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

Two Chicks, c. 1694, Zhu Da, Chinese, 1626-1705, 35 1/16 x 15 3/4 in. (89.06 x 40.01 cm) (image), Ink on paper, China, 17th-18th century, Zhu Da, also known as Bada Shanren, often expressed complex ideas using simple images. It is likely that these quickly rendered chicks express the artist's loyalty to the former Ming dynasty, while indicating his contempt for the ruling Manchus. Zhu Da saw himself as being in, but not part of, the society around him. With his imperial lineage eradicated by the conquering Manchus, he was unable to submit to the foreign rulers.

Kanbai ni bijin, Beauty beside a plum tree in snow., between 1798 and 1804, 1 print : woodcut, color ; 13.1 x 18.3 cm., Print shows a woman holding a large snow-covered umbrella.

Zhuangzi was an influential Chinese philosopher who lived around the 4th century BCE during the Warring States Period, a period corresponding to the philosophical summit of Chinese thought - the Hundred Schools of Thought. He is credited with writing-in part or in whole-a work known by his name, the Zhuangzi. His name Zhuangzi (English 'Master Zhuang', with Zi being an honorific) is sometimes spelled Zhuang Tze, Zhuang Zhou, Chuang Tsu, Chuang Tzu, Chouang-Dsi, Chuang Tse, or Chuangtze.

China: 'Spring Landscape', Gong Xian (1618 - 1689), hanging scroll, ink on paper. Gong Xian was a Chinese painter who worked during the latter period of the Ming Dynasty (1368 - 1644) and the early Qing Dynasty (1644 - 1912). He was fiercely anti-Qing and spent the latter years of his life in exile in Yangzhou.

Long-tailed Tit on Autumn Ivy. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 3/4 x 4 3/4 in. (37.5 x 12.1 cm). Date: ca. 1835.Furoshiki noiro mo kashikoshikoyo noshigure ni somurutsuta no karakusaThe twined leaves of ivy have been dyed bright red by late autumn rains, creating colors as stylish as on a fine wrapping cloth.signed Hachijintei--Trans. John T. Carpenter. Museum: Metropolitan Museum of Art, New York, USA.

Tethered Hawks before 1606 Soga Chokuan Hawks tethered to their perches, awaiting release by their masters, symbolize military preparedness and valor. Their fearsome beauty and predatory featuressharp beaks, keen eyes, long curving talonsmade them metaphors of martial training and the warrior spirit. The artist Soga Chokuan, renowned for his hawk paintings, received many commissions from leading samurai for either individual paintings or sets of tethered hawk images painted individually and pasted onto folding screens. This set is inscribed by Itt? J?teki, one of the foremost Zen figures of his time. He eventually served as the 152nd abbot of Daitokuji in Kyoto, the most influential Zen temple in medieval Japan.. Tethered Hawks. Soga Chokuan (Japanese, active ca. 1596-1615). Japan. before 1606. Twelve paintings mounted as a pair of six-panel folding screens; ink and color on paper. Momoyama period (1573-1615). Screens

Study magazine with passion flowers. Draughtsman: Antoon Derkinderen. Dating: 1869 - 1925. Measurements: h 395 mm × w 323 mm. Museum: Rijksmuseum, Amsterdam.

Panel (China); silk

BOOGSCHUTTER, TACHIBANA MORIKUNI, 1714 print Sagittarius, focusing on a bird of prey with fish in the claws; On a porch on the edge of a more three watching men. Two pages, stuck together, from the Japanese book Ehon Kodanji. Print Maker: Japanese Maker: Osaka paper landscapes (+ landscape with figures, staffage). bird hunting. archer's weapons: bow and arrow

La Salamandre Pierre Roche (French, 1855-1922). La Salamandre, 1895. Lithograph on wove paper, 9 5/8 x 7 3/8 in. (24.5 x 18.7 cm). European Art 1895

Panorama miasteczka Neu-Freiburg. Adalbert (książę pruski ; 1811-1873), draughtsman, cartoonist

Kis Mountains in Snow 1857 Utagawa Hiroshige Japanese. Kis Mountains in Snow. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. 1857. Triptych of woodblock prints; ink and color on paper. Edo period (1615-1868). Prints

Zhong Kui and Demons Crossing a Bridge. Date: 16th century. Origin: China. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Two Scholar-Musicians in a Landscape 1401-1500 China. Hanging scroll; ink and color on silk .

