Traditional Japanese Prints

Vibrant woodblock prints capturing scenes from Japanese culture, featuring courtesans and actors in detailed costumes, illustrating festive and theatrical life.

Noblewoman on the Dock, Japanese Prints

Tanzaku o motsu yujo, Courtesan holding a poem card (Tanzaku)., Katsushika, Hokumei, artist, between 1818 and 1830, 1 print : woodcut, color ; 21.3 x 18.5 cm., Print shows a courtesan seated with her back against a writing desk, holding a slip of paper (tanzaku) with a poem written on it.

Ichikawa Danjuro VII as Kokusenya Fights Tiger Surimono for Tsurunova Poetry Club of Osaka Utayoshi (active 1830-1835). , ca. 1831. Woodblock print; surimono, 8 9/16 x 7 1/4 in. (21.7 x 18.4 cm). Asian Art ca. 1831

Portrait of Emperor Go-Toba, attributed to Fujiwara no Nobuzane (1176 or ca 1177-1265), Japan. Japanese Civilisation, 13th century.

Japan, Hokusai, Katsushika, Reading woman, A woman reading sits on the floor next to a lacquer cabinet. With two poems. The print is a b-copy., print, prent, surimono, prints, Japan (collection), height 218 mm, width 190 mm, Work conception, 1760-10-12 - 1849-05-10, after a print by, 1890 - 1900, paper, papier, colour woodcut, color woodcut

Usugumo, from the series Framed Pictures of Women for the Katsushika Circle (Katsushikaren gakumen fujin awase) 1817-1827 Japan. Color woodblock print; shikishiban, surimono . Yashima Gakutei

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

Yaoya Oshichi, Koshô Kichisaburô, Dozaemon Denkichi = Oshichi the greengrocer's daughter, Kichisaburô the boy-servant and Dozaemon Denkichi. Chiwa kagami tsuki no murakumo = Models of love-talk: Clouds form over the moon, Kitagawa, Utamaro (1753-1806) (Artist), ca. 1793-ca.1804.

The Actor Kawarazaki Gonjuro in the Role of Danjuro the Seventh. Date: eighth month 1863. Dimensions: 37 cm x 26 cm. Museum: Van Gogh Museum, Amsterdam. Author: Tsukioka Yoshitoshi.

Tsukioka Yoshitoshi (30 April 1839 9 June 1892, also named Taiso Yoshitoshi) was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. Eimei nijuhasshuku (28 Famous Murders with Verse), also known as the 'Bloody Prints', is a collection of Japanese ukiyo-e from the 1860s, which depicted gruesome acts of murder or torture based on historical events or scenes in Kabuki plays. Although most of the works are solely violent by nature, it is perhaps the first known example of ero guro or the

Toyohara Chikanobu, better known to his contemporaries as Yoshu Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity. In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced nishiki-e artworks. In his younger days, he had studied the Kano school of painting; but his interest was drawn to ukiyo-e. Like many ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the mie (formal pose) of kabuki productions. Chikanobu was known as a master of bijinga, images of beautiful women, and for illustrating changes i

Prince Genji and Three Young Women. Artist: Chobunsai Eishi (Japanese, 1756-1829). Culture: Japan. Dimensions: H. 14 5/8 in. (37.1 cm); W. 9 1/2 in. (24.1 cm). Museum: Metropolitan Museum of Art, New York, USA.

Woman under a Willow Tree 18th century Katsukawa Shunshō　川春章 Japanese Lush and sensual, ukiyo-e paintings of the eighteenth century idealized beauty, placing courtesans and young women in indoor and outdoor seasonal settings. Shunshō—an Edo bon vivant, painter, and print designer-was renowned for his facility in depicting actors and beautiful women. This early summer picture depicts a young woman from a good family standing under a willow tree. The poem at the top, composed and inscribed by Fūdo, a kyoka (satirical poem) poet, reads: The willows would leaf in profusion in an answer to the water's invitation. Listen to experts illuminate this artwork's story Listen Play or pause #8950. Overview: Woodblock Prints 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.. Woman under a Willow Tree 39630

Yamauba no chichi o suh kintaro, Yamauba breast feeding Kintaro., Kitagawa, Utamaro, 1753-1806, artist, [between 1801 and 1806, 1 print : woodcut, color ; 36.8 x 25.1 cm.

