Japanese Woodblock Prints

A series of traditional Japanese woodblock prints illustrating scenes with couples, children, and nature, characterized by delicate colors and intricate details.

Japan, Utaba, Haikai, Matsushige, Hamabe, Akihito, Eisen, Keisai, Woman with children feeding chickens, A woman carries a boy on her back and watches her other son feed the rooster and hen. Behind her is a plum blossom. With three poems., print, prent, surimono, prints, prenten, Japan (collection), height 201 mm, width 178 mm, 1790 - 1848, print maker, prentenmaker, 1825 - 1825, second quarter 19th century, paper, colour woodcut, Japanese, poet, 1753 - 1829

Plume ball playing man and wife, 1787 - 1806 print Man and female both with battleboard in hand, in the snow; Snowy pine branches in the background. On the left a poem. paper color woodcut ball games in which ball is hit with racket (or hand)

Woman Carrying a Bucket, 1804 print A woman wears a wooden bucket in which she gets the first water of the new year. Her bucket is decorated with New Year's attributes, such as Varenblad and a twisted rope. Next to her a boy with a white rat walks on his hand, referring to the year of the rat, 1817. With six poems. paper color woodcut adult woman. wooden container: barrel, cask, bucket. rodents: rat

Roof Tile and Sparrows; Specialities of Mizuno in Imado. Artist: Totoya Hokkei (Japanese, 1780-1850). Culture: Japan. Dimensions: 8 x 7 3/16 in. (20.3 x 18.3 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Reverberations of Taiga, Volume 1 (leaf 32), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

History of Kamakura: Poem-bridge of Egara Tenjin Shrine 19th century Kubo Shunman Japanese. History of Kamakura: Poem-bridge of Egara Tenjin Shrine 54797

Flower Cart with AutumnalPlants. Artist: Takashima Chiharu, Japanese, 1777-1859

The Ninth Ichimura Uzaemon in the Title Role of the Drama Nagoya Sanza 1767 Kitao Shigemasa Japanese. The Ninth Ichimura Uzaemon in the Title Role of the Drama Nagoya Sanza 37143

Japan, Utaba, Haikai, Matsushige, Hamabe, Akihito, Eisen, Keisai, Woman with children feeding chickens, A woman carries a boy on her back and watches her other son feed the rooster and hen. Behind her is a plum blossom. With three poems., print, prent, surimono, prints, prenten, Japan (collection), height 201 mm, width 178 mm, 1790 - 1848, print maker, prentenmaker, 1825 - 1825, second quarter 19th century, paper, colour woodcut, Japanese, poet, 1753 - 1829

An Old Man Walking by a Stream, with Distant Mountains Wu Li (Chinese, 1632-1718). An Old Man Walking by a Stream, with Distant Mountains, 1706. Ink and color on paper, image: 50 3/4 x 13 1/2 in. (128.9 x 34.3 cm). Wu Li, an acclaimed Qing dynasty painter, expressed himself through the styles of a select lineage of past artists. Here, sparse trees and an empty pavilion allude to Ni Zan (1301-1374), but Wu Li has reworked the dry, sketchy style of the Yuan dynasty master by incorporating loose, moist brushstrokes to create a richer tonality. Wu Lis reinterpretation may have been influenced by an increasing awareness of Western artistic techniques, such as chiaroscuro and one-point perspective. Wu Li converted to Christianity in the 1670s, allowing him close contact with the missionaries who brought new images and skills to China from the West. Asian Art 1706

Courtesan with Client before a Tokonoma Alcove 1798 Kubo Shunman Japanese. Courtesan with Client before a Tokonoma Alcove. Kubo Shunman (Japanese, 1757-1820). Japan. 1798. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Geisha En Pauw Op Pruimenbloesem, yashima gakutei, c. 1822 A circular cartouche with a portrait of a geisha and a fan -shaped cartouche with a peacock surrounded by silver colored clouds. With one poem about a peacock. Japan paper color woodcut courtesan, hetaera. ornamental birds: peacock

Baika saru hiku musume, Young women walking a monkey under a plum tree., Ikeda, Eisen, 1790-1848, artist, 1824., 1 print : woodcut, color ; 20.9 x 26.5 cm., Print shows two women walking a monkey with a plum tree and mountains in the background.