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

Fugaku Hyakkei 1834-35 Katsushika Hokusai Japanese. Fugaku Hyakkei. Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Japan. 1834-35. Woodblock print; ink and color on paper. Edo period (1615-1868). Illustrated Books

Li Tieguai; Liu Haichan, 1300s. China, Yuan dynasty (1271-1368). Hanging scroll, ink and color on silk; overall: 106 x 38.6 cm (41 3/4 x 15 3/16 in.).

Page from Shi Zhu Zhai China Qing dynasty (1644-1911), Qianlong period (1736-95) View more. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Qianlong period (1736-95). Prints

Landscape in Chinese style, Sasaya (workshop or), c. 1800 Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting Design drawing for paintwork. Kyoto paper. ink. lacquer (coating) painting

Landscape, second half of the 1500s. Japan, Muromachi period (1392-1573). Pair of six-panel folding screens; ink and color on paper; each screen: 168.8 x 362.2 cm (66 7/16 x 142 5/8 in.); painting only: 149 x 339 cm (58 11/16 x 133 7/16 in.).

Album of Daoist and Buddhist Themes, 1200s. China, Southern Song dynasty (1127-1279). Album, ink on paper (fifty leaves); overall: 34.3 x 38.6 cm (13 1/2 x 15 3/16 in.). This extraordinary album has 50 paintings on a variety of religious subjects. They were likely created by several master craftsmen to share with studio apprentices as models for fulfilling commissions. The Jade Emperor and the Daoist pantheon make up the first 26 leaves. The next 14 leaves portray the Buddhist Ten Kings of Hell administering punishments to the dead. The third section, called Clearing the Mountains,” features divine soldiers, led presumably by the deity Erlang Shen ???, fighting undesirable creatures.

Kyōsais Drawings for Pleasure 1881 Kawanabe Kyōsai Japanese. Kyōsais Drawings for Pleasure. Kawanabe Kyōsai (Japanese, 1831-1889). Japan. 1881. Set of two woodblock-printed books (one volume orihon, accordion-style); ink and color on paper. Edo period (1615-1868Meiji period (1868-1912). Illustrated Books

Eagle on a Tree Trunk, 1755. Huang Shen (Chinese, 1687-1772). Hanging scroll, ink and color on paper; image: 123.3 x 45 cm (48 9/16 x 17 11/16 in.); overall with knobs: 213 x 67.3 cm (83 7/8 x 26 1/2 in.).

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

Nissaka Tot Hamamatsu, Utagawa Kuniyoshi, 1833-1837 Mountain landscape with in red cartouches the names of various stations along the Tokaido road; In the foreground on the right travelers on a mountain road. print maker: Japanpublisher: Tokyopublisher: Tokyo paper nishiki-e / color woodcut Mountain landscape with in red cartouches the names of various stations along the Tokaido road; In the foreground on the right travelers on a mountain road. print maker: Japanpublisher: Tokyopublisher: Tokyo paper nishiki-e / color woodcut

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

Birds, Flowers and Insects 1686-1756 China. Album of eight leaves; ink and color on paper . Li Shan

Album of works by the master Koiso Zensetsusō (complete) 19th century Koiso Zensetsusō. Album of works by the master Koiso Zensetsusō (complete). Koiso Zensetsusō (Japanese, 1832-1902). Japan. 19th century. Accordion album; ink and color on paper. Illustrated Books

Page from Shi Zhu Zhai China Qing dynasty (1644-1911), Qianlong period (1736-95) View more. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Qianlong period (1736-95). Prints

Untitled (Basket of Flower Arrangements) Nishiyama Hoen (Japanese, 1804-1867). , 1855. Ink and light color on paper, 10 3/4 x 13 1/2 in. (27.3 x 34.3 cm). Asian Art 1855

