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

The Second Ode on the RedCliff. Artist: Hashimoto Gah?, Japanese, 1835-1908

Actor Nakamura Noshio in a Female Role, c. 1772, Katsukawa Shunshō, Japanese, 1726 - 1793, 11 9/16 × 5 3/8 in. (29.3 × 13.6 cm) (image, sheet, hosoban), Color woodblock print, probably bright orange color added later, Japan, 18th century

Fujiwara no Yasumasa Playing His Flute in the Moonlight 1883 Japan. Color woodblock print; ban triptych . Tsukioka Yoshitoshi

Momoyogusa = Flowers of a Hundred Generations.. Kamisaka, Sekka, 1866-1942. Prints, Illustrations. 1909 - 1910. Spencer Collection. Japan , Social life and customs

Lady Tokiwa Fleeing with Children, 1850s, Utagawa Kunitsugu, Japanese, active 1850s, 43 3/4 × 22 5/8 in. (111.13 × 57.47 cm) (image)83 1/2 × 29 1/4 in. (212.09 × 74.3 cm) (mount), Ink and color on paper, Japan, Nikuhitsu ukiyo-e, In 1159, the powerful clan leader Minamoto Yoshitomo was defeated by Taira Kiyomori, and Lady Tokiwa fled through the snow with their three children: Imawaka, Otowaka, and Ushiwaka (aka Minamoto Yoshitsune, destined to become one of the most famous samurai warriors). No other works are known by the mysterious Kunitsugu, and until recently it was believed that this painting dated to the 1820s. However, the discovery of the similar-looking print by Kuniyoshi from around 1848 suggests differently. The painting cannot have been done prior to the print as Kuniyoshi was a successful and well-known artist who would not have copied a work by an unknown painter. It seems plausible then that Kunitsugu created the painting after Kuniyoshi's print, perhaps on commission.

Oniwaka and Carp; Taira no Koremochi and the Demon. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1868, 4th month. Prints; woodblocks. Color woodblock print

Peacock and Peonies, Utagawa Hiroshige, 1830's,

THE KINUTA TAMAGAWA RIVER IN THE SETTSU PROVINCES

Tortoises right of a pair of Cranes and Tortoises, c. 1780, Komai Genki, Japanese, 1747 - 1797, 65 7/16 x 141 9/16 in. (166.21 x 359.57 cm) (image)72 3/8 x 148 9/16 in. (183.83 x 377.35 cm), Ink and color on paper, Japan, 18th century

Quietly Passing Time in Boat and Pavilion, 19th century, Ko Tetsubai, Chinese, 1848 - 1899, 9 7/8 x 21 1/8in. (25.1 x 53.7cm), Ink on paper with traces of mica, Japan, 19th century

Album of Flowers and the Moon (Kagetsu jo). Artist: Maruyama Oshin (Japanese, 1790-1838); Mori Tetsuzan (Japanese, 1775-1841); Kawamura Kiho (Japanese, 1778-1852). Culture: Japan. Dimensions: 9 1/16 × 6 5/16 in. (23 × 16 cm). Date: 1836. Museum: Metropolitan Museum of Art, New York, USA.

View of West Lake mid-to-late 17th century Kusumi Morikage Japanese Several major Chan (Japanese: Zen) temples and other places with cultural and historical associations were located on West Lake, on the outskirts of China's Southern Song capital of Hangzhou. Even after the decline of the Song dynasty, the area around the lake remained a symbol of great cultural achievement. On this set of screens, West Lake appears in panorama, as if seen from an observation tower on the city wall along the bottom edge. Ten views of well-known sites in different seasons are distributed within the sweeping view. Kusumi Morikage, a disciple of Kano Tany? (1602-1672), official painter to the shogunate, is said to have left the Kano school for unknown reasons. This pair of screens is not dated, but its mild, clear features suggest that Morikage painted it early in his career, before developing his more idiosyncratic style.. View of West Lake. Kusumi Morikage (ca. 1620-1690). Japan. mid-to-late 17th centu

