Traditional Japanese Art

Prints showcasing intricate Japanese woodblock art, depicting poetic scenes, nature, and cultural elements from historical Japan, highlighting delicate colors and forms.

Two men, possibly actors, Ki, Baitei, 1734-1810, artist, between 1760 and 1810, 1 drawing : wash, color ; 28 x 22.3 cm (sheet)

Matsu no hora no takasago no jo to uba, Tagasago couple in the hollow of a pine tree., Katsushika, Hokusai, 1760-1849, artist, 1811., 1 print : woodcut, color ; 19.2 x 17.4 cm., Print shows an elderly couple in a decayed hollow of a pine tree.

Writing table of the poet, Yashima Gakutei, 1822 A framed calligraphy supports a writing table on which a stack of books, a painting with bamboo, a pot with peacock springs and a writing box. Books, a lacquer box and a whistle wrapped in canvas under the table. The calligraphy reads 'Tôjuen' what the new name of the poet Yôjuen Kamikomaru is. With two poems. Japan paper color woodcut

Twelve Chicks (Each with Characters for the "Long" or "Short" Months) Egoyomi (Picture Calendar) Chôsui Yabu (Japanese, active 1830-1864). , 1861 (Year of the Cock). Woodblock print; horizontal Chûban yoko-e format, 7 1/8 x 9 3/4 in. (18.1 x 24.8 cm). Asian Art 1861 (Year of the Cock)

Two men, possibly actors, Ki, Baitei, 1734-1810, artist, between 1760 and 1810, 1 drawing : wash, color ; 28 x 22.3 cm (sheet)

Writing table from the poet. A framed calligraphy is based against a writing table on which a stack of books, a painting with bamboo, a pot with peacock feathers and a writing box. Below the table Meer books, a lacquer box and a flute wrapped in cloth. The calligraphy reads 'tôjuen' what the new name of the poet Yôjuen Kamikomaru is. With two poems.

Treasures of Tdaiji Temple: Duck-feather Screen; Relics of Kumano Shrine: Monkey-mask Inkstone

Candy rice balls, utagawa kunisada (i), c. 1820 - c. 1830 Branches with candy rice balls. With three poems. paper color woodcut

Two Children by a Well Curb 1796, year of the dragon Kubo Shunman Japanese This is an early example of a surimono in the shikishiban (square) format. Surimono with these proportions did not become popular until the 1810s.. Two Children by a Well Curb. Kubo Shunman (Japanese, 1757-1820). Japan. 1796, year of the dragon. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Plucking Chrysanthemums dated 1658 After Zhang Feng Chinese This painting is a copy of a work by the writer-artist Zhang Feng. The original, a birthday gift for a friend, was executed on the eve of the Double Ninth Festivalthe ninth day of the ninth lunar monthwhen tradition called for ascending the heights and drinking chrysanthemum wine. Zhang's subject matter was undoubtedly inspired by the occasion, but it also pays tribute to the poet Tao Qian (365-427), who was renowned both for his rejection of an official position and for his love of chrysanthemums and wine. He depicts the chrysanthemum's most famous admirer enjoying the bouquet of a plant that has grown in the company of rocks and bamboosymbols of a life in reclusion, which, on a different level, can be construed as congratulatory wishes for long life. Zhang's two poems read:In the light rain of this clear autumn,Today is your birthday.With the Double Ninth Festival just around the corner,I should first search out a chrysan

Deer, fish, biwa, sack and other attributes of the seven gods of fortune Keigaku, harada (FL. 1850 60)