Temptation at the dressing-table. Date: 1916

The Actor Otani Hiroji III as Hata no Daizen Taketora Disguised as Shikishima Wakahei in the Play Juni-hitoe Komachi-zakura, Performed at the Kiri Theater in the Eleventh Month, 1784 1779-1789 Japan. Color woodblock print; hosoban; from a multisheet composition . Katsukawa Shunsho

Hibachi, Brazier., Eishosai Choki, active 1789-1823, artist, 1794, printed later, 1 print : woodcut, color., Print shows a woman, a devoted housewife sitting next to a brazier.

Liefdesgedicht Voor Ichikawa Danjuro, Utagawa Kunimasa, 1799 print BostePortret of the actor Ichikawa Danjuro VI, in striped Kimono, with hand under the chin, depicted under a love poem aimed at him; In the left margin the page number four. Leaf from the Japanese book Yakusha Gakuya TSU. Or paper color woodcut portrait of actor, actress

Picnic in Autumn 1785-1789 Japan. Color woodblock print; right sheet of oban triptych . Katsukawa Shunchô

Chinese woodcut: 'Kidney' abscess

Kunisada, work, Actor Sawamuro Tossho in the role of Kameya Chubei, c.1830-35, colored woodcut, graphics

Three Courtesans in front of ashop. Artist: Katsukawa Shunsen, Japanese, 1762-ca. 1830

During the Edo period (1603 - 1868), the Japanese clock was divided into twelve units of time, or hours, with each one named after one of the zodiacal symbols of the lunar calendar, and with the day being divided up into six daytime hours and six night-time hours. This woodblock print is taken from Kitagawa Utamaro's 1794-1795 ukiyo-e series 'Twelve Hours of the Green Rooms', sometimes styled 'Twelve Hours of the Yoshiwara', featuring everyday events in the lives of courtesans in Edo's Yoshiwara pleasure district. It is the hour of the Hare, around six oclock in the morning. A courtesan holds a customers coat as he prepares to go home. This coat is adorned with a valuable lining embellished with a portrait of Bodhidharma (Japanese: Daruma), the patriarch of the Zen sect, painted by an artist of the Kano school, Suzuki Rinsho (1732 - 1803).

Magi - the goddess of flowers; XVIII/XIXW. (1791-00-00-1810-00-00);Goddesses, Chinese (culture), coil painting, Chinese art, purchase (provenance), scrolls, vertical scrolls

The Actor Nakamura Sukegoro II in an Unidentified Role 1774-1784 Japan. Color woodblock print; hosoban . Katsukawa Shunko I

Ebisu and Benten walking in the snow, 1810-1820, Tokyo, by Utagawa Toyohiro.

The actor Bando Hikosaburo writing on a pole, board 16 pasted onto a makimono: Selection of a hundred painters from the Ukiyo e school from Edo /Toto ukiyo e hiakkasen; part 5 Utagawa, toyokuni (1769 1825)

Suzuki Harunobu (1724 July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.

Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.

Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th-19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meisho), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachoga).

Beauties Under a Maple Tree, from the series A Collection of Contemporary Beauties of the Pleasure Quarters (Tosei yuri bijin awase) 1779-1789 Japan. Color woodblock print; oban diptych . Torii Kiyonaga

Kabuki Actor Arashi Rikan II as Iemon Confronted by an Image of His Murdered Wife, Oiwa, on a Broken Lantern, Referring to Katsushika Hokusais Hyaku monogatari (One Hundred Ghost Stories) 1832 Shunbaisai Hokuei ????? Japanese. Kabuki Actor Arashi Rikan II as Iemon Confronted by an Image of His Murdered Wife, Oiwa, on a Broken Lantern, Referring to Katsushika Hokusais Hyaku monogatari (One Hundred Ghost Stories). Shunbaisai Hokuei ????? (Japanese, active 1829-1837, died 1837). Japan. 1832. Woodblock print; ink and color on paper. Edo period (1615-1868). Prints

The Actor Iwai Hanshiro IV as Shirai Gompachi in the Play Gozen-gakari Sumo Soga, Performed at the Kawarazaki Theater in the Second Month, 1793. Katsukawa Shun'ei; Japanese, 1762-1819. Date: 1788-1798. Dimensions: 30.5 x 13.6 cm (12 x 5 3/8 in.). Color woodblock print; right sheet of hosoban diptych (left: 1928.1028). Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Hada kurabe hana no shobuyu kurabe (hoso), koshi yuki no ya. Translation: Naked bodies compared to irises in hot water, comparing hips to a snow laden willow in hot water. by Toyonaka, Kunichika, 1835-1900, artist 1868. shows a scene in a women's public bath, with many women bathing, some washing children, and a small group are fighting among themselves.