Arhat nakula unknown

Returning Home, mid-1500s. Japan, Muromachi period (1392-1573). Hanging scroll, ink and color on paper; mounted: 165.1 x 55.9 cm (65 x 22 in.). This painting bears a seal reading Shkei. The style of the seal resembles that used by Kenk Shkei (active about 1470-after 1523), a monk and painter at the Zen temple Kenchji in Kamakura who studied in Kyoto for three years with Geiami (1431-1485), painter to the shogun as well as curator of the shogun’s collection of art. However, the seal was carved to look like Shkei’s and added to the painting at a later date by someone who thought the unsigned landscape was similar to his work. The painting has compositional and some stylistic similarities to images by other Kanto-based artists like Maejima Sy (active mid-1500s), who trained with Kano school artists. Specifically, the pines clinging to the massive boulder in front of a pavilion with mountains receding into atmospheric space—in a composition weighted in a single corner of the paint

Artist: Kano School, Japanese, Cherry Blossoms andStream, 18thcentury, Six-panel folding screen, tempera and gold leaf on paper, unframed: 58 11/16 × 134 13/16 in. (149 × 342.4 cm), Japan, Japanese, Edo period(1615-1868), Paintings

Landscape: the Seven Sages of the Bamboo Grove. Origin: Japan. Ink and color on paper. Date: 1568-1615. Period: Momoyama period. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Flowers of a Hundred Worlds (Momoyogusa): Late Autumn (Boshu), 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Color woodcuts with gold and silver; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). These deluxe albums, enhanced with gold and silver, reproduce the work of Kamizaka Sekka, who emulated the decorative style of painter Ogata Korin and his successors.

Farewell to Hua Yun, 1545, Qian Gu, Chinese, 1508-1578, L.25-3/8 x W.10-3/16 in. (image), Ink and color on paper, China, 16th century, Of all the artists associated with the great literatus Wen Zhengming(1470-1559), Qian Gu was perhaps closest to the master in technique and artistic temperament. Qian was a direct disciple and learned poetry and calligraphy as well as painting from Wen whose stylistic influence is clearly evident in this classic Wu school commemorative painting.

Landscape. Artist: Unidentified Artist; After Wang Shimin (Chinese, 1592-1680). Culture: China. Dimensions: 6 1/2 x 20 1/2 in. (16.5 x 52.1 cm). Date: 18th century or later, spurious date of 1648. Museum: Metropolitan Museum of Art, New York, USA.

Calabash Flowers and Beetle. Artist: Maruyama Oshin (Japanese, 1790-1838). Culture: Japan. Dimensions: Image: 39 1/4 × 14 5/16 in. (99.7 × 36.3 cm)Overall with mounting: 77 3/8 × 19 13/16 in. (196.5 × 50.4 cm)Overall with knobs: 77 3/8 × 22 3/16 in. (196.5 × 56.3 cm). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Monkey Showman and Porter() in the Snow 19th century Hokuga Japanese Hokuga, one of Hokusai's disciples, was a skillful colorist. Two figures, vibrantly dressed, walk together along a dark shore that includes a pair of flying geese and a fence. The combination of brightness and darkness lends the painting an eerie feeling.. Monkey Showman and Porter() in the Snow 48881

Orchid and Poetic Couplet, late 18th - early 19th century, Totoki Baigai, Japanese, 1733 - 1804, 8 1/4 × 17 11/16 in. (20.96 × 44.93 cm) (sheet, fan)12 × 21 1/4 in. (30.48 × 53.98 cm) (mount), Ink on paper, Japan, 18th-19th century

Landscape with Ox Carts on a Road Li Xiying Chinese. Landscape with Ox Carts on a Road 51608

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

Landscape, mid-1500s. Kano Motonobu (Japanese, c. 1476-1559), calligraphy by Gesshū Jukei (Japanese, 1470-1533). Hanging scroll; ink on paper; mounted: 104.7 x 48.9 cm (41 1/4 x 19 1/4 in.). The large red tripod-shaped seal on this painting is that of Kano Motonobu, head of the Kano school atelier in Kyoto that served the shogun. Gessh Jukei, a longtime resident of the Zen temple Kenninji in Kyoto, inscribed the poem. The two are known to have worked together on at least one other occasion. The poem describes an intimate meeting of dear friends, a suitable theme for a work that was likely given as a gift to an esteemed associate, perhaps weary of the politics of life in the capital. In either fine weather or during the rainy season the mountain’s color is pale. A friend visits, rowing his boat while reciting a poem. Tonight we’ll drink together at the inn on the river. Across, on the other side of the river is a house with people living in it, but there is nothing to drink there.

