Japanese Woodblock Prints

Vibrant woodblock prints featuring nature, calligraphy, and traditional characters, illustrating the beauty of Japanese art from the 19th century.

Haha to ko, Mother and child., Baitei, Kino, 1734-1810, artist, between 1750 and 1810?, 1 drawing on paper : ink and light colors ; 27.2 x 24.1 cm., A woman, holding an infant, and a young boy, both seated.

Camellia and Bullfinch, early 1830s, Utagawa Hiroshige, Japanese, 1797 - 1858, 14 3/8 × 6 3/8 in. (36.5 × 16.2 cm) (image, sheet, ōtanzaku)23 × 19 × 1 1/2 in. (58.42 × 48.26 × 3.81 cm) (outer frame), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Flowers of a Hundred Worlds (Momoyogusa), Vol. 1, 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Woodblock prints, ink, color, gold, and silver on paper; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This is the first of a set of three woodblock printed albums by Kamisaka Sekka, the artist considered the last major exponent of the Rinpa style of painting and design associated with the artists Tawaraya Statsu (died about 1640) and Ogata Krin (1658-1716). Momoyogusa, in addition to meaning "flowers of a hundred worlds," is a classical name for the chrysanthemum. It appears in a poem by Mimube no Tarukuni (dates unknown) written in 755 and contained in the first Japanese imperial poetry anthology, Collection of Ten Thousand Leaves (Man'ysh). In the poem, Tarukuni, who was posted in northern Kyushu as a guard at the time, asked a missed beloved in his home province to be well for a hundred nights, like the chrysanthemums growing in his parents' garden. Chrysanthemums are traditionally

Knight SUZUCHI HIDA NO KAMI SHIGEYUKI CREEPING AMONG REEDS, BOARD 28, from the Series: FREM TAIHEIKI HEROES NOVELS ABOUT TOUT TOIHEICE / TAIHEICE / TAIHEICE Utagawa, kuniyoshi (1797 1861)

Zen-kaliigie, iei, 1680 paper. ink calligraphy paper. ink calligraphy

Print of a Kabuki Dancer from the Maiden of the Dojoji Temple (Musume Dojoji). Artist: Utagawa Toyokuni I (Japanese, 1769-1825). Culture: Japan. Dimensions: 5 3/8 x 7 1/8 in. (13.7 x 18.1 cm). Date: ca. 1810s. Museum: Metropolitan Museum of Art, New York, USA.

Shrike and Chrysanthemums. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 7/8 x 5 in. (37.8 x 12.7 cm). Date: ca. 1830. Museum: Metropolitan Museum of Art, New York, USA.

Textile fragment. Textile fragment, print of a cottage with autumn leaves on blue green background.

Haha to ko, Mother and child., Baitei, Kino, 1734-1810, artist, between 1750 and 1810?, 1 drawing on paper : ink and light colors ; 27.2 x 24.1 cm., A woman, holding an infant, and a young boy, both seated.

Minamoto no Yoshiie Riding on a Horse (the God of Hachiman) , 17th century (). Woodblock print, 14 x 16 1/4 in. Asian Art 17th century ()

Ehon Mushi Erami. Date/Period: 1788. Woodblock prints on paper with mica and karazuri effects, string-bound. Width: 19.1 cm. Height: 27.3 x d1.9 cm (overall). Author: Kitagawa Utamaro.

Piece 18th-19th century Japan. Piece 65866

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

Shells under Water 1790 Kitagawa Utamaro Japanese. Shells under Water 37302

Ceremonial New Year's Stand, Hasegawa Settan, 1827 print Ceremonial New Year's box with round rice cakes (kagamimochi) on ferns and orange leaves, a crayfish on top. A haiku poem. The round shape of the rice cakes and the crayfish (which can roll up around) symbolize infinity. The green leaves depicted symbolize a long life. Made for the new year of the Zwijn. paper color woodcut crustaceans