Landscapes, Figures, and Flowers. Artist: Chen Hongshou (Chinese, 1598-1652). Culture: China. Dimensions: Image: 8 3/4 × 3 5/8 in. (22.2 × 9.2 cm)Inscription: 8 3/4 × 3 5/8 in. (22.2 × 9.2 cm). Date: dated 1618-1622.This exquisite album, done when Chen Hongshou was between twenty and twenty-four, exhibits a broad range of subject matter and an extraordinarily fastidious brush style that attest to his reputation as a youthful prodigy. Not long after the album was completed, the noted connoisseur and artist Chen Jiru added his critical comments opposite several of the leaves in the album, a further confirmation of Chen Hongshou's recognition among his contemporaries.In the first leaf, the bleak scene of an untended garden presents a powerful image of the decay infecting late Ming society just twenty-five years before the dynasty was toppled by the Manchus. In his accompanying inscription Chen asks, "Does anybody notice" In subsequent leaves, Chen's evocations of Li Gonglin's (ca. 1041-11

Tao Yuanming and the Hut by ThreeWillows. Artist: Yashima Gakutei, Japanese, ca. 1786-1868

Sea of the Arts - Number seven, 1896 book Number seven of 1896; cover on which river landscape with autumn leaves; Inside cover, autumn leaves; 11 sheets: 10 sheets with pattern designs for textiles, of which on the first page drying colored sheets; one magazine, advertisements; Last sheet, Colophon. paper color woodcut

Tortoise Has New Year's Dream of Crane and Pine Kôbun Yoshimura (Japanese, 1793-1863). , 1854. Woodblock print; horizontal Chûban yoko-e format, 7 3/8 x 9 3/4 in. (18.7 x 24.8 cm). Asian Art 1854

Woman Reading at a Table. Katsushika Hokusai (attributed to) (飾北斎) (Japan, 1760-1849). circa 1800. Prints; woodblocks. Color woodblock print; surimono

Scholars accoutrements with peacock feathers and a standing screen with Chinese-style landscape painting. Artist: Sekk?, Japanese, active 1800-1820

Granaatappel, Miyake Eisai, c. 1850 - c. 1860 print A Shijô style Surimono of a pomegranate with branches and two butterflies on a stick with poems. paper color woodcut fruits: pomegranate. insects: butterfly

A Porcelain Pot and Folded Paper, 1809 print A blue and white porcelain pot and gold-colored paper, which probably contains incense. There is probably sand in the pot to put the incense. The print is dated 'the early spring of the year of the snake' (1809), and printed on crepe paper. With one poem. paper color woodcut container of ceramics: jar, jug, pot, vase. paper (writing material)

Landscapes with Poems. Artist: Gong Xian (Chinese, 1619-1689). Culture: China. Dimensions: 10 13/16 x 14 1/16in. (27.5 x 35.7cm)Overall with mounting: 16 1/8 x 22 7/8in. (41 x 58.1cm)painting/calligraphy: 13 15/16 x 20 9/16in. (35.4 x 52.2cm). Date: 1688.In this album of painting and poetry, made one year before his death, Gong Xian exhibits a luminous self-confidence and contentment. The hermit's favorite haunts in and around Nanjing are compared to the abodes of the immortals. As an art teacher and the author of several manuals on painting, Gong perfected an ink-wash and dotting technique that enabled him to achieve both incredible density and translucency. In these remarkable works, Gong attains new heights in painting simultaneously with words and images. Museum: Metropolitan Museum of Art, New York, USA.

Six Wine Cups. Artist: Unidentified Artist. Culture: Japan. Dimensions: 3 15/16 x 5 3/8 in. (10 x 13.7 cm). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Cherry Flowers 19th century Kikuchi Ysai Japanese. Cherry Flowers. Kikuchi Ysai (Japanese, 1781-1878). Japan. 19th century. Woodblock print (surimono); ink and color on paper. Edo period (1615-1868). Prints

Hotei with a Child. Artist: Ono Otsu (Japanese, 1568-ca. 1631). Culture: Japan. Dimensions: Image: 24 5/8 × 16 1/16 in. (62.6 × 40.8 cm)Overall with mounting: 68 1/2 × 21 9/16 in. (174 × 54.7 cm)Overall with knobs: 68 1/2 × 23 11/16 in. (174 × 60.2 cm). Date: 1624. Museum: Metropolitan Museum of Art, New York, USA.