Landscape. Artist: Lu Hui (Chinese, 1851-1920). Culture: China. Dimensions: 6 1/4 x 20 in. (15.9 x 50.8 cm). Date: dated 1912.The poem inscribed by Luo Hui on this painting reads:The sunset's shimmering rays weave andtwist following the sail;Receding mountain light sets off the pagoda.As one looks up from the river,The water continues to flow unattended.Trans. adapted from Ellsworth et all, Later Chinese PaintingThe literatus Dong Qichang is invoked in the inscription as the source for Luo's style, but the painting embodies more a 19th century notion of the "picturesque" than Dong's intellectual style. Museum: Metropolitan Museum of Art, New York, USA.

Suikoden heroes Zhang Shun and Li Kui in an underwater struggle; Rôri Hakuchô Chôjun Kokusenpu riki.Part of vertical dipstick.

January 1908, 1908 book. magazine Number 4 of Volume 11 (January 1908) of the literary monthly HOTOTOGISU: cover on which stylized monkeys and royal members with trees; Back with a stylized sea with the first sunrise of the year. paper letterpress printing / color woodcut

Japan, Bokugai, Still life with pouch and garment, On the right in the foreground a folded garment, a fan and a pouch with netsuke in the shape of a hare for the hare year. With short poems., print, prent, surimono, prints, prenten, Japan (collection), height 168 mm, width 240 mm, Japanese, print maker, 1867 - 1867, third quarter 19th century, third quarter of the 19th century, paper, colour woodcut

Japan: 'The Daoist Immortal Huang Chuping', a Muromachi period drawing by Kano Motonobu, 16th century. Honolulu Museum of Art, Honolulu

Waves at Matsushima. Date/Period: 17th century. Painting. Ink, color, gold and silver on paper. Height: 166 cm (65.3 in); Width: 369.9 cm (12.1 ft). Author: TAWARAYA SOTATSU.

Clear and Chilly Morning. Origin: China. Period: Qing dynasty. Ink and color on silk. Date: 1722. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Two women with attendant., 1801 - 1825. Woodcuts., Surimono

Kyoto, Yamada Naosaburo, Sekka, Kamisaka, Momoyogusa, vol. 1, Flowers of a hundred worlds, Yayoi, Spring, verso - stamped, Two walking Japanese women with large hats on their heads. Blossoming trees in the background., print, prints, Japan (collection), height 301 mm, width 462 mm, Japanese, 1866 - 1942, print maker, printmaker, 1909-05-05 - 1909-05-05, first quarter 20st century, first quarter 20th century, paper, color woodcut, Publication (Event), Publication, publisher

Brush, Holder, and Leaves from Album of Paintings by the Venerable Zeshin, 1847. Shibata Zeshin (Japanese, 1807-1891). Album; ink, color, and gold on silk; each leaf: 19.7 x 18.4 cm (7 3/4 x 7 1/4 in.).

Roller painting, Anonymous, 1575 - 1600 Landscape: a rock with pine trees, a pavilion and a boat. In wooden box. Japan paper. ink. dye Landscape: a rock with pine trees, a pavilion and a boat. In wooden box. Japan paper. ink. dye

Piece 18th-19th century Japan. Piece 66645

Night-Shining White ca. 750 Han Gan Chinese A leading horse painter of the Tang dynasty, Han Gan was known for capturing not only the likeness of a horse but also its spirit. This painting, the most famous work attributed to the artist, is a portrait of a charger of Emperor Xuanzong (r. 712-56). With its burning eye, flaring nostrils, and dancing hoofs, the fiery-tempered horse epitomizes Chinese myths about Central Asian "celestial steeds" that "sweated blood" and were actually dragons in disguise. The seals and inscriptions added to the painting and its borders by later owners and appreciators are a distinctive feature of Chinese collecting and connoisseurship. The addition of more than one thousand years of seals and comments offers a vivid testimony of the work's transmission and its impact on later generations.The acquisition of this image, arguably the greatest equine portrait in Chinese painting, marked the Director's early commitment to revitalizing the Department of Asian Art

'Picture of the Three Autumn Gather'. China, Beijing, late 19th - early 20th century. Dimensions: 54x35 cm. Museum: State Hermitage, St. Petersburg.