High-Ranked Courtesan, from the series Five Shades of Ink in the Northern Quarter (Hokkoku goshiki-zumi) (Oiran). Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1789-1800. Dimensions: 36.2 x 25.6 cm. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Japan, Torii, Kotondo, After a visit to the bathhouse, verso - stamped, Print of the line block for the print Yugaeri (After a visit to the bathhouse). Woman in kimono, depicted half-length between the entrance curtains of the bathhouse. In her hands a bowl with bath utensils. Her skin is red from the warm water. (bijinga), print, prints, Japan (collection), height 422 mm, width 304 mm, Japanese, 1900 - 1976, print maker, 1933 - 1933, second quarter 20th century, paper, woodcut

Nakamura Nakazo II as Matsuo-maru 1796 Utagawa Toyokuni I Japanese. Nakamura Nakazo II as Matsuo-maru 45226

A Young Man at the Side of a House Kitagawa Utamaro Japanese. A Young Man at the Side of a House 54874

The Actor Arashi Sangoro II as Asahina Saburo in the Play Iro Maki-e Soga no Sakazuki, Performed at the Morita Theater in the First Month, 1773. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1768-1778. Dimensions: 30.4 x 14.3 cm (11 15/16 x 5 5/8 in.). Color woodblock print; hosoban; right sheet of diptych. Origin: Japan. Museum: The Chicago Art Institute, USA.

Erotic Print. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image: 10 in. × 15 1/8 in. (25.4 × 38.4 cm)Mat: 15 1/2 × 22 3/4 in. (39.4 × 57.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

An Actor Beside Water Woodblock for a print designed by Utagawa Toyokuni I Japanese. An Actor Beside Water 55569

Lilies: young woman holding a letter, from an untitled series of beauties and flowers. Utagawa Toyokuni I ; Japanese, 1769-1825. Date: 1812. Dimensions: 15 1/8 x 10 1/8 in. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The Actor Matsumoto Koshiro II as Osada no Taro Kagemune Disguised as the Woodcutter Gankutsu no Gorozo, in Act Four () of the Play Nue no Mori Ichiyo no Mato (Forest of the Nue Monster: Target of the Eleventh Month), Performed at the Nakamura Theater from the First Day of the Eleventh Month, 1770. Katsukawa Shunsho ; Japanese, 1726-1792. Date: 1765-1775. Dimensions: 25.6 x 17.7 cm (10 1/16 x 6 15/16 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Two Courtesans on a Balcony (From the series Five Colors of Ink), c. early 1810s. Kikukawa Eizan (Japanese, 1787-1867). Color woodblock print; sheet: 37.2 x 24.5 cm (14 5/8 x 9 5/8 in.).

Emperor among Court Ladies. Artist: Attributed to Yoshu (Hashimoto) Chikanobu (Japanese, 1838-1912). Culture: Japan. Dimensions: 14 1/2 x 9 3/8 in. (36.8 x 23.8 cm). Date: ca. 1880. Museum: Metropolitan Museum of Art, New York, USA.

Erotic Print Kitagawa Utamaro Japanese. Erotic Print 56712

The First Onoe Kikugoro as an Angry Man ca. 1772 Katsukawa Shunshō　川春章 Japanese. The First Onoe Kikugoro as an Angry Man 36606

Portrait of the Artist's Great-Granduncle Yizhai at the Age of Eighty-Five dated "xinyou" (1561 or 1621) Ruan Zude Chinese Listen to experts illuminate this artwork's story Listen Play or pause #7609. Portrait of the Artist's Great-Granduncle Yizhai at the Age of Eighty-Five 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.. Portrait of the Artist's Great-Granduncle Yizhai at the Age of Eighty-Five. Ruan Zude (Chinese, 16th or early 17th century). China. dated "xinyou" (1561 or 1621). Hanging scroll; ink and color on silk. Ming dynasty (1368-1644). Paintings

The Heron Maiden Standing Beneath a Willow Tree, 1868-1912. After Suzuki Harunobu (Japanese, 1724-1770). Color woodblock print; sheet: 27.7 x 20.8 cm (10 7/8 x 8 3/16 in.). Suzuki Harunobu produced the original design for this print in about 1766 to 1767. The brighter colors of this print, and in particular the unfaded color of the water indicates that it is of a later date.