The actor Nakamura Shikan II as Kisen Hōshi. Donation Gerhard Schack

Bamboo

Listening to the Wind in the Pines, 1400s. Ikkyū Sōjun (Japanese, 1394-1481). Hanging scroll; ink on paper; painting only: 76.8 x 32 cm (30 1/4 x 12 5/8 in.); including mounting: 153.7 x 38.1 cm (60 1/2 x 15 in.). A monk sits in contemplation below an overhang covered with pine. The poem, titled "Monk in the Mountains Listening to the Wind in the Pines," refers to two Chinese Chan (Zen) Buddhist monks active in the ninth century. It may be translated as follows: Why must the Zen of Rinzai (Linji Yixuan) and Tokusan (Deshan Xuanjian) reside in a single temple for thirty years Once he's solved his kan, (the monk) ends his practice and falls asleep in the quietness of the wind among the tall pines. (translated by Osvaldo Mercuri)According to an inscription following the poem, both painting and verse were done by an eminent Japanese Buddhist monk known for revitalizing the Kyoto temple Daitokuji.

Japan, Zeshin, Baitei, Yûshin, Ayaoka, Shell, A shell lies over a blossoming branch. With Japanese text., print, prent, surimono, prints, prenten, Japan (collection), height 190 mm, width 270 mm, Japanese, 1846 - 1910, print maker, prentenmaker, 1867 - 1867, third quarter 19th century, paper, colour woodcut

Ming herbal (painting): Tricosanthes

Six Immortals of Poetry: Ono no Komachi. Origin: Japan. Period: Edo period. Ink and color on paper. Date: ca. 1806-1808. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Birds and Flowers mid-16th century Traditionally attributed to Kano Motonobu These three paintings, a set that may have originally included a fourth, represent flowers, birds, and insects of the seasons. They also represent the early Kano-school approach to the flower-and-bird genre influenced in part by Chinese paintings. Apart from the floral subjects, landscape elements are kept to a minimum, with blank space as the primary background. The first depicts plum blossoms with bamboo and a billing pair of robins (spring), the second what appears to be hibiscus and lily with a jay() hovering overhead (summer), the third, plumed coxcomb keit, with a praying mantis, a cricket, and a dragonfly (autumn). Summer and autumn bear the red cauldron-shaped "Motonobu" seal—of which several versions exist—associated with Kano Motonobu, official painter to the Ashikaga shoguns. While impressed with the seal of the master, these works might have been painted by his son Shei (1519-1592).Motonobu, the

Jittoku. Sengai Gibon (Japan, 1751-1837). Japan, late 18th-19th century. Paintings; scrolls. Hanging scroll; ink on paper

Selection of frescos from Dunghuang - Series. Rong Bao Zhai (1672- ), publishing house

Picture Book of Crawling Creatures (The Insect Book) (Ehon mushi erami) probably 1823 (later edition) Kitagawa Utamaro Japanese Utamaro was a pupil of the Kanō school painter Toriyama Sekien (1712-1788). Each double-page illustration of insects and reptiles has a pair of kyōka"comic poems on the feelings of love"inspired by the images. Here, the kyōka involve an evening cicada and a spider:Evening cicada, is it you who steals the right moment to fly into another's arms?But you cry constantly like a poor soul living one day at a time.A spider returning to his nest reminds me Of a man furtively dragging his clothes and creeping up to a lady's boudoir.. Picture Book of Crawling Creatures (The Insect Book) (Ehon mushi erami). Kitagawa Utamaro (Japanese, ca. 1754-1806). Japan. probably 1823 (later edition). One from a set of two polychrome woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Toys, anonymous, c. 1800 - c. 1850 print Different types of toys, with multiple poems. paper color woodcut (playing with) toys

Fragment textiel, anonymous, 1751 - 1764 Textile fragment, embroidery and pressure, decoration on lilac dams background. Japan silk Textile fragment, embroidery and pressure, decoration on lilac dams background. Japan silk

Two Butterflies as Background for Poetry Roshû Kinoshita (Japanese, 1807-1879). , ca. 1860. Woodblock print; horizontal Chûban yoko-e format, 7 1/16 x 9 7/8 in. (17.9 x 25.1 cm). Asian Art ca. 1860

Poet Narihira Ason listens to a Koto game of a Hofdame, 1819 - 1820 print Poet Narihira Ason stands by a porch, where he listens to the Koto game (string instrument) of a Hoflame. From the complete series of three Surimonos with one of the 'three gentlemen of Japanese literature' in the presence of a lady. paper. pigment color woodcut listening to music