Nomads hunting with falcons early 13th century Attributed to Chen Juzhong Chinese Chen Zhuzhong specialized in depicting nomadic horsemen and their lives on the steppes. This exquisite fan painting, in which the hairstyles, costumes, and saddle trappings of the Khitan people are faithfully rendered, may be dated stylistically to Chen's period of activity or somewhat later. The horseman galloping away in pursuit of his quarry recalls a similar figure in Eighteen Songs of a Nomad Flute.. Nomads hunting with falcons 40094

Hotei probably 17th or 18th century Attributed to Kano Tan'y. Hotei. Attributed to Kano Tan'y (Japanese, 1602-1674). Japan. probably 17th or 18th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Album of Miscellaneous Subjects, Leaf 2, 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.).

Color woodblock prints; oban triptych.

Puppet performance; kakemono; Kyoraishi, Genshin (Fl. Ca 1740-1790); 2. PO. 18th century (1751-00-00-1800-00-00);Kutyłowski, Roman (1895-1976)-collection, tea room, kakemono, painting, Japanese art, ukiyo-e, purchase (provenance)

The Chase. Helen Hyde; American, 1868-1919. Date: 1903. Dimensions: 152 x 525 mm (image/block); 268 x 563 mm (sheet). Color woodcut on paper. Origin: United States. Museum: The Chicago Art Institute, Chicago, USA.

Scroll I. 1680. Drawings. Spencer Collection. Festivals , Japan

Four Elders of Mt. Shang, 1600s. Kano Tanyū (Japanese, 1602-1674). Pair of six-fold screens; ink on paper; overall: 161 x 339 cm (63 3/8 x 133 7/16 in.).

The Actor Ichimura Kamezo in the Role of Sogo no Juro Sukenari, in the Drama "Edo Murasaki Kongen Soga" ca. 1761 Torii Kiyomitsu Japanese. The Actor Ichimura Kamezo in the Role of Sogo no Juro Sukenari, in the Drama "Edo Murasaki Kongen Soga" 54492

Detail of Japanese textile print

Okrzaki, board 38. From the series: fifty three stages of the Tokaido road

LIBRO KALILA Y DIMNA-FABULA BATALLA ENTRE BUHO Y GRAJO - HACIA 300 DC - MANUSCRITO SIGLO XIV. Author: BIDPAI. Location: B GULISTAN PALACE. Teheran. IRAN.

Album of Twenty Half-Length Portraits of Actors in Roles 1830s Attributed to Shunbaisai Hokuei 梅斎北英 Japanese. Album of Twenty Half-Length Portraits of Actors in Roles. Attributed to Shunbaisai Hokuei 梅斎北英 (Japanese, active 1829-1837, died 1837). Japan. 1830s. Folding album; ink and color on paper. Edo period (1615-1868). Prints

The Immortals Gama Sennin and Tekkai Sennin, early 19th century, Kuroda Ryōzan, Japanese, 1755 - 1814, 52 3/4 × 22 5/16 in. (133.99 × 56.67 cm) (image, L screen)52 13/16 × 22 5/16 in. (134.14 × 56.67 cm) (image, R screen)66 3/4 × 69 5/8 × 11/16 in. (169.55 × 176.85 × 1.75 cm) (mount), Two-panel folding screen; ink and light colors on paper, Japan, 19th century, This two-panel screen depicts the Daoist immortals, Gama Sennin (Chin. Liu Hai) and Tekkai Sennin (Chin. Li Tieguai). The two were often paired in Japanese and Chinese art because of their corresponding supernatural powers. Depicted on the right is Gama Sennin, known literally as the toad hermit,’ a character based on the historical civil servant and alchemist Liu Hai of 10th century China. Various accounts associate Gama with a large, three-legged toad by which he can be identified. Gama was thought to be able to release his spirit from his body, metamorphose, and fly with the aid of his magical companion. Chinese prototypes o