The white fish from Nishimiya in the province of Shinano: I want to see the next!, Sheet 22 from the series: lucky pictures of mountains and the sea. .

Katsukawa Shunshô / Chi: landas de Musashi, 1770-1773, Japanese School, Paper, 220 mm x 155 mm, G05641. Museum: MUSEO DEL PRADO, MADRID, SPAIN.

Erotic Print. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image: 10 in. × 15 1/8 in. (25.4 × 38.4 cm)Mat: 15 1/2 × 22 3/4 in. (39.4 × 57.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Ottoman Sultan SELIM I, 1467-1520, son of Beyazid II, who captured most of Arab world, watercolour from Memorie Turchesche series, 17th century

Writing man in black Kimono, Keisai demands, c. 1825 - c. 1830 Musashibô Benkei, in Black Kimono, bends with a brush in his hand over a sheet of paper, to make the first calligraphy of the new year. Behind him a flowering miniature plum tree in pot, with a sign that says 'Garyûbai', the name of the famous plum tree at the Kameido Tenjin Heerdigom in Edo (the current Tokyo). With three poems; Right magazine of a diptych. Japan paper color woodcut / polishing calligraphy (+ variant). tree: plum-tree

Ichikawa Danjūrō IX as Musashibō Benkei in Kanjinchō. Tsukioka Yoshitoshi (Japan, 1839-1892). Japan, 1887. Prints; woodblocks. Color woodblock print

Three Chinese women with swords. Painting by a Chinese artist, ca. 1850.

Descending Geese at Mimeguri (Mimeguri no rakugan), from the series "Eight Fashionable Views of Edo (Furyu Edo hakkei)". Torii Kiyonaga; Japanese, 1752-1815. Date: 1773-1783. Dimensions: 30.9 x 7.2 cm. Color woodblock print; half hosoban (left side). Origin: Japan. Museum: The Chicago Art Institute, USA.

Utagawa Kunisada (1786 - January 12, 1865), also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.

Nocturnal fishing, 1795 - 1800 print Pleasure boat with two courtesanes, standing, one looking at Vissersnet, the other looking back at sitting man with sake kettle in the right and dish in the left hand; at night. Japan paper color woodcut sports, games ~ animals (+ net)

Tsukioka Yoshitoshi (1839 - June 9, 1892), also named Taiso Yoshitoshi, was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras - the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many outstanding aspects of traditional Japanese culture, among them traditional woodblock printing.

Japan, Nariyuki, Hôshûtei, Mayusumi, Hokuba, Teisai, Waitresses in the Sôkaya teahouse, Three waitresses in a teahouse. In the background an empty sword rack with a painting of a man riding an ox above it. The lanterns hanging above the veranda bear the name of the teahouse: Sôkaya. The print appears to be advertising the teahouse Sôkaya Yasubei at the Yagobori Fudô-mae, in Edo. With two poems., print, prent, surimono, prints, Japan (collection), height 190 mm, width 250 mm, Japanese, 1771 - 1844, print maker, printmaker, 1805 - 1805, first quarter 19th century, Japanese paper (handmade paper), Japanese paper, colour woodcut, colour woodblock, blind stamping, 1763 - 1833, poet

Chiyoda Castle (Album of Women) 1895 Ysh (Hashimoto) Chikanobu Japanese. Chiyoda Castle (Album of Women). Ysh (Hashimoto) Chikanobu (Japanese, 1838-1912). Japan. 1895. Pentaptych of woodblock prints; ink and color on paper. Meiji period (1868-1912). Prints

The Actor Iwai Hanshiro IV in a Female Role. Ippitsusai Buncho; Japanese, active c. 1755-90. Date: 1764-1774. Dimensions: 31.3 x 14.3 cm (12 5/16 x 5 5/8 in.). Color woodblock print; hosoban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The Sumo Wrestlers Takaneyama Yoichiemon and Sendagawa Kichigorō ca. 1790-93 Katsushika Hokusai Japanese Hokusai occasionally treated the sumo world in his prints. He returned to the subject briefly in the early 1790s after a decade-long absence. Here, the sumo wrestlers Wadagahara Jinshirō on the right and Kachōzan Gorōkichi on the left are locked together during a fight. They are depicted with thinner, more refined lines than in the artist's early sumo prints. The signature Shunrō ga ("painted by Shunrō") is one he used for a period before choosing his most familiar name, Hokusai.. The Sumo Wrestlers Takaneyama Yoichiemon and Sendagawa Kichigorō 37189

Tsukioka Yoshitoshi (1839 - 9 June 1892) one of the last great masters of the classical Japanese woodblock print, here the work Gravemarker Moon

Dog playing with floral car; Comparisons between beauties and flowers; Bijin Hana Kurabe. Woman sitting at room screen where painting of cranes, looking at dog playing with floral car.