Scene from a Play. Artist: Katsukawa Shunsho (Japanese, 1726-1792). Culture: Japan. Dimensions: H. 9 3/4 in. (24.8 cm); W. 13 1/2 in. (34.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Immortal Rock, 1878, Wang Yin, Chinese, 1829 - 1892, 52 1/2 x 19 1/16 in. (133.35 x 48.42 cm) (image)75 13/16 x 24 1/2 in. (192.56 x 62.23 cm) (without roller), Ink on satin, China, 19th century, Wang Yin was born in NanJing, Jiangsu province but worked primarily in Shanghai. Although a professional artist he espoused literati values and published manuals on plum, orchid, bamboo and rock painting. This classic taihu garden rock represents the Daoist embodiment of changefulness; its rhythmic form is pierced through with holes large and small suggesting the rigors and erosion of time. The inscription by Wang reads

Chinese C18 woodcut: External medicine - Scrofula

Young Pine Tree and the Handle of a Plow. Artist: Ryuryukyo Shinsai (Japanese, active ca. 1799-1823). Culture: Japan. Dimensions: 3 1/2 x 7 1/8 in. (8.9 x 18.1 cm). Date: 19th century. 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

Kakegawa, section of sheet no 7 from the series Cutout Pictures of the Tokaido Road (Tokaido harimaze zue) 1843-1857 Japan. Color woodblock print; section of harimaze sheet (uncut sheet 1939.1299) . Utagawa Hiroshige

The not yet opened red Mikaibeni (title on object) A series for the Hanazono poetry association (series title) Hanazono bantsuzuki (series title on object), Folded ceremonial robe of brocade and a court hat (eboshi) on a standard. Next to it plum blossom against a green background. With three poems., Totoya Hokkei (mentioned on object), Japan, 1820 - 1825, paper, polishing, w 178 mm × h 201 mm

Cock Eyeing a Free-standing Screen Painted with Cock, Hen, and Chicks, from Spring Rain Surimono Album (Harusame surimono-jō), vol. 1 probably 1813 Yanagawa Shigenobu Japanese Surimono are privately published woodblock prints, usually commissioned by poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.This album belongs to a set of three compiled by Hayashi Tadamasa, the great Parisian dealer of Japanese art. Hayashi arranged the more than four hundred prints in the set on facing leaves according to themes, or in a way that created an attractive arrangement of designs, complementary in both color and shape. The pigments, printing techniques, and pap

Prince Genji with a Courty Lady; Three Gentlemen or Japanese literature. Prince Genji and a chaman belt do inspired inspiration, sitting on a veranda and overlooking a garden in the spring. From the complete series of three surimonos with one of the 'three gentlemen of the Japanese literature' in the presence of a lady.

Chidori-gai, itaya-gai, awabi, utsuse-gai, asari-gai, and monoara-gai, from the illustrated book "Gifts from the Ebb Tide (Shiohi no tsuto)". Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1789. Dimensions: . Color woodblock print; double-page illustration from book. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The Actors Matsumoto Koshiro II as Kumasaka Chohan, Ichimura Kamezo I as Ise no Saburo, and Sanogawa Ichimatsu I as Ushiwakamaru in the play "Hatsu Tora Kurama Genji," performed at the Ichimura Theater in the first month, 1749. Torii Kiyonobu II; Japanese, active c. 1725-61. Date: 1749. Dimensions: 31.4 x 15 cm (12 3/8 x 5 15/16 in.). Color woodblock print; hosoban, benizuri-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Landscape and Poems from an Album the Three Perfections Jiang Shijie (Chinese, 1647-1709). Landscape and Poems from an Album the Three Perfections, late 17th century. Ink on paper, 11 x 17 1/2 in. (27.9 x 44.5 cm). The three poems accompanying this simple scene express Jiang Shijies mourning for the Ming dynasty (defeated by the Manchus in 1644), his parting from a friend, and a return home at sunset after a leisurely drinking party. The verses infuse the image of a weeping willow and empty pavilion with a nostalgia that ranges in intensity from deep regret to light-hearted memories of a good time just past. Asian Art late 17th century