Tales of Ise. Japan, Genroku era (1688-1704). Books. Album, ink, color and gold on paper, brocade cover folio with painted illustrations

Tekkai the Rishi, 1801 - 1825, Woodcuts, Surimono

Water Chestnuts, first half of the 1900s. Qi Baishi (Chinese, 1864-1957). Album leaf, ink and color on paper; painting: 29 x 18.5 cm (11 7/16 x 7 5/16 in.); overall: 42.7 x 54 cm (16 13/16 x 21 1/4 in.).

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

The Antiquariaat; Dôguya; Famous products from Edo; Edo Meibutsu. Two scroll paintings on a presenter of red lacquer in chinese style. Both paintings have an identical montage with a pattern of ivy leaf. The partially rolled out painting shows a mountain landscape with waterfall. With two poems.

Mr class Woman, card from the book; around 1800-1850 (1801-00-00-1900-00-00);

Textile with the Character for Longevity (Shou) 17th century China The character for longevity (shou) is here flanked by beribboned swastikas (wan), each signifying ten thousand years. The shape of the textile suggests that it may have been part of a decorative canopy or valance.. Textile with the Character for Longevity (Shou) 60930

Plum Branch Before the Rising Sun Kôbun Yoshimura (Japanese, 1793-1863). , 1858 (Year of the Horse). Woodblock print; horizontal Chûban yoko-e format, 7 1/8 x 9 3/4 in. (18.1 x 24.8 cm). Asian Art 1858 (Year of the Horse)

Quatrain on fishermen. Artist: Attributed to Emperor Gaozong (Chinese, 1107-1187, r. 1127-1162) or; Emperor Xiaozong (Chinese, 1127-1194; r. 1163-89). Culture: China. Dimensions: 9 1/4 x 10 in. (23.5 x 25.4 cm). Date: 12th century.Following his abdication in 1162, Gaozong lived another twenty-five years in retirement with his wife, the empress Wu (1115-1197), devoting himself to scholarly and artistic pursuits. This poem, written in running script, may be a late work. The poem embellishes a round silk fan, a favored new format in Southern Song imperial art. By the late twelfth century, all silk fans were embellished with a painting on one side and a poem on the other, the image and the words complementing each other. The retired emperor often inscribed fans to bestow as gifts. The poems, when not original works by the emperor, were taken from anthologies of Tang or early Song poetry.This poem, describes the life of the fisherman-recluse:Small fishing boats are moored along the sandb

Courtesan with her Pet. Suzuki Harunobu ; Japanese, 1725 ()-1770. Date: 1764-1770. Dimensions: 21 x 4 7/8 in. Color woodblock print; hashira-e. Origin: Japan. Museum: The Chicago Art Institute, USA.

Design on Paper Japan. Paper .

Fuji Marsh in Yoshiwara (Fujinuma, Yoshiwara), section of sheet no. 4 from the series "Pictures of the Fifty-three Stations of the Tokaido (Tokaido gojusan tsugi zue)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1856. Dimensions: 14.5 x 11.6 cm (5 1/2 x 4 1/2 in.). Color woodblock print; section of harimaze sheet. Origin: Japan. Museum: The Chicago Art Institute, USA.

Amezaiku, Candy bubble., Kubo, Shunman, 1757-1820, artist, between 1810 and 1818, 1 print : woodcut, color ; 19.5 x 17.4 cm., Print shows an illustration of a bird on a stick with flowers and an unopened blossom.

