Traditional Asian Landscape Paintings

Elegant ink paintings featuring bamboo, landscapes, and flora from China and Japan, showcasing cultural aesthetics and natural beauty with delicate strokes.

Chinese Scholars in Mountain Landscape, mid 19th century, Suzuki Gako, Japanese, 1816 - 1870, 10 3/16 × 8 3/8 in. (25.88 × 21.27 cm) (image)38 7/16 × 13 1/2 in. (97.63 × 34.29 cm) (mount, without roller), Ink and light colors on silk, Japan, 19th century

Anonymous, bamboo (title awarded). Ink on paper. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Sixteen Flowers. Date/Period: 16th century; Ming Dynasty (1368-1644). Painting. Ink on paper; mounted as a hanging scroll Ink on paper; mounted as a hanging scroll. Height: 3,329.94 mm (10.92 ft); Width: 991.87 mm (39.05 in). Author: Chinese Xu Wei.

Album of 12 Landscapes Album of 12 Landscapes, 18th century. Ink and light color on silk, Image: 12 1/8 x 9 in. (30.8 x 22.9 cm). Asian Art 18th century

Landscape with Figure. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm). Date: ca. 1678. Museum: Metropolitan Museum of Art, New York, USA.

Harbor Scene Near Kamakura 1797 Kubo Shunman Japanese. Harbor Scene Near Kamakura. Kubo Shunman (Japanese, 1757-1820). Japan. 1797. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Chinese Scholars in Mountain Landscape, mid 19th century, Suzuki Gako, Japanese, 1816 - 1870, 10 3/16 × 8 3/8 in. (25.88 × 21.27 cm) (image)38 7/16 × 13 1/2 in. (97.63 × 34.29 cm) (mount, without roller), Ink and light colors on silk, Japan, 19th century

Fantastic Rocks with Cascading Waterfall; Fishing Boats by a Lake Hamlet. Artist: Aiseki (Japanese, active first half of the 19th century). Culture: Japan. Dimensions: Image (a): 51 3/4 × 17 15/16 in. (131.5 × 45.5 cm)Overall with mounting (a): 81 1/2 × 22 15/16 in. (207 × 58.2 cm)Overall with knobs (a): 81 1/2 × 25 1/16 in. (207 × 63.6 cm)Image (b): 51 13/16 × 17 7/8 in. (131.6 × 45.4 cm)Overall with mounting (b): 81 1/2 × 22 15/16 in. (207 × 58.2 cm)Overall with knobs (b): 81 1/2 × 25 1/16 in. (207 × 63.7 cm). Date: first half of the 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Reverberations of Taiga, Volume 2 (leaf 16), 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.

Splashed-Ink Landscape. Artist: Bokusho Shusho (Japanese, active late 15th-early 16th century). Culture: Japan. Dimensions: Image: 31 1/2 × 13 3/8 in. (80 × 33.9 cm)Overall with mounting: 59 13/16 × 14 3/16 in. (152 × 36 cm)Overall with knobs: 59 13/16 × 16 1/16 in. (152 × 40.8 cm). Date: early 16th century.This evocative painting by Bokusho is a variation on a celebrated landscape in the haboku (splashed-ink) technique by the great master Sesshu Toyo (1420-1506), which is now in the Tokyo National Museum. The technique, in which dark ink is applied rapidly over still-wet, light washes to create a soft, diffused effect, with neither well-defined contour lines nor explicit details, evokes an intuitive and contemplative mindset associated with Zen Buddhist spiritual practice. The artist Bokusho, a high-ranking Rinzai Zen monk, also achieved renown in literary circles in Kyoto and later moved to western Honshu, where he befriended the famed ink painter Sesshu.The abbreviated, mist-lad

Hall of Harmony and Joy 17th century Unidentified artist. Hall of Harmony and Joy. Unidentified artist. China. 17th century. Handscroll; ink and color on paper. late Ming (1368-1644)-early Qing (1644-1911) dynasty. Paintings

Reverberations of Taiga, Volume 1 (leaf 4), 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.