Bamboo and Sparrows ca. 1840 Utagawa Hiroshige Japanese. Bamboo and Sparrows. Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Japan. ca. 1840. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

De Courtisane Suminoto UIT HET OKANAYA, Isoda KôRYûsai, 1778-1782 The Courtisane Suminoto is brushing her teeth in front of a mirror, while her shinzo (Courtsane in training) is combing her hair and watch her Kamuro (youngest help from a Courtisane). print maker: Japanpublisher: Tokyo paper color woodcut The Courtisane Suminoto is brushing her teeth in front of a mirror, while her shinzo (Courtsane in training) is combing her hair and watch her Kamuro (youngest help from a Courtisane). print maker: Japanpublisher: Tokyo paper color woodcut

Falconer with Attendant Shûtei Tanaka (Japanese, 1810-1858). Falconer with Attendant, ca. 1850. Color woodblock print on paper, 6 15/16 x 9 1/2 in. (17.7 x 24.1 cm). Asian Art ca. 1850

Camellia and Bird ca. 1833 Utagawa Hiroshige Japanese. Camellia and Bird 36719

Woman Chopping Seaweed, Hasegawa Settan, 1810 print A woman, squatting next to a plank that rests on two buckets, cuts seaweed with two knives. A sleeping child on her back. Made for the new year of the horse. paper color woodcut preparation of food. adult woman. tools, aids, implements ~ crafts and industries: knife

"Convenience in Drawing Water" from Juben (Ten Conveniences); "Pleasure of Dawn" from Jugi (Ten Pleasures). Artist: Totoki Baigai (Japanese, 1749-1804). Culture: Japan. Dimensions: Image (each leaf): 7 3/8 × 7 5/8 in. (18.8 × 19.4 cm)Each album: 9 5/16 × 8 11/16 × 15/16 in. (23.6 × 22 × 2.4 cm). Date: 1800. Museum: Metropolitan Museum of Art, New York, USA.

Reverberations of Taiga, Volume 1 (leaf 10), 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.

Mirror With the Design of a Nine-Tailed Fox. Artist: Harukawa Goshichi (Japanese, 1776-1831). Culture: Japan. Dimensions: 8 9/16 x 7 7/16 in. (21.7 x 18.9 cm).The kyoka ("mad poem") by Tsurunoya reads:Kumori naki I shoma no Kagami I kage susa wa I Dakki no shaku no I kyubi saki kamoReferring to the legend of the manipulative and provoking Dafei, favorite concubine of King Zhou of the Shang dynasty, this poem asks: May not the tips of nine tails reflected in an unspotted mirror be the Nine-Tailed FoxSurimono were privately commissioned prints for special occasions, such as New Year's. Both an unstained mirror and this magical animal are auspicious New Year's omens. Museum: Metropolitan Museum of Art, New York, USA.

Fan on wooden support, kitagawa utamaro, 1796 A fan with the image of a dragon between the clouds hangs open on a wooden support. The ribs of the fan varying in length indicate the long and short months for the new year of the Draak (1796). Japan paper color woodcut fan

Japanese White-eye and Titmouse on a Camellia Branch. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 10 7/32 x 7 7/32 in. (26.0 x 18.4 cm). Date: ca. 1840.Hito mushiro chiru ya hikage no aka tsubakiAbove a single straw mat, fluttering in the sunlight-- red camellia blossoms.--Trans. John T. Carpenter. Museum: Metropolitan Museum of Art, New York, USA.