Moveable rotating calendar mounted on elaborate wave-base with rabbit crest 1795, year of the rabbit Kubo Shunman Japanese This picture calendar (egoyomi) depicts a storyteller explaining a kontenki, a type of armillary sphere or astrolabe, which usually would have consisted of a spherical framework of rings showing celestial bodies. Here it has been cleverly replaced with moveable calendar.. Moveable rotating calendar mounted on elaborate wave-base with rabbit crest. Kubo Shunman (Japanese, 1757-1820). Japan. 1795, year of the rabbit. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Two Women Seated in a Parlor After Okumura Masanobu Japanese. Two Women Seated in a Parlor 57146

(Two Waka Tanzaku), late 16th - early 17th century, Konoe Nobutada, Japanese, 1565 - 1614, 23 1/2 × 11 3/4 in. (59.69 × 29.85 cm) (image), Hanging scroll; ink on paper, Japan, Cursive script (sōsho)

THE CALLIGRAPHY LESSON, Katsushika Hokusai, 1803 print A woman teaches a young girl in calligraphy. With one poem. paper color woodcut calligraphy

Bamboo Shoots ca. 1880s Shibata Zeshin Japanese The lacquer artist and painter Shibata Zeshin rendered plump bamboo shoots and a single branch of leaves not in traditional ink and mineral pigments but in lacquer (urushi) on paper, using a technique of his own invention.. Bamboo Shoots. Shibata Zeshin (Japanese, 1807-1891). Japan. ca. 1880s. Album leaf; lacquer on paper. Meiji period (1868-1912). Paintings

Design for the painting of a plate, anonymous, c. 1875 - c. 1885 draughtsman: FranceBordeaux paper. gouache (paint). gold (metal) brush dish, plate, saucer. ornament derived from plant forms

Leaving the Calf Behind. ink on paper. Origin: China. Period: Ming dynasty. Date: 16th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Piece 19th century Japan. Piece 71943

Copy of a Portrait of Zhao Mengfu 19th century Unidentified artist. Copy of a Portrait of Zhao Mengfu. Unidentified artist. China. 19th century. Hanging scroll; ink and color on silk. Qing dynasty (1644-1911). Paintings

Schildering.Painting, one of the ni-o, surrounded by wind-waving ribbons. The right hand to fist and raised over the head.

Inro Partly in a Green Bag with Pattern of White Foxes. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 7 7/8 x 10 3/4 in. (20 x 27.3 cm). Date: 1862 (Dog Year). Museum: Metropolitan Museum of Art, New York, USA.

Mars's planet's deity; 19th century (1801-00-00-1900-00-00);Jabłoński, Witold (1901-1957) - collection, Chinese (culture), gift (provenance), Chinese art

Rotstuin, Anonymous, 1850 - 1860 print Three haiku poems (poem in 17 syllables), on a stylized background of three rocks in a zen garden. Kyoto paper. color woodcut rocks

Poems on One Hundred Ghost Stories 1853 Masazumi Ryusai Japanese. Poems on One Hundred Ghost Stories. Masazumi Ryusai (Japanese, active 19th century). Japan. 1853. Polychrome woodblock printed book; ink and color on paper. Edo period (1615-1868). Illustrated Books

Tiger and Bamboo. Date/Period: 1820 - 1843. Painting. Ink on silk Ink on silk. Height: 2,019.30 mm (79.50 in); Width: 520.70 mm (20.50 in). Author: Takaku Aigai.

Textile fragment. Textile fragment, silver decoration of bamboo and sailing on pink silk fond.

Swallow and Camellia ca. 1900 It Jakuch Japanese. Swallow and Camellia. It Jakuch (Japanese, 1716-1800). Japan. ca. 1900. Woodblock print; ink and color on paper. Meiji period (1868-1912). Prints

Suwu De Herder, Kawanabe Kyôsai (Attributed to), 1850 - 1890 print The Chinese courtier Suwu, abducted to the far north, as a shepherd sitting on a rock with a ram next to him; At the top left a flying bird with a note written by Suwu on the leg in which he says he is still alive. Leaf from a Japanese book. Japan paper herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.

Sutra Cover Made 1590-1599 China. Silk, satin weave with patterning wefts; wrapped over cardboard; applied label of silk, plain weave; with inscribed title painted and/or printed with ink .