Screen of Calligraphy and New Year Decoration. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 5 1/8 x 7 in. (13 x 17.8 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

The Actor Nakamura Kojuro VI in a Daisho no Mai (Sword Dance), in the Play Gion Nyogo, Performed at the Nakamura Theater in the Tenth Month, 1786. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1781-1791. Dimensions: 31.8 x 13.7 cm (12 1/2 x 5 3/8 in.). Color woodblock print; hosoban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Courtesan with Client before a Tokonoma Alcove. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 5 1/2 x 11 in. (14 x 27.9 cm). Date: 1798. Museum: Metropolitan Museum of Art, New York, USA.

Three Figures Three Figures, 19th-20th century. Brush sketch, ink on paper, Image: 9 1/2 x 14 1/2 in. (24.1 x 36.8 cm). Asian Art 19th-20th century

Cake Bowl with Yokan (Bean Jelly); Specialities of Yatsuhashiya in Sagacho, Fukagawa. Artist: Hokucho Joren (Japanese, 1780-1850). Culture: Japan. Dimensions: 7 15/16 x 7 1/16 in. (20.2 x 17.9 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Twenty-four Japanese examples of filial piety for the Honors (series title), Princess Kibi (d. 729) looks from a balcony at the blossoming cherry blossoms in the garden. She was the wife of Nagaya no 684 (684-729), together they were forced to commit suicide with their children in 729. With one poem, plants, vegetation (flowers, blossom, blossoming), Yashima Gakutei (mentioned on object), Japan, c. 1821, paper, colour woodcut, h 202 mm × w 181 mm

Daisies and Two Makimono ca. 1800 Kitao Shigemasa Japanese. Daisies and Two Makimono. Kitao Shigemasa (Japanese, 1739-1820). Japan. ca. 1800. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Lady Tamamo-no Mae; poem by Funya no Asayasu; print 37 from the series: Ogura nazorae hyakunin isshu (Imitations of one hundred poems by one hundred poets). Utagawa, Kuniyoshi (1798-1861), graphic artist

Various Shells with Sea Weeds 19th century Kubo Shunman Japanese. Various Shells with Sea Weeds 54904

Peony with crab, A small red crab with a large flowering peony. The crab is more common on surimono as the personal emblem of the poet Bunbunsha Kanikomaru (1780-1837), the word crab 'kani' appears in his name. With three poems, crustaceans: crab, plants and herbs: peony, Kunisada (I), Utagawa (mentioned on object), Japan, c. 1830 - c. 1835, paper, colour woodcut, h 208 mm × w 186 mm

Twenty-Four Japanese examples or Philial Piety for the Honchôren. The Princess Kibi (d. 729) looks from a balcony to the blooming cherry blossoms in the garden. She was the wife of Nagaya No ô (684-729), together they were forced to commit suicide in 729 with their children. With one poem.

Spring Rain Collection (Harusame shū), vol. 2: Pine Shoots and Accoutrements for New Years Celebrations 19th century Ryūryūkyo Shinsai Japanese Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.. Spring Rain Collection (Harusame shū), vol. 2: Pine Shoots and Accoutrements for New Years Celebrations 55060

The actors Ichikawa Ebijūrō I as Heiji Kagetaka, Ichikawa Danjūrō VII as Genta Kagesue and Ichikawa Monnosuke III as Chidori. Donation Gerhard Schack

Eight views of the Yellow Mountains 1681 Zheng Min Chinese In the seventeenth century, painters from Anhui began to exploit the albums special qualities to represent the Yellow Mountains (Huangshan), vista by vista, one leaf at a time. This example, by the relatively little-known artist Zheng Min, ranks among the best Huangshan albums; its compositional originality and subtle brushwork unfolds over a journey of eight distinct parts. Zheng Min combined the signature dry brush technique of the Anhui Schools founder Hongren with subtle ink washes to create a less austere, more descriptive style. Adding to the albums appeal is the artists lengthy inscription, on the final leaf,which explains the story of the albums creation.In this long inscription, written to accompany the album, Zheng Min explains the circumstances of its creation: [Summary: In 1681, Zheng was approached by a younger friend named Chuzhen, who asked the master to paint two albums: one for him, and one for a friend.