Travelers among Streams and Mountains. Artist: Wu Li (Chinese, 1632-1718). Culture: China. Dimensions: Image: 23 1/4 x 10 5/8 in. (59.1 x 27 cm)Overall with mounting: 73 1/2 x 18 in. (186.7 x 45.7 cm)Overall with knobs: 73 1/2 x 21 1/4 in. (186.7 x 54 cm). Date: probably 1670s.Wu Li, one of the six great Orthodox School masters of the early Qing, began his study of ancient paintings with an album owned by the venerable Orthodox painter Wang Shimin (1592-1680). The album, entitled Within Small See Large (Xiaozhong xianda), contained reduced copies of Song and Yuan masterpieces owned by Wang.In Travelers among Streams and Mountains, probably made in the 1670s, Wu Li carefully copies the album leaf that preserves a composition by the late Yuan master Wang Meng (ca. 1308-1385). Wu's interpretation gives the work new life, however, through the vigor and spontaneity of his execution. Responding and adjusting to each newly realized brushstroke in a constant interaction between brush, ink,

Landscapes dated 1688 After Zheng Min Chinese. Landscapes. After Zheng Min (Chinese, 1633-1683). China. dated 1688. Album of ten paintings; ink on paper. Qing dynasty (1644-1911). Paintings

Artist: Ike no Taiga, Japanese, 1723-1776, Mount Fuji, overlooking from Tago no UraBay, ca.1760s, Hanging scroll: ink and light color on paper, ivory rollers, without mounting: 50 × 22 1/16 in. (127 × 56 cm), Japan, Japanese, Edo period(1615-1868), Paintings

Reverberations of Taiga, Volume 1 (leaf 28), 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.

Bamboo and Poem, 19th century, Ōtagaki Rengetsu, Japanese, 1791 - 1875, 34 7/8 × 19 1/2 in. (88.58 × 49.53 cm) (image)64 3/4 × 22 1/4 in. (164.47 × 56.52 cm) (mount, without roller), Ink on silk, Japan, 19th century

Landscape, Cheng Men, 1850 - 1900 Album magazine with a landscape. Signed by Cheng Men, known as porcelain painter in Jingdezhen. Shexian ink. paper Album magazine with a landscape. Signed by Cheng Men, known as porcelain painter in Jingdezhen. Shexian ink. paper

Harbor Scene Near Kamakura. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: Image: 4 1/4 x 7 3/8 in. (10.8 x 18.7 cm). Date: 1797. Museum: Metropolitan Museum of Art, New York, USA.

Landscape. Artist: Kushiro Unsen (Japanese, 1759-1811). Culture: Japan. Dimensions: Image: 58 7/16 x 13 1/4 in. (148.4 x 33.7 cm)Overall: 82 1/2 x 20 3/4in. (209.6 x 52.7cm). Date: 18th-19th century.Unzen, a Nanga artist, trained in Nagasaki with Chinese painters who were passing through the port city. Known as an eccentric and solitary figure, he traveled widely in pursuit of artistic influences and was purportedly fond of drink. In this sketchy autumn landscape, a single figure boats up a river overlooked by half-hidden mountain cottages. Museum: Metropolitan Museum of Art, New York, USA.

Monkey Hanging from Grapevines ca. 1887 Kawanabe Kyōsai Japanese. Monkey Hanging from Grapevines 54634

Flight of Geese. Artist Unknown; China. Date: 1279-1368. Dimensions: 64.8 × 38.1 cm (25 1/2 × 15 in.). Hanging scroll; ink and colors on silk. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

A Page from the Jie Zi Yuan Original painted by Li Cheng Chinese. A Page from the Jie Zi Yuan 63216

Landscape: a mountain brook, a pine, bamboo and blue-jays. Origin: China. Date: 1368-1644. Period: Ming dynasty. Color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Chinese Lions and Peonies 1767-1777 Japan. Color woodblock print; chuban . Isoda Koryusai

Proof Line-Block Print for Fan 19th century Utagawa (Gountei) Sadahide Japanese. Proof Line-Block Print for Fan 73638

Landscape with Figure. Artist: Xie Shichen (Chinese, 1487-ca. 1567). Culture: China. Dimensions: 7 x 19 3/4 in. (17.8 x 50.2 cm). Museum: Metropolitan Museum of Art, New York, USA.