The Two Brave Men Inuzuka Shino and Inugai Genpachi Battling on the Roof of Horyukaku (Horyukaku ryoyu tsutomu) 1887 Japan. Color woodblock prints; oban diptych . Tsukioka Yoshitoshi

Scholars Rock. Artist: Zhao Zhichen, Chinese, 1781-1852

Sutra Cover. China. Date: 1590-1599. Dimensions: 33.8 × 11.6 cm (13 1/4 × 5/8 in.)Warp repeat: 22.2 cm (8 3/4 in.). Silk and gold-leaf-over-lacquered-paper strips, warp-float faced 4:1 satin weave with supplementary patterning wefts bound in weft-float faced 1:4 satin interlacings; label: paper printed with ink. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Yanagiya at Nihonbashi famous for Rouge and Powder from the series Famous Products fromEdo. Artist: Totoya Hokkei, Japanese, 1780-1850

Daruma Facing a Cave Wall while Meditating. Tōrei Enji (Japan, 1721-1792). 18th century. Paintings; scrolls. Hanging scroll; ink on paper

Landscapes and Calligraphy dated 1736 Gao Fenghan Chinese Passing the local-level civil-service examination in 1727, Gao Fenghan served as a petty bureaucrat in Anhui Province for about a decade. Then, in 1737, Gao not only lost his government position but his right hand suddenly became paralyzed from acute rheumatism. Painfully training himself to write and paint with his left hand, he came to prize the crude awkwardness of his left-handed brushworka quality he had been unable to attain with his right hand. Supporting himself through his painting, he moved to a Buddhist monastery in Yangzhou, where he became close friends with the eclectic group of artists known as the Eight Eccentrics of Yangzhou. In 1741 he left Yangzhou and retired to his hometown in Shandong Province.This small album, dated 1736, was done one year before Gao lost the use of his right hand. It shows the artist already working in a highly individualistic, naive style that reflects, in part, his lack of contact with

Illustrated book Japan 1893 View more. Illustrated book. Japan. 1893. Ink on paper. Meiji period (1868-1912). Illustrated Books

Piece 17th century Japan. Piece 71128

Grapes, 1615-1868. Japan, Edo period (1615-1868). Hanging scroll; ink on paper; painting only: 101.3 x 33 cm (39 7/8 x 13 in.); overall: 183.8 x 49.9 cm (72 3/8 x 19 5/8 in.).

Fishing Boat on Reed Covered Bank and Calligraphy. Artist: Ike Taiga (Japanese, 1723-1776). Calligrapher: Kameda Bosai (Japanese, 1752-1826). Culture: Japan. Dimensions: Image (a): 8 7/8 × 14 3/4 in. (22.6 × 37.5 cm)Overall with mounting (a): 39 3/8 × 19 1/2 in. (100 × 49.5 cm)Overall with knobs (a): 39 3/8 × 21 1/2 in. (100 × 54.6 cm)Image (b): 9 3/16 × 14 1/2 in. (23.4 × 36.9 cm)Overall with mounting (b): 39 3/8 × 19 9/16 in. (100 × 49.7 cm)Overall with knobs (b): 39 3/8 × 21 7/8 in. (100 × 55.5 cm). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Fukujuso tosa nikki shiori, Fukujuso (Adonis plant): Tosa diary bookmark., Totoya, Hokkei, 1780-1850, artist, between 1830 and 1835, 1 print : woodcut, color ; 19.8 x 18.2 cm., Print shows diary and potted plant.

Branch with Cherry Flowers, Writing Box and Sheet of Paper for Poem Writing (Tanzaku). Artist: Unidentified Artist Japanese, 18th-19th century. Culture: Japan. Dimensions: 8 3/16 x 7 5/16 in. (20.8 x 18.6 cm). Museum: Metropolitan Museum of Art, New York, USA.

The Painting Manual of Flock of Butterflies (Guncho Gafu). Artist: Kubo Shunman, Japanese, 1757-1820

Lohans, c. 1300-1350. Sino-Tibetan, Yuan dynasty (1271-1368). Color and gold on cotton; overall: 72 x 34 cm (28 3/8 x 13 3/8 in.).