Camellia and Bird. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 8 27/32 x 6 3/8 in. (22.5 x 16.2 cm). Date: ca. 1833. Museum: Metropolitan Museum of Art, New York, USA.

Treasures of the River, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 9 3/8 × 9 1/8 in. (23.81 × 23.18 cm) (image)30 1/2 × 11 5/16 in. (77.47 × 28.73 cm) (mount, without roller), Ink on paper, Japan, 19th century

A hundred designs - Part three, 1910 book Leporelloalbum; Cover with image of three birds in bamboo branches; 27 magazines: first page, introduction; 38 Images of mainly flowers and plants; Last page, Colophon. paper color woodcut

Banana Plant by a GardenRock. Artist: Li Shan, Chinese, 1686-1760

Album, late 18th century-early 20th century, Nakai Chikuzan; Artist: Kan Chazan; Artist: Tachihara Kyōsho; Artist: Shinozaki Shōchiku; Artist: Kikuchi Gozan; Artist: Yanagawa Seigan; Artist: Maki Ryōko; Artist: Kameda Ryōrai; Artist: Yamanaka Shinten'ō; Artist: Tanomura Chokunyū; Artist: Taigadō Teiryo, Japanese, 1822 - 1885, 11 7/8 × 8 5/16 × 7/8 in. (30.16 × 21.11 × 2.22 cm), Ink on paper and silk, Japan, 18th-20th century

New Year's Scene. Japan, Edo period (1615-1868). Color woodblock print; sheet: 19.4 x 16 cm (7 5/8 x 6 5/16 in.).

Crab and Rice Plant. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 5 1/8 x 7 3/16 in. (13 x 18.3 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Album of Miscellaneous Subjects, Leaf 9, early 1650s. Fan Qi (Chinese, 1616-aft 1694). Album leaf, ink and color on silk; image: 12.6 x 17.3 cm (4 15/16 x 6 13/16 in.); overall: 21 x 22 cm (8 1/4 x 8 11/16 in.).

Toukibi or corn, Zea mays. Handcoloured woodblock print by Kono Bairei from Senshu no Hana (One Thousand Varieties of Flowers), Bunkyudo, Kyoto, 1900.

Shell. A shell is over a blossom branch. With Japanese text.

One of the Sanjurokkasen, Album Leaf Painting One of the Sanjurokkasen, Album Leaf Painting, 17th century. Album leaf, ink and color on paper, 12 x 9 in. (30.5 x 22.9 cm). Asian Art 17th century

The Flower Shells, from the series Genroku Poem-Shell MatchingGame. Artist: Katsushika Hokusai, Japanese, 1760-1849

Dust designs - part 15; Seiei - Jugo. Leporellolatbum; Orange cover with the title in silver; inside cover and first page, table of contents; Ten designs of each two pages, by ten different artists; Last page, colophon.

Kakemono of Monkey, Wine Cup and Potted Plants. Artist: Keisai Eisen (Japanese, 1790-1848). Culture: Japan. Dimensions: 7 3/4 x 6 9/16 in. (19.7 x 16.7 cm). Date: probably 1812. Museum: Metropolitan Museum of Art, New York, USA.

The actor Iwai Shijaku as Hisamatsu. Donation Gerhard Schack

God of Kiyomasa , 18th century. Woodblock print, 10 3/8 x 4 in. Ed Wiener was an important New York modernist jeweler who had a store named "Arts and Ends" on West Fifty-fifth Street. The store's proximity to the Museum of Modern Art was perhaps not accidental: Kramer's jewelry was especially responsive to the art of such important modern masters as Alexander Archipenko, Pablo Picasso and Alexander Calder. Kramer claimed, however, that the main influence on his work was jazz, and he often used musical metaphors when speaking of his designs. Asian Art 18th century

Chen Hongshou (1598 - 1652), courtesy name Zhanghou and pseudonym Laolian, was a Chinese painter from Zhuji who lived during the late Ming Dynasty era. Chen trained under the famed artist Lan Ying, and developed a plump and profound brushwork style that lent itself to illustrations and tapestry portraits. Chen Zi (1634 - 1713), also from Zhuji, was the son of Chen Hongshou and a renowned artist in his own right.

