← Religion & Culture

Traditional Japanese Scenes

Illustrations of Japanese cultural events and figures, capturing ceremonies and historical narratives with traditional art styles.

Actors in Kanjinchô: Ichikawa Kuzô II as Togashi no Saemon

The dance Sanju Hajinraku. Print shows a dancer performing the Sanju Hajinraku dance. By Chiharu Takashima.

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

Daimyo's Processions Passing along the Tōkaidō Utagawa (Gountei) Sadahide Japanese 19th century

Edo, Tsutaya Juzaburo (Koshodo), Utamaro, Kitagawa, Picnic group looking at the procession of courtesans, Picnicking and enjoying tea in the hills at Ueno, Fifth and sixth pages from the book Fugenzo by Utamaro., page, prints, Japan (collection), height 254 mm, width 183 mm, Japanese, 1753 - 1806, print maker, 1790 - 1790, fourth quarter 18th century, paper, gold powder, color woodcut, Publication (Event), Publication, publisher

Distinguished Parade of Beautiful Women /Furyu Bijin Gyoretsu Eizan, Kikugawa (1787 1867)

Egoyomi for the year of the rooster. In addition to a cottage there is a woman who performs a white rooster. On her skirt the numbers of the short months. On the ridge of the cottage a colored rooster.

Group of women and men at the blue torii gate, from the series: Famous views of Edo

Oka kaendaiko, Festival drum under a cherry tree., between ca. 1840 and 1870, 1 print : woodcut, color ; 18.1 x 19.3 cm., Print shows banners hanging from a rope suspended between a tree and a pole, with a tsuri-daiko or similar drum behind the banners.

The Pilgrimage of Sudhana. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and gold on blue paper. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Nikko Festival at Toshogu Japanese Art Woodblock print Culver Pictures Inc.

The Doll Festival, Third Day of the Third Month 19th century Kubo Shunman Japanese. The Doll Festival, Third Day of the Third Month 54565

Qigong exercise to treat various illnesses of the abdomen

Two Chinese sages, with an assistant in a garden. Gouache by a Chinese artist, ca. 1850.

Writing man in black kimono. Musashibô Benkei, in black Kimono, bows with a pensel in hand over a sheet of paper, to make the first calligraphy of the new year. Behind him a blooming miniature plum tree in pot, with a sign on which is 'Garyûbai', the name of the famous plum tree at the Kameido Tenjin shrine in Edo (the current Tokyo). With three poems; right blade of a dipper.

Amulet against diseases; beginning of the 20th century (1900-00-00-1932-00-00);Jabłoński, Witold (1901-1957) - collection, amulets, gift (provenance), Chinese art

The Yongzheng Emperor (13 December 1678 - 8 October 1735), was the fifth emperor of the Manchu Qing Dynasty, and the third Qing emperor to rule over China proper, from 1722 to 1735. A hard-working ruler, Yongzheng's main goal was to create an effective government at minimum expense. Like his father, the Kangxi Emperor, Yongzheng used military force in order to preserve the dynasty's position. Suspected by historians to have usurped the throne, his reign was often called despotic, efficient, and vigorous. Although Yongzheng's reign was much shorter than the reigns of both his father, the Kangxi Emperor, and his son, the Qianlong Emperor, his sudden death was probably brought about by his workload. Yongzheng continued an era of continued peace and prosperity as he cracked down on corruption and waste, and reformed the financial administration.

Scene with inscription relating to Confucius's (519-471 BC) visit to court of Ch'u. Ox cart, which appears in a number of representations of Confucius, represents his mode of travels.

Handaka sonja, Handaka Sonja one of the sixteen rakan or arhats., between 1830 and 1868, 1 drawing on paper : ink and light colors ; 27.1 x 38.8 cm., Drawing shows Handaka Sonja, one of the sixteen rakan or arhats disciples of Buddha, sitting next to a flower and holding up a bowl in his left hand. He appears to be collecting rain, which he may use to produce the dragon typically associated with him, specifically, arising from the bowl.

