Traditional Asian Landscapes

Elegant ink and color paintings depicting serene mountain and lake scenes, featuring figures in nature, with a focus on tranquility and artistry from Edo and Ming periods.

Summer and Winter Landscapes (one of a pair), 1600s. Kano Naonobu (Japanese, 1607-1650). Six-panel folding screen; ink on gold- and silver-decorated paper; framed: 170 x 354 x 58.7 cm (66 15/16 x 139 3/8 x 23 1/8 in.). This sparse composition depicts a summer scene on the right and a winter scene on the left. Careful observation reveals that the pair of screens was once damaged, and a later conservation including new sections of paper and inpainting sought to preserve the original flavor of the paintings so they could continue to be appreciated. Kano Naonobu was born in Kyoto, the younger brother of major painter and authenticator Kano Tany? (1602-1674). He relocated to Edo (present-day Tokyo) at the behest of the Tokugawa government in 1630 where he worked with his brother and teacher. In Kyoto, he helped his brother with paintings for Nij? Castle and the major Pure Land Buddhist temple Chionin.

Travellers in Cold Mountains 1859 Hine Taizan. Travellers in Cold Mountains. Hine Taizan (Japanese, 1813-1869). Japan. 1859. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Pavilion by Lake Shore. Artist: Unidentified Artist; After Wen Jia (Chinese, 1501-1583). Culture: China. Dimensions: 6 7/8 x 19 1/2 in. (17.5 x 49.5 cm). Date: 17th century or later. Museum: Metropolitan Museum of Art, New York, USA.

Landscape, 1767. Kan Tenju (Japanese, 1727-1795). Hanging scroll; ink and light color on paper; painting only: 133.2 x 45.2 cm (52 7/16 x 17 13/16 in.); including mounting: 216 x 67.7 cm (85 1/16 x 26 5/8 in.). A lone, elderly figure, his retreat from the world tucked into the mountains near a waterfall, looks out his window onto the landscape below. A poem in Chinese at the upper right conveys the atmosphere of the paintingthe approach of evening, light coming through clouds, and a cool mountain breeze after a rainfall. The painter, Kan Tenju, was best known as a calligrapher and seal carver with a deep respect for Chinese literature.

Fisherman with a ska and a flowering old tree; Li, Shizhuo ( -1770); 18th century (1742-00-00-1765-00-00);Chinese (culture), hermits, Chinese art, servant, purchase (provenance), scrolls, vertical coils

Kosode (Kimono) Fragment with Pine and Chinese Character. Japan, mid-Edo period (1615-1868), 18th century. Textiles. Silk figured satin (rinzu) and silk plain weave with stenciled imitation tie-dyed (kata kanoko shibori) appliqué with silk and gilt-paper-wrapped-silk-thread embroidery

Album of Calligraphy and Paintings, 18th Century. Bian Shoumin (Chinese, 1684-1752). Album leaf; ink and color on paper; overall: 18.5 x 27.5 cm (7 5/16 x 10 13/16 in.). The artist Bian Shoumin is known for his depiction of wild geese, water, and reeds. The migrant birds in autumn and winter evoked, in the minds of the Chinese intelligentsia, a time of parting and sorrow.

The Lotus Society. ink on paper. Date: 16th century. Origin: China. Period: Ming dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Summer and Winter Landscapes (one of a pair), 1600s. Kano Naonobu (Japanese, 1607-1650). Six-panel folding screen; ink on gold- and silver-decorated paper; framed: 170 x 354 x 58.7 cm (66 15/16 x 139 3/8 x 23 1/8 in.). This sparse composition depicts a summer scene on the right and a winter scene on the left. Careful observation reveals that the pair of screens was once damaged, and a later conservation including new sections of paper and inpainting sought to preserve the original flavor of the paintings so they could continue to be appreciated. Kano Naonobu was born in Kyoto, the younger brother of major painter and authenticator Kano Tany? (1602-1674). He relocated to Edo (present-day Tokyo) at the behest of the Tokugawa government in 1630 where he worked with his brother and teacher. In Kyoto, he helped his brother with paintings for Nij? Castle and the major Pure Land Buddhist temple Chionin.