It is good to play again for the first time; Hikisomeyoshi; A series for the Hanazono poets association; Hanazono bantsuzuki. A young woman is preparing to play the shamisen, behind her New Year decorations with ferns (Urajiro), pine branches and a crayfish. With two poems. The prints from this series are in line with the belief that the first activities of the new year were extra special. The red cartouche on the prints refers to almanacs that indicated which activities did not or better not to be taken on certain days by people born in a given year.

Leather Purse with a Buckle in the Shape of a Puppy probably 1814 Ryūgetsusai Shinkō Japanese. Leather Purse with a Buckle in the Shape of a Puppy 54829

Hahaoya ni umanori suru yoji, A child riding his mother like a horse., Katsushika, Hokusai, 1760-1849, artist, between 1804 and 1818, 1 print : woodcut, color ; 12.4 x 18.6 cm., Print shows a woman on her hands and knees with a child climbing or riding on her back.

Picture Book: Flowers Yet to be Picked, Vol. 1 1756 Nishikawa Sukenobu Japanese. Picture Book: Flowers Yet to be Picked, Vol. 1. Nishikawa Sukenobu (Japanese, 1671-1750). Japan. 1756. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Memorial Portrait of the Artist Utagawa Kunisada (Toyokuni III) Toyohara Kunichika (Japanese, 1835-1900). Memorial Portrait of the Artist Utagawa Kunisada (Toyokuni III), December, 1864. Woodblock print, 14 5/16 x 19 1/2 in. (36.4 x 49.5 cm). In this print made immediately after Kunisadas death, Kunichika depicted his teacher as a pensive scholar. Immediately above the portrait are poems by Kunichika and two of Kunisadas other prominent students, Kunisada II and Kunihisa II, as well as a poem that Kunisada composed about his own impending death. The right sheet of this diptych contains an obituary for the artist, written by a well-known author of the period who describes Kunisada as a student of Toyokuni. With three generations present in the text, the portrait becomes a celebration of both the artist and the Utagawa lineage. Asian Art December, 1864

Omu, Parrot., Ryuryukyo, Shinsai, approximately 1764-1820, artist, 181-, 1 print : woodcut, color ; 19.8 x 17.5 cm., Print shows a parrot sitting on a drying rack.

Young Nobleman and Carpenter. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 5/16 x 7 1/4 in. (21.1 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

An Illustrated Mirror of Falconry, vol. 1, pt. 2, c. 1863-1868, Kawanabe Kyōsai; Publisher: Suharaya Sasuke, Japanese, 1831 - 1889, 9 × 6 1/4 in. (22.86 × 15.88 cm) (chūbon), Woodblock printed book; ink on paper with mica, Japan, 19th century

Poems and cranes. .

Earthworm (Mimizu); Cricket (Kōrogi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 1788 Kitagawa Utamaro Japanese Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Jūzaburō , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyōka poets of the day were invited to contribute.. Earthworm (Mimizu); Cricket (Kōrogi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 37296

Surimono in shape of small twofold screen. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 8 3/8 x 7 1/16 in. (21.3 x 17.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

Fan-shaped Design Depicting Chinese Poet or Philosopher Yashima Gakutei Japanese. Fan-shaped Design Depicting Chinese Poet or Philosopher 54426