Increases of a man, Anonymous, 1630 - 1649 drawing With letters that indicate the different parts. In the top left numbered: Fig 2. Lib. 5. Low Countries prepared paper. ink pen / brush intestines

Portrait of an Aged Courtier 1601-1700 India. Opaque watercolor and gold on paper . Mughal

Crane and waves. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1834. Dimensions: 37.8 x 17.3 cm (14 3/4 x 6 3/4 in.). Color woodblock print; otanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Sutra Cover with Pattern of Coiled Dragon Roundels and Auspicious Motifs 16th century China Sutra cover with repeating pattern of coiled dragon roundels and small auspicious motifs on a dense background of scrollwork; gold metallic thread on a red background. Plain-weave silk with supplementary-weft patterning in metallic thread.. Sutra Cover with Pattern of Coiled Dragon Roundels and Auspicious Motifs. China. 16th century. Silk and metallic thread. Ming dynasty (1368-1644). Textiles-Woven

Sutra Cover. China. Date: 1590-1599. Dimensions: 33 × 11.8 cm (13 × 4 5/8 in.)Repeat: 23.7 × 10.8 cm (9 5/8 × 4 1/2 in.). Silk and gold-leaf-over-lacquered paper, plain weave with patterning wefts; wrapped over cardboard and backed with paper; applied label of silk, plain weave; with inscribed title painted and/or printed with ink. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Five representations of the Hero Bushō. Donation Gerhard Schack

Wren on Chrysanthemum, c. 1835, Utagawa Hiroshige; Publisher: Kawaguchiya Shōzō, Japanese, 1797 - 1858, 15 × 5 1/8 in. (38.1 × 13 cm) (sheet, chūtanzaku), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Fuji no hachiue, Potted wisteria., Ikeda, Eisen, 1790-1848, artist, between 1818 and 1844, 1 print : woodcut, color ; 22 x 17 cm., Print shows two flower pots, one with wisteria and the other is a small flower with pink blossoms.

Sutra Cover. China. Date: 1590-1599. Dimensions: 34 × 11.7 cm (13 3/8 × 4 5/8 in.)Repeat: 25 × 11 cm (9 7/8 × 4 3/8 in.). Silk, gold-leaf-over-lacquered-paper strips, plain weave with patterning wefts; wrapped over cardboard; applied label of paper, with inscribed title painted and/or printed with ink. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Fragment textiel, anonymous, 1801 - 1804 Textile fragment, embroidery of happiness symbols on blue damask stock. Japan silk Textile fragment, embroidery of happiness symbols on blue damask stock. Japan silk

New Year Picture of Robed General (paired with CP368, right) early 20th century Unidentified. New Year Picture of Robed General (paired with CP368, right). Unidentified artist(s), Chinese, early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Eguchi no Kimi. Artist: Katsukawa Shuntei (Japanese, 1770-1820). Culture: Japan. Dimensions: Image: 50 9/16 × 23 7/16 in. (128.4 × 59.6 cm)Overall with mounting: 82 7/8 × 28 1/16 in. (210.5 × 71.3 cm)Overall with knobs: 82 7/8 × 30 5/8 in. (210.5 × 77.8 cm). Date: late 18th-early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Calligraphy. Artist: Yuan Zhi (Chinese, 1502-1547). Culture: China. Dimensions: 7 3/8 x 21 in. (18.7 x 53.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

'Donator'. China, 10th century. Dimensions: 72,5x24,5 cm. Museum: State Hermitage, St. Petersburg.

IDE No Tamagawa, from the series: The six jewel rivers. .

Miscellaneous Studies. Artist: Chen Hongshou (Chinese, 1598-1652). Culture: China. Dimensions: Image (each leaf): 7 x 7 in. (17.8 x 17.8 cm). Date: one leaf dated 1619.This album plays on the theme of reality versus illusion. The moon is reflected in a basin of water, a flower is next to its image in a mirror, and a butterfly is attracted to chrysanthemums painted on a silk fan. Chen emphasized the multiple levels of his artifice on this album leaf by incorporating his signature within the composition of the fan painting and by screening one wing of the butterfly with the fan, forcing us to view the insect through the painting as well as through the medium of painting. Other artful manipulations are represented by a miniature potted garden, or penzai (bonsai, in Japanese), which shows how man can transform nature, and by a twig with worm-eaten leaves, which underscores how nature constantly transforms itself.There is no precedent for these symbolic still-life subjects in scholar painti

Japan, Uroko, Sanjûroku, Wrapped tea pot, On the right a piece of cloth printed with floral motifs, held together by a black cord, with a teapot in it. Next to it two cherries. With one poem. The design is printed on crepe paper. The chrysanthemums and paulownia on the fabric pattern are imperial emblems., print, surimono, prints, Japan (collection), height 133 mm, width 196 mm, print maker, printmaker, 1820 - 1820, first quarter 19th century, crepe paper, colour woodcut, Japanese, poet

Crewel Bed Hanging. Dated: c. 1938. Dimensions: overall: 30.5 x 74.4 cm (12 x 29 5/16 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Helen E. Gilman.