The Imado Bridge at the Foot of Mount Matsuchi 19th century Utagawa Hiroshige Japanese Hiroshige's great achievement in translating landscape to prints and popular art forms rested on his unique ability to understand the traditional qualities of famous places (meisho) and to see them anew. This scene of the Imado Bridge captures the usually busy gateway to the pleasure quarters at a quiet moment before evening falls and lingers amidst the humble man-made and natural beauty of the river scene. The restrained wash and simple brushstrokes are well suited to his subject.. The Imado Bridge at the Foot of Mount Matsuchi 45425

Eagles, 1368-1644. China, Ming dynasty (1368-1644). Ink and color on silk panel; painting: 167.2 x 98.4 cm (65 13/16 x 38 3/4 in.); overall framed: 189.3 x 114.5 cm (74 1/2 x 45 1/16 in.). Two eagles, painted in fine brushwork, perch on top of rocks surrounded by water, flowering camellia, and other vegetation, brushed in sweeping and broad strokes. Among birds, a favorite subject in Chinese painting, depictions of eagles can be traced back to at least the fourth century.Due to dramatic sociopolitical changes during the foreign-ruled Yuan (1279-1368) and native Ming dynasties, an elaborate symbolic language of the eagle developed. It can represent a vicious attacker, a courageous hero, or an enlightened emperor. In this painting, the two eagles are depicted peacefully resting in a lofty position, perhaps an idealistic image for a wise emperor and empress.

Various Plants and Grass. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: Overall: 13 x 23 5/8 in. (33 x 60 cm)Image: 7 7/16 x 20 3/4 in. (18.9 x 52.7 cm). Date: late 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Puppeteer. Artist: Teisai Hokuba (Japanese, 1771-1844). Culture: Japan. Dimensions: Image: 41 1/8 in. × 11 in. (104.5 × 28 cm)Overall with mounting: 76 × 11 1/4 in. (193 × 28.5 cm)Overall with knobs: 76 × 17 1/4 in. (193 × 43.8 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with a Distant Temple, 1600s. Japan, Edo period (1615-1868). Hanging scroll; ink on paper; overall: 195.6 x 57.2 cm (77 x 22 1/2 in.); painting only: 107.7 x 45 cm (42 3/8 x 17 11/16 in.).

Lions at the Stone Bridge of Mount Tiantai 1779 Soga Shhaku In this fantastical scene at the natural stone bridge on Mount Tiantai, in China’s Zhejiang province, a mother lion throws cubs over the cliff to see which will persevere to succeed in life by climbing back to her. Analogies are often made to artists or teachers testing pupils in similar ways. Mount Tiantai, home to the Tiantai sect of Buddhism, is also a sacred site for Daoist practice. In China as in Japan, mountains were long regarded as intermediary places between heaven and earth, where immortals and humans could meet.One of the “eccentrics” of Edo painting, Soga Shhaku often featured exaggerated, restless brushwork as well as outlandish subject matter. This hanging scroll shows Shhaku at the height of his creativity; he transforms a rarely depicted theme into a work that combines fluid, disciplined brushwork with dramatic composition and bizarre imagery.. Lions at the Stone Bridge of Mount Tiantai. Soga Shhaku (Japan

Scenes from the Tokaido, 19th century, possibly Hokei, 6 7/8 × 6 3/8 in. (17.46 × 16.19 cm) (image)7 11/16 × 7 1/8 in. (19.53 × 18.1 cm) (mount), Ink and color on silk, Japan, 19th century

Scholar viewing a waterfall late 12th-early 13th century Ma Yuan Chinese Ma Yuan, a fourth-generation member of a family of painters, was a leading artist at the Southern Song painting academy in Hangzhou. A city of unsurpassed beauty, Hangzhou was graced with pavilions, gardens, and scenic vistas. In this album leaf, which shows a gentleman in a gardenlike setting, the jagged rhythms of the pine tree and garden contrast with the quiet mood of the scholar, who gazes pensively into the bubbling rapids of the cascade. Listen to experts illuminate this artwork's story Listen Play or pause #7313. Scholar Viewing a Waterfall 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.. Scholar viewing a waterfall 40086

Design for a Stage Set at the Opéra, Paris 1830-90 Eugène Cicéri French. Design for a Stage Set at the Opéra, Paris. Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). 1830-90. Graphite, green and red gouache. Drawings

Hollyhocks and Ducks. Date: 16th century. Origin: China. Period: Qing dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Kaiho Yusho (1533 - 1615) was a Japanese painter of the Azuchi-Momoyama period. He was born in Omi province, the fifth son of Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji (temple) in Kyoto and, later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. Then, he worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Sung painter Liang K'ai, doing only monochrome ink paintings, using a 'reduced brush stroke' (gempitsu), relying more on ink washes than sharp hard strokes. Later, he worked in fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.

A painting in the form of a vertical scroll two birds, bamboo and rose tea shrubs unknown

Landscape with Scholar Playing a Lute (Qin). Wen Ding (China, 1766-1852). China, Qing dynasty, 1833. Paintings. Hanging scroll with fan leaf, ink and color on paper

Two Chinese men in a landscape; New converted sinesen, with great Moeyte designed and given in it, by P: Schenk Jun (...), first part. Links two Chinese men in a landscape. A river in the middle. On the right a building. Print is part of an album.