Famous Women 1799 Gai Qi In 1799, the scholar Cao Zhenxiu wrote a cycle of sixteen poems about famous women of history and legend. Not content with the usual heroineschaste widows and filial daughtersCao selected women of more diverse talents, foregrounding poets, calligraphers, and warriors and arguing for an expanded notion of female virtue. She then commissioned the young virtuoso painter Gai Qi to illustrate her poems. Although some of the scenes take place indoors, several of them feature garden settings, including the ones you see here. Light in ink tone, Gai’s images display a seemingly endless variety of brushwork, from dry, rounded strokes to evoke the rough texture of rocks to pinpoint black lines to describe sharp grasses.. Famous Women. Gai Qi (Chinese, 1773-1828). China. 1799. Album of sixteen leaves; ink on paper. Qing dynasty (1644-1911). Paintings

Woman sitting on the background of a window Yours

Fulling block shell, Ryûryûkyo Shinsai, 1809 A woman cuts herbs on a shelf that is supported by two wooden tons. A two woman watches with a bucket under her arm. In the background a village and people on the beach. The fuller block, used to felt substances to which the title of the print refers, is not present on the print. The chopping on the cutting board probably refers to it. With one poem. paper color woodcut

Bird Tori (title on object) Flowers, birds, wind and moon (series title) Kachôfûgetsu (series title on object), A man is playing a mouth organ while a phoenix is flying over. Shôshi, a famous flute player from the Chinese Chin dynasty (255-209 BC), could have played so beautifully that phoenixes flew from heaven to listen to him. With two poems, fabulous animals, birds: phoenix, Totoya Hokkei (mentioned on object), Japan, c. 1822, paper, colour woodcut, h 204 mm × w 181 mm

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

Landscape and Ôharame A set of folding screens (series title), Two parts of a miniature folding screen: on the left a woman from Ohara walking next to a buffalo with a bunch of branches on her head, on the right a landscape with a river over which a narrow bridge. With two poems, screen, folding screen, Ryûryûkyo Shinsai (mentioned on object), Japan, c. 1825, paper, colour woodcut, h 202 mm × w 194 mm

Reverberations of Taiga, Volume 2 (leaf 19), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Red Lacquer Box and Water-Pot 19th century Ryūryūkyo Shinsai Japanese. Red Lacquer Box and Water-Pot 54558 Artist: Ryuryukyo Shinsai, Japanese, active ca. 17991823, Red Lacquer Box and Water-Pot, 19th century, Polychrome woodblock print (surimono); ink and color on paper, 8 1/4 x 7 3/8 in. (21 x 18.7 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP1973)

De Yang Kuei -Fei KerSenbloesem, yashima gakutei, c. 1821 --c. 1822 Yang Kuei-Fei (719-56), known as Yôkihi in Japan, was the favorite concubine of the Chinese T'ang Keizer Hsüan Tsung (685-762). The cherry blossom named after her (Yôkihisakura) is said to have originated in the city of Nara. With two poems, one poem told about the origin of the cherry blossom: the cherry blossom known as the Yôkihi comes from China - that is why it blooms spring in the Yoshino Bergen - and these are indeed, south of Nara. Japan paper color woodcut plants; vegetation (+ flowers, blossom, blossoming)

Kyōsai's Treatise on Painting, volume 4. Kawanabe Kyōsai (Japan, 1831-1889). Japan, 1887. Books. Color woodblock printed book

Album of Miscellaneous Subjects, Leaf 3, early 1650s. Fan Qi (Chinese, 1616-aft 1694). Album leaf, ink and color on silk; image: 12.6 x 17.3 cm (4 15/16 x 6 13/16 in.); overall: 21 x 22 cm (8 1/4 x 8 11/16 in.).

Flower Vase and Lacquer Box 18th-19th century Unidentified artist. Flower Vase and Lacquer Box 53985

Frog (Kaeru); Gold Beetle (Kogane mushi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 1788 Kitagawa Utamaro Japanese Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Jūzaburō , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyōka poets of the day were invited to contribute.. Frog (Kaeru); Gold Beetle (Kogane mushi), from the Picture Book of Crawling Creatures (Ehon mushi erami) 37297

Lacquer Inrō with Waterbirds and Ox-shaped Netsuke in a BoxFrom the Spring Rain Collection (Harusame shū), vol. 3 probably 1817 Totoya Hokkei 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 the epitome

The Courtesan (From A Collection of Beautiful Women of the Yoshiwara), 1770. Suzuki Harunobu (Japanese, 1724-1770). Color woodblock print; sheet: 21.6 x 14.7 cm (8 1/2 x 5 13/16 in.).