Bugaku Dancers. Artist: Kano Yasunobu (Japanese, 1613-1685). Culture: Japan. Dimensions: Image: 69 3/8 x 146 3/8 in. (176.2 x 371.8 cm).The costumed dances known as bugaku have been customary in Japanese court rituals and festivals since the eighth century, when the Nara court adopted them along with many other aspects of Chinese Tang-dynasty culture. The brilliantly costumed dancers and musicians are disposed here within a large format in a type of composition that was current among seventeenth-century artists of the Kano school.The scene is anchored on the left by musicians playing a drum, a flute, and a mouth organ on a dais covered by a large brocade awning. Thirty-five dancing figures fill the remaining panels, set randomly on the gold-leaf ground in poses and costumes that represent the classic bugaku repertory. At the upper left, a large signature, accompanied by one of Yasunobu's seals, reads Hogen Eishin hitsu ("the brush of Hogen Eishin"). Yasunobu used this honorary title, w

The Actor Segawa Kikunojo II as the Heron Maiden in the play Cotton Wadding of Izu Protecting the Matrimonial Chrysanthemums (Myoto-giku Izu no Kisewata), performed at the Ichimura Theater from the first day of the eleventh month, 1770 1770 Japan. Color woodblock print; hosoban . Ippitsusai Buncho

Scroll from the Compendium of Iconographic Drawings (Zuzosho). Culture: Japan. Dimensions: 11 7/8 in. x 25 ft. 7 1/2 in. (30.2 x 781 cm). Date: late 12th century.The Zuzosho, or Jikkansho, is an encyclopedia of Esoteric Buddhist iconography in ten scrolls. The first edition is datable to the early twelfth century, when multiple versions of the iconography for particular deities made it necessary to assemble and organize a comprehensive guide. This scroll is stylistically close to the oldest extant version of the Zuzosho, housed at Daigoji temple in Kyoto and dating to approximately 1193. Museum: Metropolitan Museum of Art, New York, USA.

Writing table with protritude sun. Lacket table with the image of two rocks, seen by silver waves. Above the table flying crows at an emerging sun. This show refers to the first sun rise of the new year on the coast of Futamigaura in the province Ise, where the so-called man and woman rock (myôtoseki), two sacred rocks are connected by a turned rope of straw. With three poems.

Man in a Black Haori (Coat) and Two Women Approaching a Temple. Artist: Torii Kiyonaga (Japanese, 1752-1815). Culture: Japan. Dimensions: H. 14 13/16 in. (37.6 cm); W. 10 1/16 in. (25.6 cm).From the Edo period to the present, Sensoji Temple at Asakusa has been the representative temple of Tokyo's shitamachi (merchant-class neighborhoods). Originally built in the Nara period, Sensoji was made resplendent in Edo times. The citizens of Edo visit the temple at the end of the year to buy charms and pray for prosperity or a safe home. Museum: Metropolitan Museum of Art, New York, USA.

Waiting by Candlelight, Lin, Ma, 1200

Lady Playing Shamisen, with Her Lover and Attendant Nearby Nishikawa Sukenobu Japanese. Lady Playing Shamisen, with Her Lover and Attendant Nearby 55750

The bride descending from a carriage and being presented to her bridegroom,painter from the Tosa school, from a traditional literature novel, Japan. Japanese Civilisation, 19th century.

The Actor Nakamura Tomijuro I as Hangaku Gozen Breaking Down the Gate in the Play Wada-gassen Onna Maizuru (The Wada Conflict A Woman's Maizuru ), Performed at the Nakamura Theater from the Twenty-fifth Day of the Seventh Month, 1777 1772-1782 Japan. Color woodblock print; hosoban . Katsukawa Shunsho

Stone image of the Bodhisattva of Mercy at Kasamori Temple in Kazusa (Kazusa kasamori dera iwatsukuri kannon), Japanese Prints - Hiroshige

The Wise Men and Scrolls 19th century Unidentified artist. The Wise Men and Scrolls 40430