Laozi delivering a copy of the Daodejing. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Landscape with Boater, early 1800s. Tanomura Chikuden (Japanese, 1777-1835). Hanging scroll; ink, color, and gold on paper; overall: 218 x 71.1 cm (85 13/16 x 28 in.); painting only: 175 x 47 cm (68 7/8 x 18 1/2 in.).

Ten Oxherding Songs ca. 1634 Karasumaru Mitsuhiro Japanese Ten waka (poems of thirty-one syllables) describing the various stages of spiritual awareness, from the initial search to final realization, are couched in the classic Zen parable Ten Ox-Herding Songs, which likens this vigorous human quest to the often comic vicissitudes of a herdboy in pursuit of an elusive ox. The courtier-calligrapher Karasumaru Mitsuhiro rendered the Zen theme in a style that reflects the aristocratic tradition of personally expressive writing on decorated paper.The poems, Mitsuhiros own, are based on a set by a fifteenth-century monk at Tōfukuji, an important Zen temple in Kyoto. Following a common literary practice, Mitsuhiro personalized the poems by making slight changes to their wording, each change alluding to classical sources. Mitsuhiro also subtly altered the standard sequence of accompanying pictures. The style of the calligraphy is influenced by that of Mitsuhiros teacher, Honami Kōetsu (1558

Zhong Kui, the demon queller, with other smaller figures. Gouache painting by a Chinese painter.

Fishermen inConversation. Artist Traditional attribution to:: Ma Yuan, Chinese, ca. 1150-after 1255

Japan, Hiroshige (I), Utagawa, Blossoming cherry tree, verso - stamped, Print, probably intended as stationery, with image of cherry blossom. Top left a pasted title, reading: 'white cherry tree'., print, stationery, prints, Japan (collection), height 163 mm, width 475 mm, Japanese, 1797 - 1858, print maker, 1830 - 18340, second quarter 19th century, paper, copper powder, nishiki-e, color woodcut, blind print

Ogata Kenzan. "Screening screen of hilly roses". Paper, Japan, 18th century. Paris, Cernuschi museum. 34992-19 Decor, flower, floral, Japan, paper, pink tremperie, screen

Landscape with Boaters, late 1700s-early 1800s. Kimura Kenkadō (Japanese, 1736-1802). Hanging scroll; ink and slight color on paper; overall: 170.2 x 45.7 cm (67 x 18 in.); painting only: 90.8 x 26.3 cm (35 3/4 x 10 3/8 in.).

Grapevine, 1700s to 1800s. China, Qing dynasty (1644-1911). Hanging scroll; ink on paper; overall: 113 x 40.5 cm (44 1/2 x 15 15/16 in.).

The Four Accomplishments mid-16th century Kano Motonobu 野元信 Japanese Within a landscape of towering pines, distant peaks, and roaring waterfalls are four scenes of human activity, each alluding to one of the four pursuits deemed appropriate for Chinese gentlemen: music, the board game Go, calligraphy, and painting.Motonobu, second-generation head of the Kano School of painting, laid the groundwork for the school’s centuries of dominance over mainstream Japanese painting. One of his many achievements was the adaptation of small-scale paintings (like fans and albums) associated with specific Chinese masters to large-scale painting formats such as folding screens and panels. Here, Motonobu employs brush techniques associated with the Southern Song Chinese court painter Xia Gui (active ca. 1195-1225). ).. The Four Accomplishments 44673

Veemarkt, Cornelis Ploos van Amstel, after Jan van Goyen, 1767 drawing Landscape with a house with signboard. In addition, a cattle market where cows are traded. The transpress drawing is loose in an album, see page 11. Amsterdam paper. chalk. pencil (annual) fair, trade fair. cow

A Phoenix and two cranes under a tree. Origin: China. Date: 16th-17th century. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

View of Mt. Asama from the Usui Pass ca. 1850 Utagawa Kuniyoshi Japanese. View of Mt. Asama from the Usui Pass 55452

Figures in Landscape. Korea, Korean, Joseon dynasty (1392-1910), 17th century. Paintings. Album leaf, ink and color on silk

Klomp Johannes Franziskus (1865-1946), unaffected drawings and travel sketches (0-0): landscape. Pencil watercolor on the box, 48.5 x 32.6 cm (including scan edges) Klomp Johannes Franziskus (1865-1946): Unzugeordnete Zeichnungen und Reiseskizzen