Haru no noasobi, Spring outing., Teisai, Hokuba, 1771-1844, artist, between 1801 and 1810, 1 print : woodcut, color ; 14 x 18.6 cm., Print shows two women standing, one offering a pipe to a person squatting near a pillar.

Drawings by the Drunken Fuyō 1809 Suzuki Fuyō Japanese. Drawings by the Drunken Fuyō. Suzuki Fuyō (Japanese, 1749-1816). Japan. 1809. Set of three woodblock printed books bound as a single volume; ink on paper. Edo period (1615-1868). Illustrated Books

Ge Hong Moving House. Date: 16th century. Origin: China. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Fuuran, Neofinetia falcata. Vulnerable. Handcoloured woodblock print by Kono Bairei from Kusa Bana Hyakushu (One Hundred Varieties of Flowers), Tokyo, Yamada, 1901.

Japan, Utaba, Haikai, Nakakubo, Gurendô, Shunman, Kubota, Kasumiren kaisô awase, A series on seaweed for the Kasumiren poets' association, Seaweed, verso - stamped, Still life with different types of seaweed. A design without a line block. With two poems., print, surimono, prints, Japan (collection), height 218 mm, width 189 mm, Japanese, 1757 - 1820, print maker, printmaker, 1810 - 1815, first quarter 19th century, paper, colour woodcut, colour woodblock, poet, 1753 - 1829

Knight Kido Takuzayemon Nagachik on the stairs carrying a beam, board 46. From the series: from the life of the heroes of Taiheiki novel about the Great Peace / Taiheiki Eiyuden Utagawa, kuniyoshi (1797 1861)

Aku Genta, double page from the book: Ehon Kōmyō Futaba Gusa Gekan. Donation Gerhard Schack

Outfit for the New Year Ceremony 19th century Ryūryūkyo Shinsai Japanese. Outfit for the New Year Ceremony 54785 Artist: Ryuryukyo Shinsai, Japanese, active ca. 17991823, Outfit for the New Year Ceremony, 19th century, Polychrome woodblock print (surimono); ink and color on paper, 5 5/16 x 7 5/16 in. (13.5 x 18.6 cm). The Metropolitan Museum of Art, New York. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP2025)

Woman Playing the Koto, c. 1815 - c. 1820 print A sitting court lady plays on the Koto (Japanese string instrument). She is wearing a kimono that is associated with the Heian period (794-1185). On the floor next to her a box for the plectrums that are worn on the fingers while playing the koto. With three poems. paper color woodcut making music; musician with instrument. adult woman

Scene from The Narrow Road to the Deep North (Oku no hosomichi). Artist: Yosa Buson (Japanese, 1716-1783). Culture: Japan. Dimensions: Image: 8 7/8 × 11 3/16 in. (22.6 × 28.4 cm)Overall with mounting: 40 in. × 20 15/16 in. (101.6 × 53.2 cm)Overall with knobs: 40 × 23 3/8 in. (101.6 × 59.3 cm). Date: ca. 1780. Museum: Metropolitan Museum of Art, New York, USA.

Fuwa Banzaemon 19th century Utagawa Toyokuni II. Fuwa Banzaemon. Utagawa Toyokuni II (Japanese, 1777-1835). Japan. 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Gathering Sea-Weed. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 7 1/2 x 10 3/8 in. (19.1 x 26.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Scholar Riding a Horse with Attendants Chôsui Yabu (Japanese, active 1830-1864). Scholar Riding a Horse with Attendants, ca. 1850. Color woodblock print on paper, 7 3/16 x 9 5/8 in. (18.2 x 24.5 cm). Asian Art ca. 1850