Pavilion on a Lake. Artist: Unidentified Artist. Culture: China. Dimensions: 11 1/2 x 12 in. (29.2 x 30.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Album of Daoist and Buddhist Themes: Procession of Daoist Deities: Leaf 1, 1200s. China, Southern Song dynasty (1127-1279). Album, ink on paper; sheet: 34.2 x 38.4 cm (13 7/16 x 15 1/8 in.); mounted: 38.9 x 41.5 cm (15 5/16 x 16 5/16 in.).

korean hieroglyph painted on old paper

Yatsushi shi or hi?chobo, A modern view of the Chinese immortal Hichobo., Isoda, Koryusai, active 1764-1788, artist, between 1772 and 1774, 1 print : woodcut, color ; 68.3 x 11.5 cm., Print shows a person (usually depicted as a courtesan) possibly asleep while riding on the back of a crane.

'Saz'-Style Drawing of a Dragon Amid Foliage ca. 1540-50 Shah Quli Turkish The midsixteenth century saw the flourishing of the socalled saz style—characterized by the depiction of stylized, serrated leaf foliage, often paired with fantastic creatures including dragons and phoenixes. This imagery appears on Ottoman art in a variety of media, including textiles. This magnificent dragon drawing is ascribed to the master of the style, Shah Quli, an artist who emigrated from Iran to Istanbul and became head of the royal atelier under Sultan Suleiman the Magnificent. Listen to experts illuminate this artwork's story Listen Play or pause #6660. Overview: The Saz Style, Part 1 Play or pause #6660. Overview: The Saz Style 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.. 'Saz'-Style Drawing of a Dragon Amid Foliage 451405

Tako ni noboru otoko, A boy flying a kite., between 1830 and 1870, 1 print : woodcut, color ; 22.8 x 16.9 cm., Print shows a man, hovering over nearby trees, apparently impaled on a string attached to a flying kite.

Warrior Fighting a Dragon, c. 1822 print General Tada No Mitsunaka (913-997) Vecht with pulled sword against a multi-member dragon. With one poem. Japanese paper (handmade paper) color woodcut dragon

Flowers of the Four Seasons 1701-1800 China. Meticulously outlined and colored with a finely tapered brush, these multiseasonal flowersóincluding iris, peony, lotus, poppy, lily, narcissus, chrysanthemum, nandina berry, and plumódisplay a draftsman-like style mastered by court artists. The inscription on this painting attributes its image of floral abundance to Yongrong, the sixth son of the Qianlong emperor (r. 1735-95). Prince Yongrong supervised the Imperial Household Department, which served diverse needs of the emperor and his family in the residential quarters of the palace. The attribution of this painting remains open to study.. Hanging scroll; ink and colors on paper . Artist Unknown

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

World Archer in Hand, Anonymous, 1600 - 1699 China silk tapestry / kesi China silk tapestry / kesi

Duxiu Peak, 1827, Aoki Mokubei, Japanese, 1767 - 1833, 81 × 22 5/8 in. (205.74 × 57.47 cm) (without roller)47 1/2 × 16 3/4 in. (120.65 × 42.55 cm) (image), Ink and color on paper, Japan, 19th century, Japanese paintings of China often depict imagined locales, but this lone mountain peak rising dramatically at rivers edge is an actual place: Duxiufeng, or 'Solitary Beauty Peak,' on the banks of the Li River in south central China. In the late 1300s, this mountain—which poets described as being so uniquely beautiful that no other mountain could compare—was chosen as the site for an enormous estate constructed for a prince under the first emperor of the Ming dynasty (1368-1644), the Hongwu emperor. Thereafter, generations of imperial princes called the palace home until the mid-1700s when the dynasty came to an end. Even today in China the site is commonly dubbed 'City of Princes.' The mountain, palace, and the sites 5,000-foot-long walls are all described in an inscription in the upper

Page from Shi Zhu Zhai China Qing dynasty (1644-1911), Qianlong period (1736-95) View more. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Qianlong period (1736-95). Prints

Kokuchinashi or dwarf gardenia, Gardenia augusta Radicans. Handcoloured woodblock print by Kono Bairei from Senshu no Hana (One Thousand Varieties of Flowers), Bunkyudo, Kyoto, 1889.

