

Fairy and Crane 18th century China The young lady walking on a bridge, carrying a long-handled sickle and a basket of plants, and accompanied by a white crane, may be Magu, a famous Chinese fairy who symbolizes eternal youth. She brews immortal wine from magic plants, such as those in her basket, and artworks with her image are ideal birthday gifts. In addition to the refined embroidery on this panel, tiny pearls and coral beads are used to render the white crane and the red pomegranate seeds.. Fairy and Crane. China. 18th century. Embroidery with silk, pearls, and coral beads. Qing dynasty (1644-1911). Textiles-Embroidered

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

Eagle 17th-18th century Kano Chikanobu Japanese. Eagle. Kano Chikanobu (Japanese, 1660-1728). Japan. 17th-18th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Mountains and Rivers in Autumn Japan first half of the 17th century View more. Mountains and Rivers in Autumn. Japan. first half of the 17th century. Pair of six-panel folding screens; ink, color, and gold on gilded paper. Edo period (1615-1868). Paintings

Six-Panel Painted Screen (Uji Bridge). Date/Period: 1800 - 1899. Folding screen. Watercolor, gold leaf, paper, wood, nacre and metal. Author: UNKNOWN.

Two Young Women on a Verandah ca.1766-70 Suzuki Harunobu Japanese. Two Young Women on a Verandah 36633

White Rain at Shōno 1797-1861 Utagawa Hiroshige Japanese. White Rain at Shōno 57043

Matsukaze and Murasame. Date: 18th century. Origin: Japan. Period: Edo period. Full color and slight gold on silk panel. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Kanzan and Jittoku (Chinese: Hanshan andShide)

Irises, 1700s. Watanabe Shikō (Japanese, 1683-1755). One of a pair of six-panel folding screens, ink and color on gilded paper; image: 152.8 x 361.2 cm (60 3/16 x 142 3/16 in.); overall: 168.8 x 373.2 cm (66 7/16 x 146 15/16 in.); closed: 170.8 x 64.5 x 12 cm (67 1/4 x 25 3/8 x 4 3/4 in.); panel: 164.8 x 62.3 cm (64 7/8 x 24 1/2 in.); with frame: 168.8 x 377.2 cm (66 7/16 x 148 1/2 in.).

Suromono for the year 1822. A bowl of three pieces of fish () Erin and loose flowers next to it

Tokyo, Nishimura Yohachi, Japan, Shunsho, Katsukawa, Actor Matsumoto Koshiro IV as the peddler Ambaiyoshi no Gorohachi, lower left - stamped, actually Sagami no Jiro in disguise, with his elbow resting on one of the two food stalls; in his right hand a fan., print, prent, prints, Japan (collection), height 292 mm, width 137 mm, Japanese, 1726 - 1792, print maker, printmaker, 1772 - 1772, third quarter 18th century, paper, colour woodcut, Publication (Event), Publication, publisher

Mountain Hermitage in Summer Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Asian Art 16th century

Oiran in Summer Kimono. Attributed to Chōbunsai Eishi (Japan, 1756-1829). Japan, 18th-early 19th century. Paintings; scrolls. Hanging scroll; color on silk

Travelers among Streams and Mountains probably 1670s Wu Li Chinese Wu Li, one of the six great Orthodox School masters of the early Qing, began his study of ancient paintings with an album owned by the venerable Orthodox painter Wang Shimin (1592-1680). The album, entitled Within Small See Large (Xiaozhong xianda), contained reduced copies of Song and Yuan masterpieces owned by Wang.In Travelers among Streams and Mountains, probably made in the 1670s, Wu Li carefully copies the album leaf that preserves a composition by the late Yuan master Wang Meng (ca. 1308-1385). Wus interpretation gives the work new life, however, through the vigor and spontaneity of his execution. Responding and adjusting to each newly realized brushstroke in a constant interaction between brush, ink, paper, and the observed form, Wu Lis brushwork and composition grow with the “momentum” and “force” (shi) of the artists performance.In addition to superb brushwork, Wu Li demonstrates a genius for using ink; usi