Retiring from the Kabuki Stage 1840 Japan. Ohkuni Takamasa (1792ñ1871), the host of this print, was one of the most important Japanese philosophers of the 19th century. He was a leading member of the Kokugaku (Nativist) movement and conducted early research into the origins of the Japanese language, becoming an expert on Japanese waka poetry, Sanskrit, Western studies, and Daoism.This important print was created in conjunction with two leaders of the Takemoto gidayu school of Kabuki chanters, Takemoto Kumidayu and Takemoto Masadayu. The print was created in honor of the latter, and the illustration depicts him seated on an ox, being led from the stage to his retirement. The collaboration of these three famous cultural figures of the 19th-century, along with the generous amount of relatively expensive metallic powder used in the printís creation, suggest that the print must have had deep significance to the group that produced it.. Color woodblock print; surimono . Chogaku

The Hitomaro cherry blossom Hitomarosakura (title on object) A series of cherry blossoms for the Katsushika poetry association (series title) Katsushika sakuratsukushi (series title on object), The poet Kakinomoto no Hitomaro, a fan in the hand, sitting on a balcony, overlooking the sea. His work is included in, among others, the Collection of ten thousand leaves (Manyôshû), from the 8th century and in Hundred poems by a hundred poets (Hyakunin isshu) from 1235. With two poems, plants, vegetation (flowers, blossom, blossoming), Yashima Gakutei (mentioned on object), Japan, 1821 - 1822, paper, colour woodcut, h 216 mm × w 186 mm

Cicada and Spider on Corn. Page 9b and 10a in Utamaro insect book in part one of the utamaro insect book.

Taihu Rock and Banana Plant Takahashi Shei Japanese 1831 This late work by the Nanga painter Takahashi Shei shows a potted banana plant (bash) and Taihu garden rock. According to Shei's signature, it was executed in 1831 at his residence in Itami, northwest of the city of Osaka, where he was active off and on from around 1824 until around 1830.Takahashi Shei began studying painting with Tanomura Chikuden (1777-1835), a leading literati painter and fellow native of Bungo Province (modern-day Oita Prefecture) on the far western island of Kysh. Shei first encountered Chikuden in 1822 when the master visited Shei's hometown of Kitsuki from Kyoto. Soon thereafter, Shei took Chikuden as a teacher and returned with him to Kyoto, where he was quickly recognized as one of Chikuden's most promising students. Active primarily in Osaka after his initial training with Chikuden and other painters in his circle, Shei was so highly regarded that in the Chikuden's Record of Painting Teachers and Friend

Sitting in Meditation, 1732, Zhang Shiying, 62 1/2 x 35 15/16 in. (158.75 x 91.28 cm) (image)106 3/4 x 35 1/8 in. (271.15 x 89.22 cm) (without roller), Ink and color on paper, China, 18th century

Chief Inagawa Jibu No Tayū Minamoto No Yoshimoto sitting in full armor, board 2. From the series: from the life of Taiheiki heroes a novel about the Great Peace / Taiheiki Eiyuden Utagawa, kuniyoshi (1797 1861)

Staff with Gohei and Moon Disc, Kubota Shunman, 1812 A circular disk with a hare with a mortar, attached to a wooden staff with strips of paper (gohei). In the foreground a bronze bell with rope and a courtmate (Eboshi). The title comes from Chapter 73 from the stories of Isee and are the thoughts of a man who walks past a woman's house. He can't send her a message, but thinks: I can see you with my eyes but my hands can't touch you - you are really just like the cassia in the moon. With two poems. Japan paper color woodcut pestle and mortar. rodents: hare

Three travellers in front of the blind poets house - music of Semimaru); print from the series “Hyakunin isshu-no uchi" (One Hundred Poets, One Poem Each). Utagawa, Kuniyoshi (1798-1861), graphic artist

World of Arts - 15, Suzuki Shonen, 1891 book Yellow cover with blue river motif and the title in black; Inside cover, table of contents; 17 magazines: two sheets of text; 1-15, images of people, animals and landscapes and a few pages text; Inside cover, colophon. Tokyo paper color woodcut

Tales of Ise, Volume 2. Tosa School (Japan, 15th-19th centuries). Japan, 1608. Books. Two-volume album; ink, color, and gold on paper, brocade covers; Volume 1 - 24 painted images; Volume 2 - 22 painted images