Detail from an anonymous Song Dynasty (960-1279) painted scroll. In China, silk worm farming was originally restricted to women, and many women were employed in the silk-making industry. Even though some saw this development of a luxury product as useless, silk provoked such a craze among high society that the laws were used to regulate and limit its use to the members of the imperial family. For approximately a millennium, the right to wear silk was reserved for the emperor and the highest dignitaries. Later, this right gradually extended to other classes of Chinese society. Silk began to be used for decorative means and also in less luxurious ways: musical instruments, fishing, and bow-making. Peasants did not have the right to wear silk until the Qing dynasty.

Bodhidharma Crossing the Yangzi on a Reed, 1300s. China, Yuan dynasty (1271-1368). Hanging scroll; ink on paper; painting only: 91.1 x 36.5 cm (35 7/8 x 14 3/8 in.); overall: 175 x 38.5 cm (68 7/8 x 15 3/16 in.); overall with knobs: 175 x 43 cm (68 7/8 x 16 15/16 in.).

Hawk and fish. Origin: Japan. Period: Edo period. Date: 1760-1849. Ink and color on silk mounted on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Scenes from the Life of Tao Yuanming (part 2). ink on paper. Origin: China. Date: 1368-1644. Period: Ming dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Ohara Koson, Nuthatcher atop Persimmons, c. 1910, color woodblock print.

Emperor Ming Huang's Journey to Shu, silk handscroll, 11th century, Song dynasty, China. Anonymous copy of 10th century T'ang period painting by Li Zhaodao

Piece 18th-19th century Japan. Piece 66105

Landscapes, 1892. Ren Yu (Chinese, 1853-1901). Hanging scroll, color on paper; overall: 149.8 x 40.7 cm (59 x 16 in.). This seasonal landscape is from a set of four hanging scrolls by Ren Yu. He was the youngest, most eccentric, and least prolific of the Four Rens, a family of prominent painters in Shanghai during the late Qing dynasty (1644-1911). Perhaps due to his opium habit and subsequent financial difficulties, Ren Yu tended to be lackadaisical in his work. The few remaining high-quality paintings hint at his artistic potential lost to opium. Though Rens premature death left his artistic promise unfulfilled, his paintings were acquired and donated to the museum by Charles Lang Freer (1854-1919), a wealthy businessman and art collector from Detroit. As Freer had hoped, this donation of Ren Yu paintings inspired the young Cleveland Museum of Art to continue to expand its own Chinese painting collection.

Album of the New Year (Aratama jo). Artist: Tani Buncho (Japanese, 1763-1840); Onishi Chinnen (1792-1851) , various artists. Culture: Japan. Dimensions: 9 15/16 × 7 5/16 in. (25.3 × 18.5 cm). Date: early 19th century, before 1829. Museum: Metropolitan Museum of Art, New York, USA.

Iris. Draughtsman: Cornelis van Noorde. Dating: 1741 - 1795. Measurements: h 331 mm × w 211 mm. Museum: Rijksmuseum, Amsterdam.

Design for a plate with red, upscinking fish. .

Amsterdam, Schenk, Pieter (I), Picturae Sinicae Ac Surattenae, Vasis Tabellisque exhibitae, Admiranda; colligente Petro Schenkio cum privil: Amstelaed: 1702, Two Teapots and an Incense Burner, Above a teapot with the biography of Ni K'uan. In the middle a teapot with the biography of Fêng Mêng. Below an incense burner with the story of T'ien Chên and his brothers., print, prent, prints, height 271 mm, width 113 mm, Noord-Nederlands, 1660-12-26 - 1711, print maker, printmaker, 1702 - 1702, paper, papier, etching, etsen, Work conception, naar prent van, Publication (Event), Publicatie, publisher

One hundred faces on the Fuji mountain; Fugaku Hyakkei. Three parts (complete) with black and white images of the Fuji mountain; Stored in red chitsu (folding box).