Erotic representation; Hana Ni Yosurukyo. A loving couple. In addition to them a chrysanthemum in a basket.

The revenge of the Forty-seven Ronin (Shi-ju-shichi-shi), also known as the Forty-seven Samurai, the Aki vendetta, or the Genroku Aki incident (Genroku aki jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidi. The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Ki zuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira. In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good peopl

The Actor Ichikawa Danjuro V in His Dressing Room 1778-1788 Japan. Color woodblock print; oban . Katsukawa Shunsho

Holland (Oranda koku), from the series People of the Five Nations (Gokakoku jinbutsu zue) 1861 Japan. Color woodblock print; oban . Utagawa Sadahide

Woman Adjusting Her Hair in Front of the Mirror' by Kitano Tsunetomi:, 1930. From the British Museum, London.

Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his kyoka poetry and surimono woodblock works.

Six actor portraits; Doodles on the wall of a department store; Nitakaragura Kabe No Mudagaki. Wall on which graffiti representing six actor portraits and an umbrella; Black edge down.

Portrait of Rikyu (). Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 7 3/4 x 10 in. (19.7 x 25.4 cm). Date: ca. 1875. Museum: Metropolitan Museum of Art, New York, USA.

After a little music, from an untitled series of 12 erotic prints. Attributed to Hishikawa Moronobu; Japanese, ()-1694. Date: 1668-1686. Dimensions: 27.2 x 38.3 cm. Woodblock print; oban, sumizuri-e. Origin: Japan. Museum: The Chicago Art Institute, FLORENCIA, USA.

Kuwana: Actor ono Kikorô III as Tokuzô, No. 43 from the series "Pi Trees Three stations on him tôkaidô" (Tôkaidô Gojsan tsugi no uchi)

Narihira at Yatsuhashi Bridge. Artist Unknown; Japanese. Date: 1760-1770. Dimensions: 21.5 x 22 cm (8 7/16 x 8 5/8 in.). Color woodblock print. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

China: Seated Lady With Fan. Qing Dynasty painter Mang Huli (1672-1736), 18th century (Philadelphia Museum of Art, Philadelphia)

No. 6, Grinding Ink (Roku, Surusumi), from the series Famous Horses (Meiba soroe)., 1834. Woodcuts, Surimono

Tsukioka Yoshitoshi (1839 - 9 June 1892) one of the last great masters of the classical Japanese colour woodcut, here the work As I Look Out on the Vast Expanse

Chinese Lady with a Fan. Iran, probably Tabriz, circa 1470-1490. Manuscripts; folios. Ink, opaque watercolor, and gold on paper

Gion-dôfu = Gion bean curd. 1793 - 1804. Kitagawa, Utamaro, 1753-1806. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Japan, Tsukiyoshi, Shôeitei, Kunisada (I), Utagawa, Man at the entrance of a temple, verso - stamped, The actor Bandô Mitsugorô III (1775-1832) in the role of Shigetada, a vassal of Yoritomo. He stands at the entrance of the Tôdaiji temple in Nara, an incident that took place in 1195. This print is a right sheet of a diptych. With one poem., print, picture, surimono, prints, pictures, Japan (collection), passe-partout, bottom left - printed, height 309 mm, width 185 mm, Japanese, 1786 - 1865, poet, 1828 - 1828, first quarter 19th century, second quarter 19th century, paper, colour woodcut, blind stamping, polishing

Murasaki Shikibu (English: Lady Murasaki) (c. 973 c. 1014 or 1025) was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of The Tale of Genji, written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting. She was raised in her father's household where she learned Chinese, the written language of government, from which women were traditionally excluded. She married in her mid to late twenties and gave birth to a daughter before her husband died, two years after they were married. It is uncertain when she began to write The Tale of Genji, but it was probably while she was married or shortly after she was widowed. In about 1005, Murasaki was invited to serve as a lady-in-waiting to Empress Shi shi at the Imperial court, probably because of her reputation as a wr