Sparrows. Miyazaki Yūzen (Japan, 1654-1736). Japan, printed 1762. Prints; woodblocks. Page from a woodblock printed book

Bamboo and rocks dated 1318 Li Kan Chinese Li Kan was a northern Chinese who entered the service of the Mongol government at an early period and rose to a high position in the Yuan court. The author of an authoritative treatise on bamboo painting, Li stated that the painter must possess "the complete bamboo in his breast," and he urged statesmen to take up bamboo painting to discipline their minds and expand their breadth of vision.Li completed these panels in 1318, the year the Mongol regime reinstituted the civil-service examinations, the chief means for scholars to gain access to official positions. The painting is done in the shuangou, or "double-outline," style of bamboo painting. This technique, in which finely drawn ink outlines are filled in with dense mineral pigments, was ideally suited to Li Kan's intense identification with bamboo. Minutely observed and intricately rendered, these noble plants take on a heightened sense of reality that approaches portraiture. Listen to ex

Figures Seated in a Landscape, Fortunato Duranti, Italian, 1787 - 1863, Pen and gray ink, brush and brown wash on paper, Two figures seated back to back on a mound of pulled grass. A large tree in the background. Ink framing line., Rome, Italy, 1820-1857, Drawing, Drawing

Malowidło ścienne: Matka Boska z Dzieciątkiem. unknown, painter

Tortures. Watercolours by a Japanese artist.

Boat under the Moon early 19th century Nagasawa Rosh A turbulent sea, a rocky foreground, and layers of fin-shaped mountains receding into the background are the principal pictorial elements of this painting. A boatman poles his vessel past the dangerous current and foreground rocks. Rosh, student and adopted son of the renowned and individualistic artist Nagasawa Rosetsu (1754-1799), whose works are exhibited nearby, demonstrates his skill with the brush as well as a sense of drama, perhaps encouraged by his untrammeled teacher. Rosh was an artist in the refined Maruyama-Shij tradition, to which his adoptive father had initially belonged but later renounced; this painting contains only hints of Rosetsu’s vigorous and dynamic mature style.. Boat under the Moon. Nagasawa Rosh (Japanese, 1767-1847). Japan. early 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Two Birds on a Branch. Artist: Kawanabe Kyosai (Japanese, 1831-1889). Culture: Japan. Dimensions: 14 1/4 x 10 5/8 in. (36.2 x 27 cm). Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Charles Sprague Pearce, Study for an Archway, 1890 1897 Study for an Archway

Album of Blossoming Plum. Artist: Li Fangying (Chinese, 1696-1754). Culture: China. Dimensions: Image: 9 3/4 x 12 1/2 in. (24.8 x 31.8 cm). Date: 1742.The plum, the first flower to bloom in the spring, has long been admired by scholar-gentlemen for its fortitude in the face of harsh conditions. Its delicate blossoms, springing forth from gnarled trunks and twisted branches, are a symbol of renewal, while its fragrance carries connotations of moral purity and loyalty.Li Fangying developed a specialty for painting the blossoming plum, which he admired for its lofty symbolism and long association with scholar-painting, as well as for its viability as a vehicle for spontaneous, abbreviated brushwork and dramatic abstraction. This album, painted when Li was living at home mourning the death of his parents, exemplifies the artist's integration of poetry, painting, and calligraphy and shows off his distilled minimalism and ability to produce distinctive variations on a single theme.Born into

Woman stretching cloth to dry; two children at play. Date: late 17th-early 18th century. Origin: Japan. Period: Edo period. Ink and light color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Landscape of Summer and Autumn, from a triptych of Bodhidharma and Landscapes of the Four Seaons, 1620s, Unkoku Tōeki, Japanese, 1591 - 1644, 42 7/8 × 14 11/16 in. (108.9 × 37.31 cm) (image)76 15/16 × 19 7/8 in. (195.42 × 50.48 cm) (mount, without roller), Ink, color, and gold on paper, Japan, 17th century, At the center of this triptych of hanging scrolls is a portrait of Bodhidharma, known as Daruma in Japan, the Indian patriarch of Zen Buddhism credited with transmitting Zen from India to China in ancient times. At right and left are images of Chinadramatic mountainscapes with Buddhist temples and gnarled old pine trees perched on the peaks, along with motifs representing all four seasons. The bold contour lines, solid shape of the mountains, and shallow representation of space are characteristic of Unkoku Tōeki, whose style was informed by the paintings of the revered medieval painter Sesshū Tōyō (1420-1520).