Flowers and Birds. Artist: Shen Quan (Chinese, 1682-after 1762). Culture: China. Dimensions: Image: 45 13/16 x 19 11/16 in. (116.4 x 50 cm)Overall with mounting: 82 x 26 1/4 in. (208.3 x 66.7 cm)Overall with knobs: 82 x 28 5/16 in. (208.3 x 71.9 cm). Date: 1750.In 1731 the Chinese painter Shen Nanpin came to Nagasaki, where he remained for two years. During this time, he taught Japanese students the traditional Chinese style of realist painting, resulting in the formation of the Nagasaki school. After Nanpin returned to China, many works in his style continued to be imported into Japan, and his influence on Japanese painting persisted into the late Edo period. In the fine example seen here, the meticulous rendering of flowers and birds and the sophisticated composition within a rectangular frame reveal the masterful craftsmanship that Japanese artists eagerly sought to learn from Nanpin. Museum: Metropolitan Museum of Art, New York, USA.

Deer by a Pine Stream Unidentified artist early 15th century The auspicious objects, animals, and flowers found in the imperial garden were often the subject of court paintings. In this miniature picture, a male deer and a female deer stand by a stream from which auspicious clouds emanate. The image seems to convey the message that in this cultivated, peaceful, and humane era, the nation is as idyllic as an imperial park. No doubt the painting functioned as part of a systematic program of imperial art designed to create a symbolic visualization of a cultivated emperor's reign.

Vertical scroll painting representative bamboo and text. In wooden box.

Sutra Cover. China. Date: 1590-1599. Dimensions: 35.1 × 12.1 cm (13 3/4 × 4 3/4 in.)Repeat: 15.7 × 11.1 cm (6 1/4 × 4 3/8 in.). Silk and gold-leaf-over-lacquered-paper strip, warp-float faced 4:1 satin weave with supplementary patterning wefts bound in weft-float faced 1:4 satin interlacings; label: silk, plain weave; painted in ink; glued to paper. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

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

Mists off the Lake, late 18th - early 19th century, Tachihara Suiken, Japanese, 1744 - 1823, 53 1/4 × 17 3/4 in. (135.26 × 45.09 cm) (image)75 7/16 × 23 5/16 in. (191.61 × 59.21 cm) (mount, without roller), Ink on paper, Japan, 18th-19th century

The Apotheosis of Saint Euphemia. Dated: 1759. Dimensions: sheet: 81 × 56.1 cm (31 7/8 × 22 1/16 in.). Medium: pen and light brown ink with gray wash over graphite, strengthened with tip of the brush and dark gray wash, squared in red chalk on cream laid paper. Museum: National Gallery of Art, Washington DC. Author: Carlo Innocenzo Carlone.

The Cry of the Stag ca. 1760 Suzuki Harunobu Japanese. The Cry of the Stag 55204

Jin gua'er (a kind of pumpkin), Chinese woodcut

Sutra Cover. China. Date: 1590-1599. Dimensions: 35.2 × 11.8 cm (13 7/8 × 4 5/8 in.)Warp repeat: 21.4 cm (8 3/8 in.). Silk and gold-leaf-over-lacquered-paper strips, satin weave with patterning wefts; wrapped over cardboard and partially 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.

Birds and flowers left of a pair of Birds and Flowers, c. 1840, Nagasawa Roshū, Japanese, 1767-1847, 50 1/2 x 22 1/8 in. (128.27 x 56.2 cm) (image)76 x 27 7/8 in. (193.04 x 70.8 cm), Ink and color on silk, Japan, 19th century, Artists of the Maruyama School of painting combined Western realism with the indigenous penchant for decorative design to produce works of great naturalism and pleasing visual effect. Nagasawa Roshū, pupil of the progenitor of the school and adopted son of one of its leading masters, was himself a master of this style. This set of paintings is an impressive example of his work and reveals both Roshū's debt to his teacher, Maruyama Ōkyo (1733-1795), and to his adoptive father, Nagasawa Rosetsu (1754-1799). The refined, precise approach clearly suggests Roshū's fidelity to Ōkyo's fastidious style, while other elements reveal the unorthodox approach of Rosetsu, who was fond of juxtaposing subjects of vastly different scale.