The Kabuki Actor Ichikawa Danjūrō V ca. 1773 Katsukawa Shunshō　川春章 Japanese In this print, the fifth Ichikawa Danjūrō strikes a serious pose and looks at his reflection in a water basin. The later handwritten inscription identifies the figure as Danjūrō VI, who died at age twenty-two in May 1799, but most likely it is Danjūrō V.. The Kabuki Actor Ichikawa Danjūrō V 54588

Suzuki Harunobu (1724 July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.

Tsukioka Yoshitoshi (1839 - 9 June 1892) one of the last great masters of the classical Japanese colour woodcut, here the work Cooling Off at Shijo

Kurtyzana, dwie kamuro i shinjô na spacerze. Toyokuni, Utagawa (1769-1825), graphic artist

Memorial Portrait of Ichiryusai Hiroshige (1797-1858) 1786-1864 Utagawa Kunisada Japanese. Memorial Portrait of Ichiryusai Hiroshige (1797-1858) 53719

A half-length figure of a man. Colour woodcut by Hokusui, early 1860s.

Adoranta carried with flowers; a copy of the painting from Dunhuang; Rong Bao Zhai (1672-); 1951 (1951-00-00-1951-00-00);Sobecka, Chinese (culture), gift (provenance), graphic prints, Chinese art, Lucia (1919-1993), Łucja (1919-1993)-collection

Woman by Pond, unknown artist, Watercolor, USA, Pennsylvania, Philadelphia, David David Gallery

Kakegawa: The actor Matsumoto Kōshirō VI as Nihonzaemon, leaf 27 from the series: The 53 stations of the Tōkaido. .

Portrait of the Japanese Emperor Saga - 14th Century

Kuwana Station, actor Onoe Kikugoro III as Tokuzo; print from the series: 53 Stations of the Tokaido (Tokaido gojusan tsugi-no uchi). Utagawa, Kunisada I (1786-1864), graphic artist

Lovers in bed, Kama Sutra, eroticism, sex, erotic depiction from 1850, Japan, Historical, digitally restored reproduction from a 19th century original, Asia

The Astana Graves (Chinese: , Pinyin: Asitanà Gumù) are a series of underground tombs located 6km from the ancient city of Gaochang, and 42km from Turpan, in Xinjiang, China. The tombs were used by the inhabitants of Gaochang, both commoners and locals, for about 600 years from 200 CE - 800 CE. The complex covers 10 square kilometres and contains over 1,000 tombs. Different plots for separate castes and families are marked by gravel dividers. Due to the arid environment many important artifacts have been well preserved at the tombs, including natural mummies. A typical tomb is entered by a 10 metre sloping staircase. The tombs are not very large, usually only 2 metres high. Some tombs also have murals inside. The deceased were laid on a small raised platform in the back of the tomb, surrounded by possessions and even food. Their faces were covered by cloths, some of which have distinct Persian motifs. A small funeral brick was placed to next to each body, on which was written the

Sato Shirobei Tadanobu (Sato Shirobei Tadanobu) 1771-1785 Japan. Color woodblock print; hosoban . Kitagawa Utamaro

China: 'Four Beauties'. Hanging scroll painting by Ni Tian (1855-1919), early 20th century. Ni Tian (1855-1919), born as Baotian and with the courtesy name Mogeng and sobriquets Biyuehezhu and Modaoren, was a Chinese painter during the latter decades of the Qing Dynasty. He successfully imitated fellow painter Ren Yi's distinctive style, ensuring that Ren Yi's 'works' could still be purchased by Shanghai patrons.

Courtesans of the Chojiya, from the book "Mirror of Beautiful Women of the Pleasure Quarters (Seiro bijin awase sugata kagami)," vol. 1. Katsukawa Shunsho; Japanese, 1726-1792; Kitao Shigemasa; Japanese, 1739-1820. Date: 1771-1781. Dimensions: 8 7/8 x 11 7/8 in. Color woodblock print; double-page illustration cut from a book. Origin: Japan. Museum: The Chicago Art Institute, USA.

Make-Up, Hashiguchi Goyô, 1918 print Woman with half bare torso and black paint mirror in the left hand, herself white -rich. paper color woodcut making up

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