Lotus Flowers in a Basket, second half 18th century, Fukuhara Gogaku, 41 13/16 × 15 1/2 in. (106.2 × 39.37 cm) (image)73 3/4 × 16 3/4 in. (187.33 × 42.55 cm) (mount, without roller), Ink and color on paper, Japan, 18th century

Landscape of China: Eight Views of the Xiao and Xiang Rivers. Artist: Kano Tsunenobu (Japanese, 1636-1713). Culture: Japan. Dimensions: 12 3/4 in. × 16 ft. 1 1/4 in. (32.4 × 490.9 cm). Date: 17th-18th century. Museum: Metropolitan Museum of Art, New York, USA. Author: Kano Tsunenobu.

Spider Spinning ItsWeb. Artist: Luo Ping, Chinese, 1733-1799

Ave pescando semi-sumergida en el agua. Museum: FREE LIBRARY PHILADELPH EEUU.

Poets Gathering in the Orchid Pavilion. Artist: Qian Gong. Culture: China. Dimensions: 13 1/2 x 182 1/4 in. (34.3 x 462.9 cm). Date: dated 1607. Museum: Metropolitan Museum of Art, New York, USA.

Drums on the river; Huang, Shen (1687- Post 1768); XIX-XX century (1800-00-00-1900-00-00);

Fireboard American ca. 1820 Used for food preparation and warmth, the hearth was the focal point of many eighteenth- and nineteenth-century American homes. When not in use during the summer months, the fireplace was often covered and sealed with a panel known as a fireboard. These practical objects were often elaborately decorated with flowering vines, vegetable motifs, stylized landscapes, and town centers. Here the unidentified artist rendered each leaf of the weeping willow trees with lyrical brushstrokes suggesting movement. Weeping willows were traditional symbols of grief and mourning. The red and green floral garland around the fireboards border was likely painted using a stencil design. Two slits at the bottom of the wood panel allowed for andirons to fit into the fireplace. The background is painted a rich mustard color. While the maker of this fireboard remains unidentified, several early American artists are known to have made ornamental fireboards including Winthrop Chandle

Chrysanthemums 1780-1784 Japan. Color woodblock print; surimono . Katsukawa Shunsho

Rolschildering.Vertical shield painting with birds. In wooden box.

Mustard Plant and Butterflies. China, Chinese, Early or middle Ming dynasty, about 1368-1550. Paintings. Hanging scroll, ink and color on silk

Tokyo, Izumiya Ichibei (Kansendo), Japan, Shunsen, Katsukawa, Women by a Lake, under print - stamped, Three women by a canopy on the shore of a lake; two women sitting on a bundle of brushwood, the third suckling a child; by the lake two oxen sleeping under a rope to which is attached a swinging basket., print, engraving, prints, engravings, Japan (collection), height 263 mm, width 392 mm, Japanese, print maker, printmaker, 1820 - 1830, first quarter 19th century, second quarter 19th century, paper, nishiki-e, colour woodcut, blind stamping, Publication (Event), Publication, publisher

Studies of Traditional Trees and Rocks, c. 1610, Dong Qichang, Chinese, 1555 - 1636, 213 1/16 x 12 1/16 in. (541.18 x 30.64 cm) (image), Ink on silk, China, 17th century, This rare handscroll, depicting various types of traditional trees and rocks, was painted by the great artist Dong Qichang (1555-1636). The work was intended for studio use as a type of sourcebook for Dongs personal style of depicting trees and rocks, which he blended from the styles of previous masters. Sketchbooks, scrolls such as this, and printed manuals were commonly used as reference materials and teaching devices in Chinese painting workshops. This particular scroll was once in the possession of the literati artist Chen Jiru (1558-1639), a close friend and follower of Dong Qichang. Chens inscription reads

The Studious Woodcutter Zhu Maichen. Date: 16th century. Origin: China. Period: Ming dynasty. Hanging scroll mounted on panel; ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

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

Album of Calligraphy and Paintings, 18th Century. Bian Shoumin (Chinese, 1684-1752). Album leaf; ink and color on paper; overall: 18.5 x 27.5 cm (7 5/16 x 10 13/16 in.). The artist Bian Shoumin is known for his depiction of wild geese, water, and reeds. The migrant birds in autumn and winter evoked, in the minds of the Chinese intelligentsia, a time of parting and sorrow.

Summer Night; Winter Day, 1784. Maruyama Ōkyo (Japanese, 1733-1795). Pair of six-panel folding screens, ink, gold, and silver on paper; overall: 154 x 362 cm (60 5/8 x 142 1/2 in.). kyo painted these panoramas in the summer of 1784. Regarded as Kyoto's most important painting teacher and accomplished artist, he had studied Western painting techniques, "realistic" sketching from nature, and traditional Japanese style painting (yamato-e). The naturalistic quality of these scenes results from a blend of detailed observation of nature and a remote, even detached regard for man's place in the world.