Young Woman on a Veranda. Artist: Furuyama Moroshige (Japanese, active second half of the 17th century). Culture: Japan. Dimensions: Image: 11 7/16 × 18 3/16 in. (29 × 46.2 cm)Overall with mounting: 38 × 20 1/4 in. (96.5 × 51.5 cm)Overall with knobs: 38 × 22 5/8 in. (96.5 × 57.5 cm). Date: second half of the 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Birds, Willow Tree, and Flowers. Origin: China. Period: Ming dynasty. Date: 15th-16th century. Hanging scroll; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Taira Kiyomori Seeing Skulls in the Snowy Garden, May 1882, Tsukioka Yoshitoshi, Japanese, 1839 - 1892, 14 5/16 × 29 1/16 in. (36.35 × 73.82 cm) (image, vertical ōban triptych), Woodblock print (nishiki-e); ink and colors on paper, Japan, 19th century, First edition with brown cartouche. The second edition has a light blue cartouche.

Fujin or Futen is the Japanese god of the wind and one of the eldest Shinto gods. He is generally depicted as a terrifying wizard-like demon carrying a large bag of winds on his shoulders. In Japanese art, the deity is often depicted together with Raijin, the god of lightning, thunder and storms. Ogata Kōrin (1658 - June 2, 1716) was a Japanese painter of the Rinpa school. He was born in Kyoto, to a wealthy merchant who had a taste for the arts. Korin also studied under Soken Yamamoto, the Kano school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sotatsu. 'Wind God and Thunder God' by Ogata Korin is a replica of Tawaraya Sotatsu's four panel folding screen of the same title ('Fujin Raijin Zu), Kyoto, early 17th century.

Landscape, c. 1590s-1615. Japan, Momoyama period (1573-1615). Six-panel folding screen; ink on paper; painting: 129.5 x 350.8 cm (51 x 138 1/8 in.); framed: 145.5 x 366.8 x 62.5 cm (57 5/16 x 144 7/16 x 24 5/8 in.). This screen by an Unkoku school artist is from a separated pair depicting the Eight Views of Xiao and Xiang Rivers, a popular Chinese Song dynasty painting and poetry theme that inspired many works in Japan and Korea. The location of the other screen is unknown. The views here are, from right to left: evening bell from a mist-shrouded temple, geese descending to a sandbar, sunset glow over a fishing village, and mountain village in clearing mist. The crab-claw” style of the trees, in which the branches resemble the curved claws of a crab, and the stippling effect indicate a familiarity with Korean interpretations of Chinese Song dynasty painting styles. Painters of the Unkoku school—named for painter Sessh? T?y?’s (1420-1506) residence in Yamaguchi at the southern tip of

Scene of Foxfire (Kitsunebi) from the Play Honch nijshik 1898 Ysh (Hashimoto) Chikanobu Japanese. Scene of Foxfire (Kitsunebi) from the Play Honch nijshik. Ysh (Hashimoto) Chikanobu (Japanese, 1838-1912). Japan. 1898. Triptych of woodblock prints; color on paper. Meiji period (1868-1912). Prints

The Pied Wagtail. Artist: Kuwagata Keisai (Japanese, 1764-1824). Culture: Japan. Dimensions: 10 x 14 7/8 in. (25.4 x 37.8 cm). Date: 1789. Museum: Metropolitan Museum of Art, New York, USA. Author: KUWAGATA KEISAI.

Album of Copies of Chinese Paintings. Artist: Kano Tsunenobu (Japanese, 1636-1713). Culture: Japan. Dimensions: 11 7/16 x 16 3/4 in. (29 x 42.5 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA. Author: Kano Tsunenobu.

Sea in Spring, 18th century, Yosa Buson, Japanese, 1716 - 1783, 10 3/4 × 9 1/4 in. (27.31 × 23.5 cm) (image)42 1/2 × 15 1/4 in. (107.95 × 38.74 cm) (mount, without roller), Ink and light color on paper, Japan, 18th century

Danjō Matsunaga Hisahide before His Suicide. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1883. Prints; woodblocks. Color woodblock print

Scene from chapter 12, 'Suma,' of The Tale of Genji left of a set of three, mid 17th century, Taketsugu, Japanese, active mid 17th century, 30 1/2 × 18 1/2 in. (77.47 × 46.99 cm) (image, without roller)61 1/2 × 22 3/4 in. (156.21 × 57.79 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.