Box for Sugoroku Game (A Kind of Backgammon), Bow and Drum. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/4 x 7 1/4 in. (21 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Mice and radish. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1840-1849. Dimensions: 22.8 x 16.7 cm (9 x 6 1/2 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Twenty-four Japanese examples of filial piety for the Honors (series title), A young man puts offering gifts on a table with images of his parents. The man is Tomo no Atai Ienushi, who, after the death of his parents, allegedly cut out their images and sacrificed four times a day. This story appears in the Shoku Nihonkôki, compiled in 869 and one of the Six National Historiographies of Japan. With one poem about the new year., Yashima Gakutei (mentioned on object), Japan, 1820 - 1825, paper, colour woodcut, h 202 mm × w 180 mm

Lobster Treasure Boat(Takarabune). Artist: Torii Kiyomitsu II, Japanese, 1787-1868

A Page from the Jie Zi Yuan Original painted by Hongren Chinese. A Page from the Jie Zi Yuan 63339

Textile fragment, Anonymous, 1741 - 1744 Textile fragment, pressure of two 'jewels' and petals on blue distance. Japan silk Textile fragment, pressure of two 'jewels' and petals on blue distance. Japan silk

A page from the Mustard Seed Garden Manual of Painting (Jieziyuan). Artist: In the Style of Guo Songzheng (Chinese); Original painted by Xiao Yuncong (Chinese, 1596-1673). Culture: China. Dimensions: 9 5/8 x 11 13/16 in. (24.4 x 30 cm). Museum: Metropolitan Museum of Art, New York, USA.

Young Woman Reading Tanzaku Tied to a Cherry Tree. Ishikawa Toyonobu; Japanese, 1711-1785. Date: 1736-1746. Dimensions: 50.7 x 18.1 cm (19 7/8 x 7 in.). Hand-colored woodblock print; kakemono-e, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Kingfisher and Iris, 1843, Utagawa Hiroshige, Japanese, 1797 - 1858, 13 3/8 × 4 3/8 in. (34 × 11.1 cm) (image, aitanzaku), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Pipe and Tobacco PouchFrom the Spring Rain Collection (Harusame shū), vol. 1 ca. 1810s Kubo Shunman Japanese Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one-syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.This album forms part of a set of three containing more than four hundred surimono. The prints are arranged on facing leaves according to themes or in a way that creates an attractive arrangement of designs, complementary in both color and shape. The printing techniques, pigments, and paper used for surimono were often the highest quality, and represent the epitome of late Edo-period woodblock printing.. Pi

Fragment textiel, anonymous, 1736 - 1740 Textile fragment, embroidery and pressure from trees and flowers on ocher -colored damask. Japan silk Textile fragment, embroidery and pressure from trees and flowers on ocher -colored damask. Japan silk

Puppies, Sparrows and Chrysanthemums, c. 1792-94. Nagasawa Rosetsu (Japanese, 1754-1799). Fusuma panels mounted as hanging scrolls; ink and slight color on paper; overall: 211.4 x 94 cm (83 1/4 x 37 in.); painted surface: 167.6 x 91.5 cm (66 x 36 in.). Rosetsu is regarded as one of the most versatile painters of 18th-century Japan. He studied in Kyoto, Japan's cultural capital, and enjoyed a successful career as an independent artist rather than as a more conservative "school" artist. Originally, these four paintings were mounted on the wall panels (fusuma) used to define room spaces in traditional Japanese interior settings. The light wood panels slide along grooves, allowing interior spaces to change with minimal effort. The round circular areas in the paintings' paper surfaces, each surrounded by a dark halo of embedded dirt and finger oils, indicate the location of the door "catches."