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

The Peach Blossom Spring, 1650. Liu Du (Chinese, active c. 1628-after 1653). Hanging scroll, ink and light color on satin; painting: 135.8 x 52 cm (53 7/16 x 20 1/2 in.); overall with knobs: 241.5 x 79 cm (95 1/16 x 31 1/8 in.).

Bo Ya Plays the Qin as Zhong Ziqi Listens 1530s Circle of Kano Motonobu The Liezi, a fourth-century Daoist text, records the story of Bo Ya and Zhong Ziqi, scholars renowned for their devotion to each other. Bo Ya, an accomplished player of the qin, a type of zither, would frequently play for his friend Zhong, himself a musician who truly appreciated his friends music. When Zhong died, however, the bereaved Bo Ya deliberately broke his instrument, never to play again. Likely once part of a set of sliding-door panels (fusuma), this painting depicts Bo Ya and Zhong Ziqi taking shelter from a storm beneath a cliff, where Bo Ya plays his qin to pass the time. The work bears no seal or signature but exemplifies the formal landscape style of the early Kano school and was traditionally attributed to the schools founder, Motonobu. Discrepancies with Motonobus accepted style, however, suggest that the artist was active in Motonobus circle, probably during the 1530s.. Bo Ya Plays the Qin as

Reverberations of Taiga, Volume 1 (leaf 15), 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.

A Page from the Jie Zi Yuan Original painted by Li Liufang Chinese. A Page from the Jie Zi Yuan 63337

Reverberations of Taiga, Volume 1 (leaf 34), 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.

Pine Tree and Calligraphy late 18th-early 19th century Ike Taiga These works are part of a set of nine hanging scrolls and an album that includes four paintings by Ike Taiga along with thirteen colophons and poems. Taiga originally made the four paintings as small sliding-door panels (kobusuma). Some time after Taigas death, the four panels were removed from their frames and mounted as leaves of an album. In the album, also displayed here, the paintings were paired with poems brushed by several well-known calligraphers, including Minagawa Kien (1734-1807), Kameda Bōsai (1752-1826), and nine others. In the mid-twentieth century, Taigas four paintings and five of the colophons were removed from the album and remounted as hanging scrolls. Mrs. Burke later acquired all nine scrolls and the album from multiple sources over the course of several years.. Pine Tree and Calligraphy 53455

Panel (Furnishing Fabric) Made 1875-1900 China. K'o asu, two female figures, framed. .

Scholar Approaching Secluded Pavilion. Origin: China. Period: Ming dynasty. Date: 15th-16th century. Hanging scroll; ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Red and White Peach Blossoms, Preparatory Sketch 1843 Tsubaki Chinzan Japanese This pair of scrolls (with 1975.268.115) provides a unique insight into the studio process of a painter working in the later phase of the Nanga tradition. The scroll on the right is a shita-e, or preparatory sketch, for the completed work on the left. Tsubaki Chinzan constructed the composition using a collage method: the branches on the upper left, for example, appear to have been painted on a separate sheet, which the artist then pasted into the preliminary version. Chinzan then copied this composition onto the final scroll, using lighter brushstrokes and deleting all pentimenti. Unfortunately, Chinzan lost some of the verve of the studys spiky draftsmanship when he made the transfer to the final work.. Red and White Peach Blossoms, Preparatory Sketch 49008

Monkey Reaching for the Moon's Reflection, 1824 print A monkey hangs with an arm on a branch of a pine and tries to grab the reflection of the moon. The performance is shown as if it is a standing space screen (tsuitate). Such a screen was usually placed directly behind the door of a house, to keep evil spirits out, because of the belief that they could only move in straight lines. With three poems. paper color woodcut monkeys, apes

Leaf from the Mustard Seed Garden Manual of Painting (Jieziyuan huazhuan) probably 1878 edition Wang Gai In 1679, the playwright, author, and garden designer Li Yu published a primer for amateur painters called the Mustard Seed Garden Manual of Painting. The manuals images and texts impart a sense of famous masters styles and how to reproduce them. The designs for the prints were prepared by Wang Gai, as he had the versatility required to paint in a range of manners. The manual was extremely successful and became the most widely used book of its type not only in China, but in Japan and Korea as well. Today, many painters still use it as a starting point.. Leaf from the Mustard Seed Garden Manual of Painting (Jieziyuan huazhuan) 63201