Admiring the charms of the landscape; Jin, Tingbiao ( -1767); 18th century () (1368-00-00-00-1644-00-00);Chinese (culture), coil painting, men, Chinese art, scholars, scrolls, vertical ganglia

Actor Sakata Hangorō III. Katsukawa Shun'ei (Japan, 1762-1819). circa 1790. Prints; woodblocks. Color woodblock print

Japan: Sei Shonagon (c. 966-1017) Japanese author and court lady of the middle Heian Era, best known as the author of 'The Pillow Book' (Makura no Sosh), Katsushika Hokusai (1760-1849), c. 1820

Winter Flowers. Culture: China. Dimensions: Overall: 39 1/2 x 17 in. (100.3 x 43.2 cm). Date: 16th-17th century.The nandina, narcissus, rock, and magic fungus on this tapestry serve as homonyms for the phrase "heavenly immortals' greeting of longevity" (tian xian zhi shou). At the lower right corner, there is a woven signature of Cui Ba, a painter who was active in the eleventh century and famous for his elegant renderings of flowers and birds. During the second half of the Ming dynasty, Cui's paintings often served as subjects for tapestries, as can be seen in the emulation of brushstrokes on this extraordinary piece. Museum: Metropolitan Museum of Art, New York, USA.

Illustration of products in Yoshida 1799-1809 Japan. Color woodblock print . Katsushika Hokusai

'Shrimps'. China, 1924. Dimensions: 135x33,5 cm. Museum: State Hermitage, St. Petersburg. Author: Qi Baishi.

Spring and Autumn Farming (Autumn), 1700s. Kō Sūkoku (Japanese, 1730-1804). Six-panel folding screen, ink, light color, gold, and silver on paper; overall: 170.2 x 353.5 cm (67 x 139 3/16 in.).

Number 3: In 901, at age 57, Sugawara no Michizane goes into exile. Utagawa Sadahide (Japan, 1807-1873). Japan, circa 1844-1848. Prints; woodblocks. Color woodblock print

Bamboo Unidentified artist. Bamboo. Unidentified artist. China. Handscroll; ink on paper. Ming (1368-1644) or Qing dynasty (1644-1911). Paintings

A Man Taking His Ease. Origin: China. Period: Ming dynasty. Date: 15th-16th century. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Eight Views of the Xiao and Xiang Rivers, 17th century, Kano Tan'yū, Japanese, 1602 - 1674, 1 7/8 × 10 1/2 × 9 7/8 in. (4.76 × 26.67 × 25.08 cm)7 × 6 3/4 in. (17.78 × 17.15 cm) (sheet), Ink on silk; ink, gold, and mica on paper, Japan, 17th century, The Eight Views of the Xiao and Xiang Rivers was a popular theme in East Asian painting and poetry. It celebrated the beauty of a region in southeast China where the two rivers converge. This album consists of eight paintings by Kano Tanyū, a central figure of the Edo-period Kano house. When he was only fifteen years old he was named goyō eshi, or painter-in-attendance, to the Tokugawa shoguns (military commanders) in the capital city of Edo. In order to produce a wide variety of paintings for the shogun, Tanyū had to be fluent in an array of Chinese and Japanese styles. The eight paintings in this album are in the 'splashed-ink' style of the Chinese painter Yujian (active late 1200s), who was beloved in Japan. Sometime after Tanyū compl

After a Shower. Date/Period: 1928. Japanese Painting. Color on silk / pair of six-panel screens. Height: 1,712 mm (67.40 in); Width: 3,690 mm (12.10 ft). Author: TAKEUCHI SEIHO.

Watanabe Sitie (N.1851 - D.1918), COQS; Luch expansion at a sure ur monuace player Ferchanau page on 1916logisturier polychrovgers. Museum Certernaryi, Museum Des Arts The L'Asie The Lavile The Lavy The Paris

Camellia by Water dated 1741 In the Style of Ogata Kenzan Japanese. Camellia by Water 40354

Decoration of a tokonoma recess Ryuryukyo, shinsai (1764 1820)

One Hundred Flowers 18th century After Yun Shouping Chinese. One Hundred Flowers. After Yun Shouping (Chinese, 1633-1690). China. 18th century. Handscroll; ink and color on silk. Qing dynasty (1644-1911). Paintings