Five Scenes from the Tokyo Road shirasuka, Hamamatsu, Maisaka, Mitsuke and Arai, Board 8 from the Series: Gojusan Zugi Harimaze Ru

Print 19th century Utagawa Kunisada Japanese. Print 58071

man with umbrellla by a water barrel, katsushika hokutai, c. 1800 - c. 1805 print An actor in the role of Sukeroku stands with a geisha in training (Shinzô) in front of a large wooden barrel with fire extinguishing water. On the barrel, in white, the Japanese sign for 'water' (Mizu), on top of smaller extinguishers, and on the shelves the street name 'Edomachi'; The main street of the Yoshiwara. With one poem. paper color woodcut actor, actress (non-work situations)

An archer and lady; A series of bravery and heroism; EIYûZOROI. Seated lady tamamushi with the warrior nasu no yochi from the 12th century in the background. Nasu No Yochi was a famous Sagittarius of the Minernoto Clan who could shoot a range from the hands of Lady Tamamushi on one of the ships during the Battle of Yashima in 1185. with two poems.

Illustrations of Beautiful Women (Bijin e-zukushi) 1683, fifth month Hishikawa Moronobu Japanese. Illustrations of Beautiful Women (Bijin e-zukushi). Hishikawa Moronobu (Japanese, 1630/31-1694). Japan. 1683, fifth month. Woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Ogura imitation of the one hundred poems. Kamiya Niemon startled by the Lantern ghost O-iwa. Niemon killed his wife O-iwa after she had lost her beauty by someone else's doing. However, the spirit of his wife continues to chase him. Niemon loses his mind, made visible by his unkempt appearance, and flight the forests. As he makes a fire, the ghost appears from the smoke. Scene from a Kabukite team. Poem by ônakatomi No Yoshinobu Ason.

Peacocks, Pine Tree, and Peonies probably 19th century Style of Lü Ji Paintings by Lü Ji (Japanese: Ryoki), a professional painter from the area of Ningbo in China, began to be exported to Japan by the early sixteenth century and had a significant impact on polychrome bird-and-flower painting in Japan during the late Muromachi period (1392-1573) and thereafter. This Lü Ji style work, created in Japan, bears a forged copy of a seal found on genuine works by Lü (see, for example, 1980.414 and 2005.494.2). It was likely created late in the Edo period or shortly thereafter, when largescale works by Lü or in his style continued to be in high demand. The painted image has been significantly compromised, with widespread abrasion of the surface and loss of pigments, which may have occurred when the work was remounted in the late nineteenth or early twentieth century, before it was donated to The Met in 1914.. Peacocks, Pine Tree, and Peonies. Style of Lü Ji (Chinese, active late 15th cen

Camellia in Vase and Tea-utensil Box 1820-1830 Japan. Color woodblock print; shikishiban, surimono . Rintei

Page from the Ten Bamboo Studio Manual of Painting and Calligraphy Illustrated by Hu Zhengyan Chinese first edition printed in 1633 The Ten Bamboo Studio Manual of Painting and Calligraphy is one of the earliest and finest examples of color printing from China. The book, which served as both luxury object and guide for the aspiring painter, compiles familiar images from Chinese art, especially flowers, rocks, birds, and bamboo. View more. Page from the Ten Bamboo Studio Manual of Painting and Calligraphy. Illustrated by Hu Zhengyan (Chinese, 1584/5-1673/4) , and others. China. first edition printed in 1633. Individual leaf from a printed book; ink and color on paper. Ming dynasty (1368-1644). Prints

The Vision of Kumagai Renshobo 1685-1695 Japan. Hand-colored woodblock print; oban, tan-e . Sugimura Jihei

Woman writes a poem, Suzuki Kiitsu, After Hoseien Eishi, c. 1822 - c. 1827 print Poet writes poem, looking at a flourishing miniature cherry tree. With two poems. Japan paper color woodcut sitting figure - AA - female human figure. writing accessories