Hazy Mooring, mid 19th century, Kameda Ryōrai, Japanese, 1778 - 1853, 10 × 13 5/8 in. (25.4 × 34.61 cm) (image)38 × 17 1/4 in. (96.52 × 43.82 cm) (mount, without roller ), Ink on paper, Japan, 19th century, Kamedas cursive calligraphy brings forth a vivid scene of a ship mooring in haze as slender and continuous lines meander through the paper. Kameda completes each character in just two strokes without frequently dipping his brush into the ink stone. This approach led to a certain scratchiness toward the end of each stroke as the brush ran out of ink, an effect known in calligraphy as 'flying white.' Kamedas four-character signature on the left-hand side follows the same mode of dexterous brushwork, and its vertical positioning complements the horizonal arrangement of the subject.

Panel with Longevity (Shou) Characters 19th century China Writing the character for longevity (shou) in one hundred different forms has a long tradition in China. The earliest example, a stone carving dated 1229, still survives in Guangxi Province, and highly stylized examples are found in all media from later dynasties. Here, the character shou is reproduced in ten different forms, and the purported source for each form is given above in smaller characters. These panels may have once been part of a set of ten hangings with one hundred such characters. Although the gold thread has abraded, its not hard to imagine how marvelous and luminous this work would have been when it was displayed within the original set at a luxurious birthday celebration.. Panel with Longevity (Shou) Characters 69732

Chinese representation, sheet from the episode "Picturae Sinicae". Chinese representation with Chinese characters in octagonal frame, sheet 7 from the episode "Picturae Sinicae AC Surattae, Vasis Tabellisque Exhibitae, Admiranda; Colligent Petro Schenkio Cum Privil. Amstelaed: 1702.

De Kussen Schelp, Katsushika Hokusai, 1821 A still life with a wooden pillow with softer material on top. In the slid, a cup with sand, used to burn incense. Under the wooden pillow a print with the image of the ship full of treasures, with which the seven lucky gods enter the harbor on New Year's Day. In the foreground a round box. Placing an image of the ship full of treasures under the pillow would provide a dream about the lucky symbols at the start of the new year: the mountain Fuji, a falcon and aubergines; The most fortunate dream possible. These lucky symbols are also hidden in the Surimono itself: the pillow depicts the Fuji, with the white pillow as snowy top; Fuji, a falcon and two aubergines are depicted on the label of the round box, which contains pickled pieces of Aubegines. With two poems. Japan paper color woodcut pillow

Requirements for the tea ceremony, Shûraku, c. 1800 - c. 1805 print A ceramic tea mum with bamboo spoon and packed tea bus. With poem by Kôbuntei Umeyasu about tea house from the famous tea master Rikyu. Japan paper color woodcut cup of tea

Sketch of a Plant Seller. Teisai Hokuba (Japan, 1771-1844). Japan, circa 1840. Drawings. Ink drawing from an album; ink on paper

Japan, Katei, Taki, Butterfly on flower, endpaper - stamped, Octogonal print in album with 39 prints., album page, print, prints, Japan (collection), height 223 mm, width 287 mm, 1830 - 1901, print maker, printmaker, 1880 - 1890, fourth quarter 19th century, paper, colour woodcut

Rank Badge China The bird shown on this badge is a crane, corresponding to the highest rank of civil official. The badge is woven in a fine silk tapestry weave (kesi) with some details, especially outlines, in metallic thread. The sun, at the upper right, was a Qing-dynasty innovation not found on Ming badges.. Rank Badge. China. Silk and metallic thread tapestry (kesi). Qing dynasty (1644-1911), Kangxi period (1662-1722). Textiles-Tapestries

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