Poem by Sangi Hitoshi (Minamoto no Hitoshi), from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 1760-1849 Katsushika Hokusai Japanese. Poem by Sangi Hitoshi (Minamoto no Hitoshi), from the series One Hundred Poems Explained by the Nurse (Hyakunin isshu uba ga etoki) 56147

Young Woman Looks at Silhouette of a Male Prisoner being Led Away. Artist: Tomioka Eisen (Japanese, 1864-1905). Culture: Japan. Dimensions: 8 1/2 x 10 3/8 in. (21.6 x 26.4 cm). Date: early 20th century.Eisen's print displays the rather melodramatic sentiment as an illustration for a novel is typical of late Meiji print. A woman watches the silhouettes of her lover being led away by the police man. The silhouettes without background motifs suggest a unreachable place from the woman in the reality. Museum: Metropolitan Museum of Art, New York, USA.

Tiger Family, early 1800s. Kishi Ganku (Japanese, 1749/56-1838). One of a pair of six-panel folding screens; ink and color on paper; image: 164.8 x 362.5 cm (64 7/8 x 142 11/16 in.); including mounting: 179.4 x 384.7 cm (70 5/8 x 151 7/16 in.). By the time this self-taught painter reached his thirties, his paintings were keenly sought after by Kyotos sophisticated patrons, including members of the imperial family. Judging from the surviving works, his supporters delighted in the colorful, auspicious imagery of Chinese historical figures, blossoming plum trees, cranes, peacocks, roosters, and especially tigers. Kishi Ganku was originally from the coastal town of Kanazawa, but relocated to Kyoto to work for the Arisugawa family. His work incorporates stylistic elements from the Kano school, the Maruyama school, and works by the Chinese artist Shen Nanping (1682-1760).

Portrait of a dignitarys wife. Zhou, An (fl. post 1644- ante 1911), painter

Hotei with Daoist Immortals: Immortal with Gourd and Dragon, late 1600s-early 1700s. Kyūseki Tomonobu (Japanese, 1653-1721). Triptych of hanging scrolls: ink on paper; painting only: 119.6 x 51 cm (47 1/16 x 20 1/16 in.); including mounting: 210.2 x 68.6 cm (82 3/4 x 27 in.).

Moonlit Landscape (one of a pair), late 1500s. Japan, Muromachi period (1392-1573). Six-panel folding screen, ink on paper; framed: 155 x 364.2 x 60.6 cm (61 x 143 3/8 x 23 7/8 in.). This unsigned and unsealed composition includes imagery from the Eight Views of the Xiao and Xiang Rivers. Scanning the composition from right to left, four of the Eight Views subjects appear: sunset glow over a fishing village, returning sails off a distant shore, autumn moon over Lake Donting, and evening bell from a mist-shrouded temple. Not all the elements of the traditional Eight Views theme are here, but the artist suggests its literary presence by leading the viewer through a summers journey from one day to the next, aided, like the travelers in the landscape, by the light of the moon.

Tsukioka Yoshitoshi (1839 - June 9, 1892), also named Taiso Yoshitoshi, was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras - the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many outstanding aspects of traditional Japanese culture, among them traditional woodblock printing.

Fukami Jikyu in moonlight; One hundred aspects of the moon; Tsuki hyakushi. Fukami Jikyu in black kimono with pattern of large chrysanthemums, walking between neerwurning blossom leaves, at full moon.