Landscape with Fisherman Outside a Cave, late 18th century, Kuwayama Gyokushū, Japanese, 1746 - 1799, 50 1/8 × 19 7/8 in. (127.32 × 50.5 cm) (image)76 1/8 × 26 3/8 in. (193.36 × 66.99 cm) (mount, without roller), Ink and light color on paper, Japan, 18th century

Playing the zither for a crane mid-16th century Unidentified artist In a landscape of his own design, a man plays music for his pet crane beneath a massive paulownia tree. Within this tightly curated microcosm, the fantastic rocks stand in for mountain ranges, the man-made pond for an ocean, and the foliage for dense forests, creating a safe and placid representation of nature for the enjoyment of a privileged elite.. Playing the zither for a crane 48896

Landscape with Rocky Precipice. Artist: Sesson Shukei (ca. 1504-ca. 1589). Culture: Japan. Dimensions: Image: 11 7/8 × 18 3/8 in. (30.2 × 46.7 cm)Overall with mounting: 44 in. × 22 5/8 in. (111.8 × 57.4 cm)Overall with knobs: 44 × 24 1/2 in. (111.8 × 62.3 cm). Date: 16th century.Fluid brushwork and rhythmically repeating forms characterize this imaginary Chinese landscape of mountains, a river bridged by a narrow strip of land, and lively human activity. A cluster of buildings clings to sharply rising cliffs, a forest behind them is shrouded in mist. Passenger boats glide by, travelers--one on a donkey, the others on foot--proceed from the foreground to the steep mountain path. Sesson, one of the great masters of sixteenth-century ink painting, produced varied tones of ink from rich black to pale grey which combine with diagonal brushstrokes to create the texture of rocks and crags and emphasize the peculiar concave shapes at the base of the cliffs.The painting bears the artist's signa

Cranes, Peach Tree, and Chinese Roses early 18th century After Shen Quan Chinese Because of their association with immortals, both cranes and peaches are symbolic of longevity. The crane is often shown carrying an immortal on its back, and mythical peaches of immortality grow in the orchard of Xiwangmu, the queen mother of the West. The cranes and peaches thus evoke an isle of the immortalsperhaps Penglai (Japanese: H?rai), an auspicious paradise frequently depicted throughout East Asia. In 1731 the Chinese artist Shen Nanpin went to Nagasaki to teach Japanese students the traditional Chinese style of realistic painting, resulting in the establishment of the Nagasaki school. Even after Nanpin returned to China, many works in his style continued to be imported into Japan, influencing painting styles there into the late Edo period.. Cranes, Peach Tree, and Chinese Roses. After Shen Quan (Chinese, 1682-after 1762). China. early 18th century. Hanging scroll; ink and color on silk. Qing dy

Landscape, c. 1700-1751. Gion Nankai (Japanese, 1677-1751). Hanging scroll; ink and color on paper; overall: 74 cm (29 1/8 in.); painting only: 119.7 x 66.1 cm (47 1/8 x 26 in.); including mounting: 190.5 x 68 cm (75 x 26 3/4 in.).

Hotei in aBoat. Artist, attributed to: Hakuin Ekaku, Japanese, 1685-1768

Landscape with great pine. Artist: Ma Lin (Chinese, ca. 1180- after 1256). Culture: China. Dimensions: 9 15/16 x 10 1/4 in. (25.2 x 26 cm). Date: second quarter of the 13th century.The reductionist transformation from Northern Song monumental landscapes to symbolic images of single rocks and trees is complete with the work of Ma Lin. Ma's painting turns away from the realism of earlier Song Imperial Painting Academy works in favor of a new abstraction. In the absence of an accompanying poem, the meaning of this complex scene remains unclear. The Daoist-inspired imagery seems to hold out the promise of transcendence or escape. Outdoor altars are places of worship and meditation, cranes are known as the vehicles and companions of Daoist immortals, the evergreen pine is an emblem of longevity, and the full moon recalls the palace of the moon goddess, Chang E, whose hare prepares the elixir of immortality. Yet the immortals have not come, and the moon is far away. The figure is anchored t