Children playing musical instruments, from 100 Children At Play scroll, Ming Period, 16th - 17th century, China, detail

A holiday group in the country in summer, near the village of Oshikama. The artwork features a sign post indicating the location., 1788, Woodcuts, One sheet of a triptych, Image 15 x 10 in. (38.1 x 25.4 cm)

Flower Painting, late 18th century, Mianyi, Chinese, 1764 - 1815, 5 1/2 x 14 3/16 in. (13.97 x 36.04 cm), Ink and color on paper, China, 18th century, These delicate flower studies were painted by Mianyi, an imperial prince who lived in Beijing during the late eighteenth and early nineteenth centuries. The four double leaves originally formed an album that was once in the imperial collection. The frontispiece, in fact, bears the seal of the Jia Jing emperor who reigned from 1796 to 1821. Like most of the educated elite, Mianyi was well versed in classical literature, music, and calligraphy, but he excelled at painting and is best known for his flower studies, The use of color (versus ink), interest in descriptive detail, and facile technique are typical not only of Prince Chen, but of Chinese court taste in general during the eighteenth century. This album illustrates the type of amateur painting practiced among the court intelligentsia. Descriptive, technically accomplished and decora

Tao Yuanming enjoying chrysanthemums Du Jin Chinese Du Jin, the son of an official, was a scholar and a poet, but after low placement in the metropolitan (jinshi) examination he decided to earn his living as a painter instead of pursuing a government career. Specializing in landscape and figural scenes in the Southern Song (1127-1279) academic manner, Du, like his younger contemporary Tang Yin (1470-1524), who befriended the painter in his old age, occupied an ambiguous position between scholar and professional artist.This painting portrays the poet Tao Qian (365-427) strolling through the mountains to admire the autumn flowers, some of which are held by his servant. Du's depiction combines a meticulous rendering of the figures with a dashing ink-wash treatment of the landscape. His poem reads: Along three paths he returned, at leisure with his bramble staff,The sun moved west over the yellow flowers and wattle fence.Realizing there was no way to revive the Jin dynasty, 265-420,All h

Pavilion on Mountain Stream 17th century In the Style of Sessh Ty Japanese. Pavilion on Mountain Stream. In the Style of Sessh Ty (Japanese, 1420-1506). Japan. 17th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Lingering Rain over Half the Village” ca. 1815-20 Uragami Gyokud? Although he was born into a family of relatively high-ranking warrior-retainers, from a young age, Uragami Gyokud? expressed more interest in literature, painting, and music. He finally resigned his position at forty-nine and traveled widely for the rest of his life. In this late work executed in short, meticulous strokes with a dry brush, Gyokud? paints a secluded mountain village—barely visible at far right—still enveloped in mist after the rain.. Lingering Rain over Half the Village”. Uragami Gyokud? (Japanese, 1745-1820). Japan. ca. 1815-20. Folding fan mounted as a hanging scroll; ink on paper. Edo period (1615-1868). Paintings

A Long Tale for an Autumn Night (Aki no yo nagamonogatari) ca. 1400 Unidentified artist A Long Tale for an Autumn Night became popular in Japan in the late fourteenth and fifteenth centuries. It tells of an amorous affair between a Buddhist monk and a younger male acolyte (chigo). The usual outcome of these tragic tales is the monks attainment of religious salvation after repenting his obsession with carnal pleasures.The narrative progresses from right to left across three illustrated handscrolls (emaki). Note the use of a device called iji d?zu (literally, “different time, same illustration”), in which the same figures appear multiple times in a single pictorial segment so that several events can be depicted simultaneously. At an earlier point, the first section of this handscroll was excised and mounted separately as a hanging scroll. The Museum acquired the missing section in 2005. Listen to experts illuminate this artwork's story Listen Play or pause #8809. A Long Tale for an Autu

Yang Xiang (Yō Kō), from the series A Childs Mirror of the Twenty-four Paragons of Filial Piety (Nijūshi kō dōji kagami) ca. 1843 Utagawa Kuniyoshi Japanese. Yang Xiang (Yō Kō), from the series A Childs Mirror of the Twenty-four Paragons of Filial Piety (Nijūshi kō dōji kagami) 73560

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

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