Owl Mocked by Small Birds. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 3/4 in. (36.2 x 27.3 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Five Poems. Artist: Wang Shihong (Chinese, 1658-1723). Culture: China. Dimensions: 6 3/8 x 19 1/4 in. (16.2 x 48.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

Design for a painting, David and Abigail, draughtsman: Elias van Nijmegen, 1677 - 1755, paper, brush, pen, h 208 mm × w 163 mm

Tsukioka Yoshitoshi (1839 - 9 June 1892) one of the last great masters of the classical Japanese colour woodcut, here the work Musashi Plain Moon

Early spring. Date/Period: Sung Dynasty (11th Century). Painting. Height: 1,583 mm (62.32 in); Width: 1,081 mm (42.55 in). Author: Guo Xi.

Silk hanging scroll showing Mount Horai; by Japanese artist; Watanabe Shotei 1851-1918

Kui Xing, Chinese Master

Panel Illustrating Feminine Virtue: The Art of Cooking 17th century Lin Yuncai Chinese. Panel Illustrating Feminine Virtue: The Art of Cooking. Lin Yuncai. China. 17th century. Soapstone, satin, papier-maché. Soapstone

Gift Cloth (Fukusa) Japan. Gift Cloth (Fukusa) 68417

Ink Tablet Decorated with Mythical Horse and the Eight Trigrams late 19th-early 20th century Workshop of Xiu Fangzhai Chinese. Ink Tablet Decorated with Mythical Horse and the Eight Trigrams 41784

Moon amid Clouds early 19th century Inscription by Seisetsu Shcho A gibbous moon, rendered in reserve, shines through a bank of ink-wash clouds, which seem to gnaw at the edges of the lunar orb—almost abstract in conception. The painting, profoundly Zen in its minimalism and mysterious expressiveness, is unsigned so the only clue we have about the identity of who brushed it is the double-seal reading “Gekij” . Here the phrase on the seal derives from the four-character saying Kofuku gekij , meaning, literally, “to pat one’s belly and stamp the ground,” which is a roundabout way of expressing the blissful feeling of “everything in the world is at peace.”We have yet to identify the artist who used this seal, though during the time the Rinzai monk-calligrapher Seisetsu Shcho was active there was a Nanga artist named ta Gekijshi, who lived in Komatsushima on Shikoku island, coincidentally, perhaps, not far from where Seisetsu was born. Though at this point it remains compl

C18 Chinese woodcut: Stony tonsillitis

Print, Sano no Watshi (Sano Ferry or White Dawn), No. 24; Japan; stencil, brush and watercolor on paper; 40.7 x 27.9 cm (16 x 11 in.); 1949-110-2

Lacquer Paintings of Various Subjects: Plum Branch with Oil Lamp 1882 Shibata Zeshin Japanese Well known in the West as a painter and a lacquer artist, Shibata Zeshin enjoyed longevity in both his life and his career. At age eleven, he began an apprenticeship with the leading lacquer artist, Koma Kan'ya (Kansai II, 1767-1835); at sixteen, he began to study painting under Suzuki Narei (1795-1844) of the Shijō school. The paintings in this album reflect his early training and longtime involvement as a lacquer artist with a deep commitment to the realistic portrayal of nature that the Shijô school championed. These paintings also show Shibata Zeshin's skillful lacquer techniques.. Lacquer Paintings of Various Subjects: Plum Branch with Oil Lamp 57186

China: One of the dragons from 'The Nine Dragons' handscroll, painted by the Song Dynasty artist Chen Rong in 1244, Museum of Fine Art, Boston

CHINA - CIRCA 2002: A Stamp printed in China shows a historic love story, circa 2002

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