Mandarin ducks and cotton rose hibiscus. Artist: Lü Ji (Chinese, active late 15th century). Culture: China. Dimensions: Image: 68 x 39 in. (172.7 x 99.1 cm)Overall with mounting: 116 1/4 x 40 1/4 in. (295.3 x 102.2 cm)Overall with knobs: 116 1/4 x 44 1/2 in. (295.3 x 113 cm).Lü Ji, a professional painter from Zhejiang Province, worked in the Southern Song (1127-1279) ink-wash style, which had remained popular in that region through the intervening centuries. He was summoned to be a court painter in the Hongzhi period (1488-1505) and was given an honorary title as an officer in the Imperial Guard.The artist's paintings, done in a dashing, descriptive style highly regarded at court, were derided by Shen Zhou (1427-1509), the leading scholar-painter of the time, as being merely works "of the hand"; Shen considered his own calligraphic drawings to be products "of the heart." he contrast between the "hand" and the "heart" points up the presumed difference between the works of the "profe

Water Buffalo Returning Home, 1781. Yosa Buson (Japanese, 1716-1783). Hanging scroll, ink and light color on silk; overall: 203.2 x 59.2 cm (80 x 23 5/16 in.); painting only: 130.8 x 46.2 cm (51 1/2 x 18 3/16 in.).

Piece 18th-19th century China. Piece. China. 18th-19th century. Silk. Qing dynasty (1644-1911). Textiles-Woven

Orchids second quarter of the 13th century Ma Lin Chinese This exquisite representation of an orchid, signed by Ma Lin, son of Ma Yuan (act. ca. 1190-1225), exemplifies the style of formal realism favored by the aristocratic Southern Song court. The simple asymmetrical balance of flowers and leaves, meticulously rendered in subtle shades of lavender, white, and malachite green, bespeaks a consciously aestheticizing sensibility. Such flower paintings recall late Southern Song lyric poems about flowers. Listen to experts illuminate this artwork's story Listen Play or pause #7417. Orchids Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Orchids 40133

Snowscape with Figures, 1584. Kim Si (Korean, 1524-1593). Hanging scroll, ink on silk; painting only: 53 x 67.3 cm (20 7/8 x 26 1/2 in.); overall: 148.6 x 90.2 cm (58 1/2 x 35 1/2 in.).

Roller painting, Huang Shen, 1764 Roller painting with a representation of a egret and a lotus. In wooden box. China ink. paper Roller painting with a representation of a egret and a lotus. In wooden box. China ink. paper

Kaishien gaden = The mustard seed garden painting manual. Japanese edition,. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

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

Kannon in a Bamboo Grove Amano Hko Japanese 1884 View more. Kannon in a Bamboo Grove. Amano Hko (Japanese, 1828-1894). Japan. 1884. Hanging scroll; ink and gold on silk. Meiji period (1868-1912). Paintings

Harvesting Sicamore Figs, Tomb of Djari ca. 2050-2000 B.C. First Intermediate Period-Middle Kingdom Unknown Copyist. Harvesting Sicamore Figs, Tomb of Djari 564852

Mountainous Landscape with Pavilion andFigure. After: Dai Benxiao, Chinese, 1621-1693

Landscape in the Style of Guo Xi dated 1748 Tan Song Chinese Except for this painting, there are no other known references to the artist Tan Song. According to his inscription, he was inspired by the brush idiom of the eleventh-century landscape master Guo Xi. But it is clear from the paintings style, content, and date that Tan was a close follower of Yuan Jiang (act. 1680-1730) and Yuan Yao (act. 1730-after 1778) and may well have assisted them in the family studio. Tans painting is modeled on similar compositions by both of the Yuans that also invoke Guo Xi as their stylistic source and similarly feature heavily laden ox carts moving through the mountains. Yet in his eagerness to emulate these masters, Tan Song has created a caricature of their manner. In Tans hands the Yuans exuberant style of brushwork for defining landscape features has become a frothy profusion of nervous squiggles and curlicues that no longer describe substantial forms. The same tendency toward overelaborati

Resting ox Shohaku Soga, 1750 - 1781, scroll painting

Design for mural decoration surrounding a door: landscape with classical ruins. Artist: Jules-Edmond-Charles Lachaise (French, died 1897); Eugène-Pierre Gourdet (French, born Paris, 1820-1889). Dimensions: Overall: 14 3/4 x 10 7/16 in. (37.4 x 26.5 cm)image: 10 1/4 x 8 in. (26.1 x 20.3 cm). Date: 1830-97. Museum: Metropolitan Museum of Art, New York, USA.