Rock and Bamboo 18th century Yanagisawa Kien This simple composition of a stand of bamboo bending over an angular, faceted rock is the work of Yanagisawa Kien, who created numerous paintings of bamboo, flowers-and-birds, and other subjects popular among artists of the early Nanga school. The bamboo was a favored motif among painters as a symbol of scholarly virtue and fortitude. Here, the monumental (in spite of its size) configuration of the rock, and the fluid, rhythmic handling of the brush in the treatment of the bamboo leaves, along with variations in the ink tones, suggest that the artist studied images from Chinese painting manuals introduced into Japan in the late seventeenth and eighteenth century. Yanagisawa Kien, who frequently used the Chinese-sounding” name Ry? Riky?, played an important role among early Nanga-school painters. He provided encouragement to aspiring artists like Ike Taiga (1723-1776), who would become a great master in the Nanga movement. He was also a man

Procession of Insects 19th century Nishiyama Kan'ei. Procession of Insects. Nishiyama Kan'ei (Japanese, 1834-1897). Japan. 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Streams and Mountains without End Dated 1611-12 Zhao Zuo Chinese A close friend and follower of Dong Qichang (1555-1636), Zhao Zuo is said to have served occasionally as Dong's "substitute brush," or ghost painter. In this scroll, however, Zhao has followed the manner of the Yuan master Huang Gongwang (1269-1354) to create a lyrically realistic landscape in which Dong Qichang's influence is tempered by the deft use of rich washes and color. Abstract mountain forms, no doubt inspired by Dong, are softened by the painter's skillful evocation of spatial recession and hazy atmosphere. It is precisely the "professional" technical excellence and "sweetness" that distinguish Zhao's imitations from Dong's authentic works.. Streams and Mountains without End 48966

Flowers of the Four Seasons, early 19th century, Saitō Ippo, Japanese, 19th century, 36 3/4 × 94 1/8 in. (93.35 × 239.08 cm) (image)37 7/8 × 95 1/2 × 9/16 in. (96.2 × 242.57 × 1.43 cm), Ink and color on gold leaf, Japan, 19th century, On this single six-panel screen, the flowers of the four seasons bloom in confused disarray. The rightmost panel starts with spring flowers: dandelions, violets, nanohana, white camellias, then plum. At about the center of the screen, irises, hydrangea, hollyhocks, peonies, hibiscus, and morning glories represent summer. The leftmost panel shows autumn and winter with chrysanthemums, bush clover, and arrowroot, thus including and gathering together representative flowers of each of the four seasons.

Insects and Bamboo, 1200s. China, Southern Song dynasty (1127-1279). Album leaf, ink and light color on silk; image: 23.8 x 25.6 cm (9 3/8 x 10 1/16 in.).

Waiting for the Ferry. Origin: China. Date: 13th century. Ink and color on silk. Period: Southern Song dynasty. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

A Solitary Temple Amid Clearing Peaks. Date/Period: 960 - 1127. Painting. Hanging scroll, ink and slight color on silk Hanging scroll, ink and slight color on silk. Height: 1,117.60 mm (44 in); Width: 559.05 mm (22 in). Author: Li Cheng.

Scholar Viewing aLandscape

Peony and Bamboo ca. 1768 Ike (Tokuyama) Gyokuran Tokuyama Gyokuran was introduced to the world of the literati early in life. Her mother and adopted mother were both noted poets in Kyoto and were close to the early nanga artist Yanagisawa Kien (1704-1758), a painting teacher to Ike Taiga, whom Gyokuran later married in the early 1750s. Although she began painting well before her marriage, Taigas influence is apparent here in the technique used to create the broad, trailing contour line of the rock and the pointed bamboo leaves. Based on what is known of her stylistic development, this work is dated to around 1768.. Peony and Bamboo. Ike (Tokuyama) Gyokuran (Japanese, 1728-1784). Japan. ca. 1768. Hanging scroll; ink and color on paper. Edo period (1615-1868). Paintings

Song of the Lute 1585 Ding Yunpeng Chinese On a chilly autumn evening in A.D. 816, the poet Bai Juyi was seeing a friend off at a ferry stop when he heard the sound of a lute drifting across the water. Following the music, he came to a boat where an aging courtesan sat issuing her plaintive song across the darkening river. Moved by the melancholy dignity of the scene, Bai wrote Song of the Lute” in honor of the courtesan. In this rendering of the famous poem, the only indication of night is the candle between Bai and his friend as they sit in their boat, transfixed by the beauty of the song.. Song of the Lute. Ding Yunpeng (Chinese, 1547-ca. 1628). China. 1585. Hanging scroll; ink and color on paper. late Ming dynasty (1368-1644). Paintings

Cranes. Soga Shōhaku (Japan, 1730-1781). Japan, circa 1765-1770. Paintings; screens. One from a pair of six-panel screens; ink on paper

Piece Japan 19th century

Dragon. Artist: After Muqi (Chinese, active ca. 1250-80). Culture: China. Dimensions: 31 11/16 x 15 7/8 in. (80.5 x 40.3 cm). Date: 14th century. Museum: Metropolitan Museum of Art, New York, USA.