Courtly Odes, Beginning with "Wild Geese" 12th century Ma Hezhi Chinese In 1127 the Song northern capital was sacked by the Jurched Jin; Emperor Huizong and members of his family were carried off, only to die later in captivity. The emperors ninth son, who was proclaimed Emperor Gaozong (r. 1127-62), escaped and established the Southern Song court at Lin‘an (Hangzhou) in 1138.As emperor, Gaozong sponsored a number of painting and calligraphy projects that extolled the virtues and legitimacy of his “dynastic revival.” The largest of these undertakings was illustrating the more than three hundred poems of the Classic of Poetry, a work traditionally believed to have been compiled by Confucius (551-479 B.C.). Courtly Odes, Beginning with “Wild Geese,” from the Xiaoya section of the Classic, is part of this ambitious program.The text of each poem is written in Gaozongs regular-script style, probably by a scribe or consort. The accompanying illustrations are the work of Ma Hezhi, a court a

River Gorge with Waterfall. Artist: Attributed to Tani Buncho (Japanese, 1763-1840). Culture: Japan. Dimensions: Image: 35 13/16 × 8 1/2 in. (91 × 21.6 cm)Overall with mounting: 68 1/8 × 16 7/8 in. (173 × 42.9 cm)Overall with knobs: 68 1/8 × 18 3/4 in. (173 × 47.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

Stand with throw depicting hare., 1801 - 1900 ., Woodcuts., Color; surimono., Paper/Sheet 8 1/4 x 7 1/16 in. (21 x 17.9 cm)

Japan: 'Cypress Trees', eight panel screen, ink on paper overlayed with gold leaf, Tokyo National Museum, Kano Eitoku (1543-1590), c. 1590

Lovers. Suzuki Harunobu (Japan, circa 1725-1770). Japan, circa 1765. Prints; woodblocks. Color woodblock print

Kunisada, A, work, Actors Sawamura Tanosuke and Kataoka Gado in the play Kanadeho chusingura (Faithful vassals), 1858, colored woodblock print, graphics

The Yulin Caves are a Buddhist cave temple complex in Guazhou County, Gansu Province, China. The site is located some 100 km east of the oasis town of Dunhuang and the Mogao Caves. It takes its name from the eponymous elm trees lining the Yulin River, which flows through the site and separates the two cliffs from which the caves have been excavated. The forty-two caves house some 250 polychrome statues and 4,200 square metres of wall paintings, dating from the Tang Dynasty to the Yuan Dynasty (7th to 14th centuries). The site was among the first in China to be designated for protection in 1961 as a Major National Historical and Cultural Site. In 2008 the Yulin Grottoes were submitted for future inscription on the UNESCO World Heritage List as part of the Chinese Section of the Silk Road.

fine arts, Shnusen, Katsukawa, (1762 - after 1830), graphics, ""geisha with poem roll under tree"", circa 1800, woodcut, 35 cm x 21 cm, private collection,

The Pavilion of Prince Teng. Artist: Tang Di (Chinese, ca. 1287-1355). Culture: China. Dimensions: Image: 10 13/16 x 33 1/4 in. (27.5 x 84.5 cm)Overall with mounting: 11 1/8 x 310 11/16 in. (28.3 x 789.1 cm). Date: dated 1352.The Pavilion of Prince Teng demonstrates that Tang Di, a scholar and government official best known for his large-scale colored paintings on silk, was also capable of producing intimate, more informal ink drawings on paper. As he does in his monumental decorative style, Tang here follows the conservative brush idiom of the Northern Song master Guo Xi (ca. 1000-ca. 1090), though his relaxed calligraphic depiction of rocks, trees, and foliage reflects the early Yuan transformation of Song models by Tang Di's teacher, Zhao Mengfu (1254-1322). The pavilion, erected in the seventh century by the prince of Teng, is one of the most renowned buildings in Chinese history, thanks to the poet Wang Bo (649-676). It is situated near the confluence of the Gan and Yangzi Rivers

Artist: Katsushika Hokusai, Japanese, 1760-1849, Peonies and Butterfly, from an untitled series named LargeFlowers, ca.1833-34, Ukiyo-e; polychrome woodblock print, sheet: 10 1/4 × 15 1/4 in. (26 × 38.7cm), 葛飾北斎　芍薬と蝶　浮世絵錦絵　江戸時代 , Japan, Japanese, Edo period(1615-1868), Works on Paper -Prints