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

View of Mt. Horai 19th century Kano Tansui Japanese The center panel depicts the mystical mountain of Hrai, the most popular of the auspicious symbols displayed on the New Year in Japan. Balanced on the back of a tortoise, a symbol of longevity, the isle supports other symbols of long life-a crane and pine tree-while plum flowers and the rising sun announce the coming of a new day in a new year.The two flanking panels depict imaginary Chinese landscapes that were inspired by the Chinese scenes in the Eight Views of Xiao and Xiang Rivers. To the right is a spring landscape and to the left, one of winter. The artist of these three panels, a Kano-trained artist, signed his age as sixty-seven. He had achieved the high position of Hokky (a Buddhist title granted to meritorious artists), yet his dates and life still remain unknown.. View of Mt. Horai. Kano Tansui (active 19th century). Japan. 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Small Fishes. Artist: Seki Shuko (Japanese, 1858-1915). Culture: Japan. Dimensions: 13 1/2 x 10 7/8 in. (34.3 x 27.6 cm). Date: ca. 1890-92. Museum: Metropolitan Museum of Art, New York, USA.

Monju on a Lion late 15th century Shsei Manjushri, the bodhisattva of wisdom known as Monju in Japan, sits cross-legged on the back of his lion vehicle. Monju appears as a youth in flowing robes, his hair worn long and loose; one of his attributes, a scepter, is placed casually on the ground before him. Although it is a decidedly carefree interpretation, the iconography seen here is consistent with works by painters affiliated with the Zen monastery Tfukuji in Kyoto.. Monju on a Lion. Shsei (Japanese, active late 15th century). Japan. late 15th century. Hanging scroll; ink on paper. Muromachi period (1392-1573). Paintings

Figures by a Rocky Pool, 1660/1673. Salvator Rosa (Italian, 1615-1673). Pen and brown ink and brush and gray and brown wash; traces of framing lines in brown ink ; sheet: 18.3 x 12.5 cm (7 3/16 x 4 15/16 in.).

Eagle Pursuing Rabbit 1885 Kawanabe Kyōsai Japanese In this set of four large paintings (14.76.64a-d), depicting the fierce spirit of eagles hunting or protecting their young, the artist Kyōsai distilled the soul of the Japanese nation, which was at the onset of westernization and exerting itself as an international power. In addition to their regal presence, these raptors represented unhesitating, even ruthless action, a necessary quality during this turbulent period. Determined to break the mold of traditional East Asian ink painting, Kyōsai exaggerated the vigor of his subjects with coarse bravado, varying long and short brushstrokes and contrasts of light and dark. Kyōsai sought a degree of realism, even brutal naturalism, that indicates his final abandonment of the classical Kano-school aesthetic.Often called the last spark of the Kano school, Kyōsai was one of the first Japanese artists to be introduced to the Western world. A prodigy who started painting at age seven, the prolif

Landscape after Ni Zan (1306-1374), from the Mustard Seed Garden Manual of Painting First edition, 1679 Designed by Wang Gai In 1679, the author Li Yu published a primer for aspiring landscape painters called the Mustard Seed Garden Manual of Painting, and he commissioned the versatile painter Wang Gai to provide designs for the illustrations. The first edition features volumes on the components of landscape paintingtrees, rocks, and human figureswith instructions on how to draw different types of each. It also includes two volumes of landscapes in the styles of old masters, which show readers how to transform what they have learned into their own historically minded compositions.The manual transmitted the fashion for studying old masters' styles beyond the rarified elite circles that had given rise to the practice, and it went on to become the most widely used introduction to painting not only in China, but in Korea and Japan as well. Subsequent editions added flowers as a subject a

New Sea of the Arts - 30; Shin Bijutsukai - Sanju. Part 30 (of 35); red-brown cover with black plant motif; In the middle, white title strip; 10 sheets with 20 pattern designs, of which on the first page pink peonies against a dark pink background; inside cover; Colophon.