Poetry Contest by Various Artisans (Shokunin zukushi uta-awase) ca. 1744 After Tosa Mitsunobu Japanese. Poetry Contest by Various Artisans (Shokunin zukushi uta-awase). After Tosa Mitsunobu (Japanese, active ca. 1462-1525). Japan. ca. 1744. Woodblock printed book; ink on paper. Edo period (1615-1868). Illustrated Books

Textile fragment, print of chrysanthemums on beige background., anonymous, Japan, 1789 - 1801, Kansei period, silk, height 28.7 cm × width 18.8 cm

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.

Birth of the Buddha. Hanegawa Chincho; Japanese, 1679 ()-1754. Date: 1705-1715. Dimensions: 50.8 x 27.1 cm. Hand-colored woodblock print; vertical o-oban, tan-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA. Author: Hanegawa Chincho.

Doran (Square Leather Box Used as an Inro) with a Watch as a NetsukeFrom the Spring Rain Collection (Harusame shu), vol. 3. Artist: Hokusen Taigaku (Japanese, active 1805-1825). Culture: Japan. Dimensions: 5 9/16 x 7 1/4 in. (14.1 x 18.4 cm). Date: probably 1817.Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Year's greeting card. The poems, most commonly kyoka (witty thirty-one-syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.This album forms part of a set of three containing more than four hundred surimono. The prints are arranged on facing leaves according to themes or in a way that creates an attractive arrangement of designs, complementary in both color and shape. The pri

Water landscape with fisherman in a prahu. Draughtsman: anonymous. Dating: 1368 - 1644. Place: China. Measurements: h 272 mm × w 217 mm. Museum: Rijksmuseum, Amsterdam.

Zen -cliffy, chōon, 1628 - 1695 paper. ink calligraphy paper. ink calligraphy

Yushima, from the series A Comparison of Famous Things in the Eastern Capital (Toto meibutsu awase) 1806-1817 Japan. Color woodblock print; shikishiban, surimono . Hotei Gosei

Edo musashi abumi, Edo Musashi saddle stirrup., Totoya, Hokkei, 1780-1850, artist, between 1818 and 1830, 1 print : woodcut, color ; 20.8 x 18.5 cm., Print shows a saddle and stirrups.

Bamboo Shoot and Mushrooms, 1626, Zhen Yi, Chinese, c. 1573 - 1620, 22 11/16 x 11 9/16 in. (57.63 x 29.37 cm) (image)61 1/2 x 17 3/4 in. (156.21 x 45.09 cm) (overall, without roller), Ink on paper, China, 17th century, Zhen Yi, whose given name was 'Useless' (Wu Yong), came from Yangzhou. At first he studied the classics and Confucianism, but became a noted Hangzhou Buddhist monk. Steeped in Chan philosophy, he wrote both poetry and prose and was a skilled painter. Over sixty of his writings were published. This rare painting bears a short inscription by him

Poem in Varied Scripts, late 19th - early 20th century, Yatsuchi Kinzan, Japanese, 1849 - 1920, 22 5/16 × 12 5/8 in. (56.67 × 32.07 cm) (image)68 5/8 × 16 3/8 in. (174.31 × 41.59 cm) (mount, without roller), Ink on silk, Japan, 19th-20th century

Xylophone. Octogonal print from album with 39 prints.