Tokyo, Akiyama Buemon, Japan, Yamamoto Shinji, Yoshitoshi, Tsukioka, Tsuki hyakushi, One Hundred Aspects of the Moon, Musashino no tsuki, Moon of Musashi, verso - stamped, Female fox, at full moon among tall grass of the Musasahi plain, looking at her reflection in the water., print, engraving, prints, engravings, Japan (collection), height 330 mm, width 242 mm, Japanese, 1839 - 1892, print maker, printmaker, 1891 - 1891, fourth quarter 19th century, paper, colour woodcut, block cutter, Publication (Event), Publication, publisher

Scholar and Attendant in Mountain Retreat. Artist: Unidentified Artist. Culture: China. Dimensions: 52 1/2 x 38 1/2 in. (133.4 x 97.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Japan: 'A Scene from the Kabuki Stage', Meiji Period woodblock triptych by Toyohara Chikanobu (1838-1912), 1884

Portrait of a Child (Anton Peschka, Jr.), 1916. Egon Schiele (Austrian, 1890-1918). Gouache, watercolor, and graphite; sheet: 49.9 x 32.2 cm (19 5/8 x 12 11/16 in.).

Wildlife Friends (Yasei no Tomo) Kawakami Ryoka (Japanese, 1887-1921). Wildlife Friends (Yasei no Tomo), ca. 1918. Ink, opaque watercolors and possibly lacquer on wove paper decorated with mica, 8 7/16 x 206 in. (21.4 x 523.2 cm). Asian Art ca. 1918

The Shihon choshoku yamai no soshi ('Diseases and Deformities', ) is a late Heian (12th century) hand scroll (emakimono) consisting of colour paintings on paper that has, at some time, been cut into ten separate sections. They are preserved in the Kyoto National Museum and are listed as a National Treasure of Japan.

Detail of a painting in Prince Rangsit's collection showing a performance of shadow theatre, Bangkok,Thailand

Beautiful asian girl in blooming garden. Illustration by chinese style. Beige, pastel colors. High quality illustration. Beautiful asian girl in blooming garden. Illustration by chinese style. Beige, pastel colors.

Kunisada, B, C, work, Actors Ichikawa Danjuro VIII, Arashi Kichisaburo and Onoe Baiko in the play Kanadeho chusingura (Faithful vassals), 1854, color woodblock print, graphics

Morning glory and bamboo (part of a set, F1904.379-381). Origin: Japan. Period: Edo period. Date: mid 17th-early 18th century. Hanging scroll, ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Painting of cranes in the Imperial Palace in Kyoto, Japan.

The Young Musician: Young girl in flowing dress playing pipes. Georges Antoine Rochegrosse (1859-1938) French painter.

Kunisada, work, Actors Ichikawa Danzo VI, Ichikawa Kuzo and Nakamura Fukusuke in the play Somewake Momiji no Edo-tsuma (The Edo woman in the color of the autumn), 1858, color woodcut: color woodblock print, graphics

Scene from a Chinese legend two boys and a large broken vase KITAGAWA, UTAMARO (1753 1806)

Huai Su in the Banana Grove. Artist: Gu Yun (1835-1896). Culture: China. Dimensions: 6 3/4 x 20 1/8 in. (17.1 x 51.1 cm). Date: dated 1869.Gu Yün was the leader of a group of painters working in Shanghai during the last quarter of the 19th century who called themselves "The Nine Friends" in imitation of Dong Qichang's (1555-1636) literati circle. the group included Wu Dacheng, Lu Hui, Ren Yü, Jin Lan and Ni Dian, all represented in this exhibition.In Gu's portrayal of Huai Su (737-), the Tang monk is seated in the banana grove he called "Green Sky Temple," practicing calligraphy on nature's affordable paper--the banana leaf. Flywhisk in hand and drowsy from effort and perhaps drink, he wipes moisture from his brow, giving the impression that he is preparing for a nap. This amusing and very human portrayal is typical of the 19th century populist artist's approach to venerable and traditional subjects. Museum: Metropolitan Museum of Art, New York, USA.