Spring Dawn Over the Elixir Terrace. Artist: Lu Guang (Chinese, ca. 1300-after 1371). Culture: China. Dimensions: Image: 24 1/4 x 10 1/4 in. (61.6 x 26 cm)Overall with mounting: 87 1/2 x 17 5/8 in. (222.3 x 44.8 cm)Overall with knobs: 87 1/2 x 20 5/8 in. (222.3 x 52.4 cm). Date: ca. 1369.To escape the turbulence of the closing years of the Yuan dynasty, Lu Guang traveled far from his native city of Suzhou. He painted Spring Dawn after his return to the Lake Tai area, following the establishment of the Ming dynasty in 1368. The reference to the Elixir Terrace in the title of the painting indicates the artist's interest in both Daoist alchemy and the pursuit of immortality; the poem, which describes "elixir rays emitted from a well turning into auspicious clouds at dawn," expresses Lu's optimism in the new era. In the city of Wuxing in 1369, Lu Guang saw and inscribed an important painting attributed to Yan Wengui (act. ca. 980-1010). Although Spring Dawn, which was painted about th

Reverberations of Taiga, Volume 1 (leaf 20), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Nishikawa Hinagata Nishikawa's Book of Patterns. Nishikawa, Sukenobu, 1671-1751. 1718. Prints, Illustrations. Spencer Collection

Hataori, Weaving., Yanagawa, Shigenobu, 1787-1832, artist, between 1825 and 1832, printed later, 1 print : woodcut, color ; 21 x 18.2 cm., Print shows a woman weaving at a loom.

Tomo No Atai Ienushi, an example from the front late chronicles of Japan, Yashima Gakutei, c. 1821 A young man puts sacrificial gifts on a table with images of his parents. The man is Tomo No Atai Ienushi, who, after the death of his parents, would have cut out their images and sacrifice them four times a day. This story appears in the Shoku Nihonkôki, compiled in 869 and one of the six national history of Japan. With one poem about the new year. Japan paper color woodcut

Dried Cuttle-Fish and Plum Blossoms early 19th century Teisai Hokuba Japanese. Dried Cuttle-Fish and Plum Blossoms 54906

Picture Book of Essays in Idleness (Ehon tsurezuregusa). Artist: Nishikawa Sukenobu (Japanese, 1671-1750). Culture: Japan. Dimensions: 10 5/8 × 7 1/2 in. (27 × 19 cm). Date: 1740. Museum: Metropolitan Museum of Art, New York, USA.

Miniature Album with Figures and Landscape (Two Men with Umbrella), 1822. Zeng Yandong (Chinese, c. 1751-1827). Album leaf, ink and color on paper; overall: 6.1 x 7.7 cm (2 3/8 x 3 1/16 in.).

Sakuraso, Primrose., Kubo, Shunman, 1757-1820, artist, 181-, 1 print : woodcut, color ; 20.3 x 17.7 cm., Print shows primrose seedings growing in a box and a full grown plant in a vase.

A Turner and His Assistant, Hishikawa Sôri, 1802 print A turner sitting next to a lathe (Rokuro) with which lids are made for bowls. His assistant uses ropes to turn the bank. With three poems. paper color woodcut handicrafts, craftsman at work. machines; parts of machines; tools and appliances

Young Pine Tree and Handle of a Plow. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 3 1/2 x 7 1/8 in. (8.9 x 18.1 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Soma Ware (Soma yaki), from the series Horse Compendium (Uma zukushi). Artist: Katsushika Hokusai, Japanese, 1760-1849

The salt shell Shiogai (title on object) A comparison of Genroku poems and shells (series title) Genroku kasen kaiawase (series title on object), A box of salty cookies in the form of plum blossom. Behind it a pipe in a case and a tobacco bag with netsuke. Rear left a blue and white porcelain pot with a bonsai pine and Fukujuso. The shell to which the title refers is depicted in the fan-shaped cartouche. With one poem from Toshigaki Maharu., Katsushika Hokusai (mentioned on object), Japan, 1821, paper, colour woodcut, h 201 mm × w 176 mm

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