Quatrain on Snow-covered West Lake. Artist: Emperor Lizong (Chinese, 1205-64, r. 1224-64). Culture: China. Dimensions: Image: 9 7/8 × 9 7/8 in. (25.1 × 25.1 cm)Mat: 15 1/2 × 14 1/2 in. (39.4 × 36.8 cm). Date: ca. 1250-60.This fan is not dated, but the style of the writing is very close to that of Lizong's inscription accompanying Landscape at Sunset (Nezu Museum, Tokyo), a painting by the court artist Ma Lin (active ca. 1180-after 1256) that is dated 1254. The poem probably describes the scenery around West Lake in Hangzhou, the capital of the Southern Song dynasty: On the lake, a bright frozen mist lingers;On the lake, brilliant sights beckon.From the pavilion, I gaze at the mountain peaks;The color of snow and a hazy vapor shine in mywinecup.(Wen C. Fong, trans., in Beyond Representation:Chinese Painting and Calligraphy, 8th-14th CenturyNew York: The Metropolitan Museum of Art,1992, p. 239). Museum: Metropolitan Museum of Art, New York, USA.

Hanging Scroll with Rock and Flowers. China, late 19th-early 20th century. Paintings. Ink and color on paper

Grasshopper and Morning-glory Vine. Artist: Designed by Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 14 1/4 x 5 in. (36.2 x 12.7 cm). Date: ca. 1835. Museum: Metropolitan Museum of Art, New York, USA. Author: Designed by Utagawa Hiroshige.

Evening Cicada, Higurashi; Spider, Kumo, from the Picture Book of Crawling Creatures (Ehon mushi erami). Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 10 1/2 x 7 7/32 in. (26.7 x 18.4 cm). Date: 1788.Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Juzaburo , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyoka poets of the day were invited to contribute. Museum: Metropolitan Museum of Art, New York, USA.

Miniature Album with Figures and Landscape (Three Men), 1822. Zeng Yandong (Chinese, c. 1751-1827). Album leaf, ink and color on paper; overall: 6.1 x 7.7 cm (2 3/8 x 3 1/16 in.).

Chinese woodcut: Abscesses -- 'Lotus Seed' abscess

History of Kamakura: Building Tsurugaoka Hachiman Shrine. Artist: Kubo Shunman (Japanese, 1757-1820) (). Culture: Japan. Dimensions: 8 1/16 x 7 1/4 in. (20.5 x 18.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Famous Products from Mountain and Sea vol. 4, 1754, Hasegawa Mitsunobu, Japanese, act. c.1720s-1750s, 9 7/8 x 7 x 3/16 in. (25.1 x 17.8 x 0.5 cm), Woodblock printed book; ink on paper, Japan, 18th century

Battledore, Shuttlecock, and Book Hanzan Matsukawa (Japanese, died 1882). , ca. 1860, Spring. Woodblock print; horizontal Chûban yoko-e format, 7 1/8 x 9 7/8 in. (18.1 x 25.1 cm). Asian Art ca. 1860, Spring

Blue bird and hibiscus. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 17.2 x 12.7 cm (14 7/8 x 5 in.). Color woodblock print; chutanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

One Hundred Paintings of the Ogata Lineage (Ogata ryu hyakuzu) 1892 Nakano Kimei Japanese. One Hundred Paintings of the Ogata Lineage (Ogata ryu hyakuzu). Nakano Kimei (Japanese, 1834-1892). Japan. 1892. Set of two Woodblock printed books; ink on paper. Meiji period (1868-1912). Illustrated Books

Collection of Famous Kyōka Poems Selected by Shakuyakutei 1839 Yanagawa Shigenobu Japanese. Collection of Famous Kyōka Poems Selected by Shakuyakutei. Yanagawa Shigenobu (Japanese, 1787-1832). Japan. 1839. Set of three woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

ÔShikôchi No Mitsune, 1845-1846 print Shiragikumaru with skull in his mouth, lifts a stone monument. Scene from a kabukitis piece. Poem by ôshikôchi no Mitsune. paper color woodcut (human) skull. monument, statue

Metal Wine Kettle with a Red Lacquer Sake Cup for the New Years Spiced Sake. Artist: Yashima Gakutei, Japanese, ca. 1786-1868

Zen painting and calligraphy, Yamamoto Chiya, 1772 - 1860 Portrait of DAKō. paper. ink calligraphy Portrait of DAKō. paper. ink calligraphy

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