Japan, Uoya Eikichi, Hiroshige (I), Utagawa, Meisho Edo hyakkei, One Hundred Famous Views of Edo, Fukagawa Susaki Jumantsubo, The Jumantsubo Plain at Susaki near Fukagawa, An eagle flying over water and a vast snow-covered plain; mountains in the background; against a dark gray sky with snowflakes., print, prent, prints, Japan (collection), height 366 mm, width 243 mm, Japanese, 1797 - 1858, print maker, printmaker, 1857 - 1857, third quarter 19th century, paper, aluminum (metal), aluminum, nishiki-e, colour woodcut, color woodblock, Publication (Event), Publication, publisher

Xi Wangmu. Japan, 18th century. Prints; woodblocks. Page from a woodblock printed book

Tiger with its young, ink and colour on silk, Korea. Korean Civilisation, Joseon dynasty, 18th century.

Oak/Acorns. Hannah Borger Overbeck (United States, 1870-1931). United States, circa 1915. Drawings. Watercolor and ink on paper

Kunisada, B, C, work, Actors Ichikawa Danjuro VIII, Seki Sanjuro and Ichikawa Kodanji IV in the play Mimasu no Date-zome (The Great Actor's Cloak), dating : 1852-53, colored woodcut, graphics

Cranes, Pine Tree, and Lichen. Artist: Ren Yi (Ren Bonian) (Chinese, 1840-1896). Culture: China. Dimensions: Image: 57 3/4 x 14 3/4 in. (146.7 x 37.5 cm)Overall with mounting: 95 1/4 x 21 5/8 in. (241.9 x 54.9 cm)Overall with knobs: 95 1/4 x 23 3/4 in. (241.9 x 60.3 cm). Date: dated 1885.Ren Yi, the son of a rice merchant, was trained in a portrait shop. Ren developed a popular richly colored style for figures and for flower-and-bird and landscape paintings, becoming a leading artist in Shanghai by the 1870s, with a large circle of eminent friends and students, such as the literatus Wu Changshi (1844-1927).Cranes, fungus, and pine are emblems of long life, but the artistic ambition of this imposing picture, all angles and fitted parts, goes beyond that of the traditional auspicious birthday picture. The complex pictorial structure, formed by interlocking triangles, seems to draw on the relationship of figure and ground at the heart of seal carving, an art greatly appreciated in the nin

Japan, Utaba, Haikai, Mahare, Kyogetsutei, Hokusai, Katsushika, Umazukushi, A series with horses, Komageta, Horse slippers, verso - stamped, A still life of an Uzume mask, a kite with the image of a reclining horse, a half-opened gold-coloured fan, two wooden sandals and a wooden pestle with strips of paper. Uzume is the goddess of prosperity. The so-called 'horse slippers' (komageta) are made from one piece of wood and worn by maiko and geisha. With two poems., surimono, prints, images, Japan (collection), passe-partout, lower left - printed, height 209 mm, width 184 mm, 1760-10-12 - 1849-05-10, print maker, printmaker, 1822 - 1822, first quarter 19th century, paper, colour woodcut, blind stamping, Japanese, poet, 1753 - 1829

Wróble i glicynia. Katsushika, Taito II (act. c.1810-1853), graphic artist

Nakamura Nakazo I ca. 1780 Katsukawa Shunshō　川春章 Japanese. Nakamura Nakazo I 56952

A Woman and a butterfly. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Hanging scroll; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Artist: Wang Yun, Chinese, 1652-ca.1735, The Peach BlossomSpring, late 17th-early 18thcentury, Fan mounted as an album leaf: ink and color on paper, without mounting: 7 5/16 × 22 1/4 in. (18.5 × 56.5 cm), China, Chinese, Qing dynasty(1644-1911), Paintings

Everyday Scene, detail of the wallpaper from the Chinese Room, Stupinigi's Little Hunting Palace (UNESCO World Heritage List, 1997), by the architect Filippo Juvarra (1678-1736). Italy, 18th century.

Seventy-sixth Generation, Emperor Sutoku. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, circa 1880. Prints; woodblocks. Triptych; color woodblock prints

Flowers of Autumn, first half 17th century, Tawaraya Sōsetsu, Japanese, act. 17th cent., 123.9 x 49.8 cm (painting), Ink, color, and gold on paper, 17th century

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