Scenes from the Tales of Ise (Ise monogatari). Culture: Japan. Dimensions: Image (each): 36 11/16 in. × 8 ft. 7 1/4 in. (93.2 × 262.2 cm). Date: first half of the 17th century.Most versions of the tenth-century Tales of Ise comprise 125 uta monogatari, or short tales accompanied by poems. In this pair of early seventeenth-century screens, eight poems have been selected from the tale and inscribed within the gold of the clouds and ground. Each poemtale begins with a brief prose passage that sets up an exchange of waka (poems of 31 syllables) between the aristocratic hero Ariwara no Narihira (825-880) and, for the most part, the numerous women with whom he is romantically involved. (Not all his interlocutors are love interests; his friends and other female characters figure in the tales as well.) The poems reflect upon the famous places and beguiling scenery that Narihira encounters during his travels, thus appealing to the tastes of the cultivated elite. The Tales of Ise has remained i

Pine-Scented Wind, the Harmony of a Lute 1752 Japan. Ink and colors on silk; hanging scroll . Ko Fuyo

Landscapes. Morikawa Sōbun (Japan, 1847-1902)Kawabata Gyokushō (1842-1913)Watanabe Seitei (Japan, 1851-1918)Tomioka Tessai (Japan, 1836-1924)Maekawa Bunrei (Japan, 1837-1917)Utsumi Kichidō (Japan, 1850-1925)Matsumoto Fūko (Japan, 1840-1923)Imao Keinen (Japan, 1845-1924)Tanomura Chokunyū (Japan, 1814-1907)Suzuki Shōnen (Japan, 1849-1918)Hada Gesshū (Japan, 1841-)Mochizuki Gyokusen (Japan, 1834-1913). Japan, Meiji period (1868-1912). Paintings; screens. Pair of six-panel screens; ink and color on silk

Nine-Dragon Falls, late 1800s. Han Unpyeong (Korean). Ink and color on paper; overall: 71 x 40.7 cm (27 15/16 x 16 in.); painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in.).

Liu Chen and Ruan Zhao Entering the Tiantai Mountains. Artist: Zhao Cangyun (Chinese, active late 13th-early 14th century). Culture: China. Dimensions: Image: 8 7/8 in. x 18 ft. 5 in. (22.5 cm x 564 cm).Painted by a member of the Song royal family who lived through the Mongol conquest, this handscroll, which revives the monochrome drawing style of the scholar-artist Li Gonglin (ca. 1041-1106), chronicles the legend of two men of the Han dynasty who stumble upon a magical realm of immortals. Returning home after what seemed like half a year, they discover that seven generations have come and gone and that they are alone in the world. The men's loss of home and paradise evokes the disorientation and alienation felt by many of the Chinese elite following the fall of the Song dynasty in 1279.What little we know of the artist is contained in the colophons mounted after the painting. The first, by Hua Youwu (1307-after 1386), describes Zhao Cangyun as an artist known for "boneless" (withou

Esanatoglia (Italia, Marche - provincia di Macerata), Municipio (antico palazzo dei Duchi di Camerino, i Da Varano). Sala consiliare, ciclo di affreschi con soggetto "cortese", databile alla seconda metà del XV secolo, autore ignoto

Poem-card from the Shinkokin wakashu (New Collection of Japanese Poems from Ancient and Modern Times) with Design of Pine on a Beach, 1606. Hon'ami Kōetsu (Japanese, 1558-1637), Tawaraya Sōtatsu (Japanese, c. 1570-c. 1640). Card mounted on a hanging scroll; gold, silver, and ink on paper; overall: 132.1 x 43.2 cm (52 x 17 in.); painting only: 20 x 17.4 cm (7 7/8 x 6 7/8 in.).