Lotus, anonymous, c. 1600 - c. 1625 Leaf from `ten bamboo hall`. China paper color woodcut Leaf from `ten bamboo hall`. China paper color woodcut

John Robert Cozens, 1752-1797, British, Grand Chartreuse, October 24, undated. Graphite on thin, slightly textured, cream laid paper.

Bird, Fruit, and Flowers. Origin: China. Period: Qing dynasty. Ink and color on silk. Date: 1741. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Mountain Retreat datable to 1654-55 Shi Lin Chinese This painting and its accompanying inscription belonged to an album made for the noted Nanjing collector and high official Zhou Lianggong (1612-1672). A leading patron of contemporary artists, Zhou assembled a number of these albums during the last twenty-five years of his life, when his career required him to travel extensively. Such collaborative works have long been a means for a group of artists to commemorate special occasions, but Zhous albums, which sometimes encompassed hundreds of contributions, fulfilled a different function: they included works by professionals and scholar-amateurs, Ming loyalists and Qing officials, traditionalist orthodox painters and innovative individualists. By inviting a wide spectrum of artists to both view and contribute to these albums, Zhou created a unique forum for artists to learn from and appraise one anothers productions.. Mountain Retreat 36091

Orchid Pavilion or Lanting Unidentified artist. Orchid Pavilion or Lanting 51507

fine arts, Hiroshige Utagawa (1797 - 1858), Urami cascade Shimotsuke at mount Nikko, woodcut, 1854, 34,3x22,8 cm, Austrian Museum for Applied Arts, Vienna,

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

Flowers and Butterfly, 1838, Yamamoto Baioku, Japanese, born 1822, 7 3/4 × 8 1/4 in. (19.69 × 20.96 cm), Ink and color on paper, Japan, 19th century

The Ascending Daoist Immortal, 1700s. Japan, Edo period (1615-1868). Hanging scroll; ink on paper; overall: 193 cm (76 in.).

Landscape. Korea, Korean, Joseon dynasty (1392-1910), 19th century. Paintings. Ink on paper

Chinese Landscape, late 1600s-1728. Kano Chikanobu (Japanese, 1660-1728). Hanging scroll; ink and slight color on silk; overall: 46.5 x 53.5 cm (18 5/16 x 21 1/16 in.).

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

Zhongli Quan Seeking the Dao. Origin: China. Date: 15th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Transmitting the Spirit and Revealing the Form of Things: Hokusai's Sketchbooks, vol. 10, 1819, Katsushika Hokusai; Publisher: Eirakuya Tōshirō, Japanese, 1760 - 1849, 9 1/4 x 6 7/16 x 1/2 in. (23.5 x 16.3 x 1.2 cm), Woodblock printed book; ink and color on paper, Japan, 19th century

Old Trees by Li Cheng (919-967), as interpreted by Kuncan (1612-1673), from the Mustard Seed Garden Manual of Painting First edition, 1679 Designed by Wang Gai In 1679, the author Li Yu published a primer for aspiring landscape painters called the Mustard Seed Garden Manual of Painting, and he commissioned the versatile painter Wang Gai to provide designs for the illustrations. The first edition features volumes on the components of landscape paintingtrees, rocks, and human figureswith instructions on how to draw different types of each. It also includes two volumes of landscapes in the styles of old masters, which show readers how to transform what they have learned into their own historically minded compositions.The manual transmitted the fashion for studying old masters' styles beyond the rarified elite circles that had given rise to the practice, and it went on to become the most widely used introduction to painting not only in China, but in Korea and Japan as well. Subsequent ed

Design for a Stage Set 1830-90 Eugène Cicéri French. Design for a Stage Set 387322

Landscape, colour on silk, reproduction of an original by Li Sixun and Li Zhaodao (7th-8th century), China. Chinese Civilisation, 16th century.