Matka Boska z Dzieciątkiem stojąca (drugie malowidło z niszy w narteksie). unknown, painter

Japan, Shitakage, Tsukinoya, Utagaki Magao, Yomo no, Hokusai, Katsushika, Genroku kasen kaiawase, A comparison of Genroku poems and shells, Murasakigai, The purple shell, verso - stamped, Two groups of fishermen pull a whale onto dry land. The location is the village of Katase, opposite Enoshima Island. The shell to which the title refers is depicted in the fan-shaped cartouche. With two poems., surimono, prints, Japan (collection), passe-partout, lower left - printed, height 192 mm, width 174 mm, 1760-10-12 - 1849-05-10, print maker, printmaker, 1821 - 1821, first quarter 19th century, paper, colour woodcut, Japanese, 1753 - 1829, poet

Artist: Tosa School, Japanese, Yūgiri (EveningMist), ca.1630s, Album leaf: ink, color, and gold pigment and gold leaves on paper, image: 11 13/16 × 9 15/16 in. (30 × 25.2cm), Japan, Japanese, early Edo period(1615-1868), Paintings

A Beauty at the Window by a Wutong Tree. Artist: Yu Ming (Chinese, 1884-1935). Culture: China. Dimensions: 7 1/2 x 21 7/16 in. (19.1 x 54.5 cm). Date: dated 1923. Museum: Metropolitan Museum of Art, New York, USA.

Spiny Lobster, late 18th century, Itō Jakuchū, Japanese, 1716 - 1800, 39 1/8 x 11 1/2 in. (99.38 x 29.21 cm) (image)70 x 12 7/8 in. (177.8 x 32.7 cm) (sheet), Ink on paper, Japan, 18th century

Two women under a willow tree. Color on silk. Origin: Japan. Period: Edo period. Date: 1726-1792. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

The march in the landscape -"Chao Wen Jün goes to Mongolia"; 19th century (1801-00-00-1900-00-00);Chinese (culture), coil painting, landscapes, Chinese art, scrolls, horizontal scrolls

Old Plum 1646 Kano Sansetsu Japanese The massive black trunk of an ancient plum tree with bending, twisting branches spans nearly sixteen feet across four sliding panels. The reptilian old tree sprouts blossoms, which convey the atmosphere of a cold early spring morning and symbolize birth and renewal. These panels originally formed one wall of a room in the Tenshin, a subtemple of Myshinji, a Zen temple in Kyoto. During the 1880s, they were sold to a private collector and trimmed at the top to conform to the smaller dimensions of his home. On the reverse of these panels was a composition depicting the Chinese theme of the Eight Daoist Immortals, which formed a wall in the adjacent room. This composition was later separated and remounted, and it is now in the Minneapolis Institute of Arts. Listen to experts illuminate this artwork's story Listen Play or pause #8880. The Old Plum Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at

Painting depicting Japan's invasion of Korea in 16th Century

Jakuchū Picture Album ca. 1900 Itō Jakuchū Japanese. Jakuchū Picture Album. Itō Jakuchū (Japanese, 1716-1800). Japan. ca. 1900. Set of two woodblock printed books (orihon, accordion-style); ink on paper. Meiji period (1868-1912). Illustrated Books

Landscape painting by Hans Bol depicting Hagar and the angel, using tempera and gouache with gold highlights on parchment, showing figures within natural and architectural elements.

Scene from The Kōrin Picture Book (Volume 1), 1800s. Nakamura Hōchū (Japanese, d. 1819). Color woodblock printed book; Ogata Korin (1658-1716) was one of the most admired artists of Rimpa, or "decorative school painting." These books by the charming later-generation Rimpa artist Hochu record Korin's inventive designs.

Fans upon Waves mid-17th century Japan Wave-based imagery and designs, popular among painters of the Rinpa school, are here combined with another favorite image, the folding fan (ōgi). A screen ornamented with fans acted as a sort of miniature museum where many works of art could be viewed at once. The fans often appeared against a background of flowing water, a type of imagery that may have evolved from the medieval custom of casting fans into the water to float upon the surface. Screens painted with the fans-and-stream motif, known as fans afloat” (senmen nagashi), were often installed in shogunal residences and may have derived from a tale about a Muromachi-period shogun who accidentally dropped a fan from a bridge.. Fans upon Waves 48922

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

Poem papers and roses. Origin: Japan. Period: Edo period. Date: 1615-1868. Color and ink over gold on paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Flowers and Poems, first half 19th century, Yoda Chikkoku; Artist: Yamamoto Suiun; Artist: Yamamoto Shōtō; Artist: Ōkubo Shibutsu; Artist: Magata Dairei; Artist: Kameda Bōsai, Japanese, 1752 - 1826, 38 11/16 × 12 13/16 in. (98.27 × 32.54 cm) (image)69 13/16 × 17 15/16 in. (177.32 × 45.56 cm) (mount, without roller ), Ink and color on silk, Japan, 19th century

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