Making Ceramics first half of the19th century Eiraku Hozen Hozen, the eleventh-generation master of the Nishimura family, learned pottery techniques in Kyoto and produced tea utensils prized by the Sen family of tea masters. After 1827, he sealed his works as Eiraku.” He produced a variety of fine-quality wares, most of them special orders, including blue-and-white porcelain, copies of Chinese porcelain, and Cochin-style (K?chi ware) works with polychrome glazes. One of his signature techniques was the delicate application of overglaze gold patterns (kinrande) on red ground. Furthermore, Hozen made numerous copies of Ninsei ware. He was one of the most influential ceramists in Kyoto in the nineteenth century. An amateur painter, he created this series of six hanging scrolls (18.77.2-.7) depicting the process of ceramic production.A bespectacled potter shapes a large jar on a wheel turned by an assistant. In the rear of the workshop, two women potters work on a smaller wheel.. Making C

Sorimachi 409, 1746, Osaka

One of Eight Views of Xiao and Xiang Rivers, 1788. Tani Bunchō (Japanese, 1763-1841). Sections of a handscroll mounted as hanging scrolls; ink and color on paper; image: 29.5 x 49 cm (11 5/8 x 19 5/16 in.); overall: 129 x 67 cm (50 13/16 x 26 3/8 in.).

Daruma. Hakuin Ekaku (Japan, 1685-1768). no date. Paintings; scrolls. Hanging scroll; ink on paper

Landscape with Streams and Mountains, late 1700s or early 1800s. Korea, Joseon dynasty (1392-1910). Ink and color on paper with a silk border; painting only: 65.6 x 45.9 cm (25 13/16 x 18 1/16 in.); overall: 68.5 x 50.7 cm (26 15/16 x 19 15/16 in.).

Lan Caihe: Paragon of Filiel Piety; Chinese Blue Magpie with Flowering Plum; Sparrows, Willow, and Rose. Kiyohara Yukinobu (Japan, 1643-1682). Japan, 17th century. Paintings; scrolls. Triptych of hanging scrolls; ink and colors on silk

Travellers on donkeys. Zhu, Da (ca 1626-1705), painter

Sketch Kawanabe Kyosai (Japanese, 1831-1889). , 19th century. Ink, paper, Sheet: 17 13/16 x 13 9/16 in. (45.2 x 34.5 cm). Asian Art 19th century

Two Gibbons in a Tree. Origin: China. Date: 15th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

White Rabbit and Amaranth 1766-1776 Japan. Color woodblock print; chuban . Isoda Koryusai

Robben hunting from a rowing boat. .

Ichikawa Danjuro I as Soga Goro. Artist: Okumura Masanobu (Japanese, 1686-1764). Culture: Japan. Dimensions: 10 3/8 x 14 3/4 in. (26.4 x 37.5 cm). Date: ca. 1710.The versatile artist Okumura Masanobu portrayed the great actor Ichikawa Danjuro I (1660-1704) playing the role of a swaggering hero, or aragoto, Soga Goro--the role that made him famous. Soga Goro performed one of his courageous deeds during a hunting trip at the foot of Mount Fuji, where he and his brother avenged the murder of their father.Originally a page of an album, this print was a memorial portrait of Danjuro I, made several years after his death. Museum: Metropolitan Museum of Art, New York, USA.

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

A Pilgrim Praying through the Night to the Buddha (kannenbutsu) is Startled by a Ghostly Head Lying on the Snow-Covered Ground. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1763-1773. Dimensions: 33.1 x 16.2 cm (13 x 6 3/8 in.). Color woodblock print; hosoban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Landscape, 18th century, Unknown Japanese, 74 1/4 x 22 3/4 in. (188.6 x 57.79 cm)40 1/8 x 17 11/16 in. (101.92 x 44.93 cm) (canvas), Ink on paper, Japan, 18th century

Mustard Seed Garden, a Chinese Painter's Manual Mustard Seed Garden, a Chinese Painter's Manual, 1782. Woodblock printed book, ink and color on paper, Each: 11 3/4 x 6 13/16 x 3/16 in. (29.8 x 17.3 x 0.5 cm). Asian Art 1782

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