My Lord Bag of Rice' or in Japanese Tawara Tda ( 'Rice-bag Tda') is a fairy tale about a hero who kills the giant centipede Seta to help a Japanese dragon princess, and is rewarded in her underwater Ryg-j 'dragon palace castle'. The 1711 Honch kwaidan koji contains the best-known version of this Japanese myth about the warrior Fujiwara no Hidesato. There is a Shinto shrine near the Seta Bridge at Lake Biwa where people worship Tawara Tda. Fujiwara no Hidesato ( ?) or Tawara Toda was a kuge (court bureaucrat) of tenth century Heian Japan. He is famous for his military exploits and courage, and is regarded as the common ancestor of the sh branch of the Fujiwara clan, the Yki, Oyama, and Shimokbe families. Hidesato served under Emperor Suzaku, and fought alongside Taira no Sadamori in 940 in suppressing the revolt of Taira no Masakado. His prayer for victory before this battle is commemorated in the Kachiya Festival. Hidesato was then appointed Chinjufu

Shakyamuni coming down from the mountains late 13th-early 14th century Unidentified artist This painting stands midway between the hieratic icons employed in formal temple ceremonies and the informal images that served Chan (or Zen) monks as personal devotional images for use in meditation. The intimate scale, informality of the figures' poses, and landscape setting link the painting to Chan-style depictions of Shakyamunithe human origin of the Buddhaas an ascetic descending from the mountains just prior to achieving Buddhahood. In this scene, the Buddhist equivalent of Christ's Agony in the Garden of Gethsemane, Shakyamuni offers a parallel to the Chan practitioner's search for individual enlightenment.Landscape elements in the painting follow the meticulously descriptive style of the Southern Song Painting Academy. The angular contours of the figures' fluttering drapery lines are flat and conventionalized, however, and suggest an early fourteenth-century date for the piece.. Shakya

China: Illustration depicting Diaochan seducing Lu Bu (- February 199 CE) while Dong Zhuo (- 22 May 192 CE) watches, from a Ming Dynasty edition of 'Romance of the Three Kingdoms'

A procession of Chinese people with lanterns and placards. Brush drawing by a Chinese artist, ca. 1850.

Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class. The samurai followed a set of rules that came to be known as Bushido. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendo, meaning the way of the sword.

Kinryūzan Temple at Asakusa. Utagawa Hiroshige (Japan, Edo, 1797-1858). Japan, 1853, 10th month. Prints; woodblocks. Color woodblock print

Siam-Bangkok-General View of Wat-Cheng.

The Monk Dait Kokushi as a Beggar early 19th century Shuns Joshu Monk Shuns, a pupil of Reigen and Sui, followed in the tradition of these and others in the lineage of Hakuin Ekaku in creating dynamically brushed images of famous Zen figures. Here he has depicted the emiment early-medieval monk Dait Kokushi (Shh Mych, 1283-1337) in the guise of a beggar in a straw cloak and tattered sedge hat. The monk lived as a recluse for many years in Kyoto, taking refuge under Goj Bridge. Dait Kokushi ultimately established his legacy by founding Daitokuji in Kyoto, the great monastic complex of Rinzai Zen Buddhism. Hakuin considered Dait Kokushi to be the head of lineage and thus painted many images of him; Shuns followed in this tradition.. The Monk Dait Kokushi as a Beggar. Shuns Joshu (Japanese, 1750-1839). Japan. early 19th century. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Parade along the cherry blossom. Page 22 and 23 of part one of Utamaro`s book: Events in the Lusthuizen during the year.

Burma: two figures reclining on a bed in a palace, while two servants pay homage. Watercolour.

Kyogen Performers 19th century Attributed to Hanzan (Matsukawa) Japanese In the play Suehirogari, a daimyo master sends his servant, Tarokaja, to buy a suehiro, an auspicious name for a fan. Because Tarokaja does not understand this term, he is easily tricked by a dishonest merchant at the market into buying an old umbrella. This painting captures the interaction of master and servant upon his return. Tarokaja sings and dances with the umbrella, and his master cannot remain angry for long.. Kyogen Performers 45188

Japan: Wake no Kiyomaro receiving a message from the divinity at Usa Hachiman shrine (Usa Jingu), colour woodblock print, Tsukioka Yoshitoshi (1839 - 1892), published posthumously, 1895

The bride is presented to her bridegroom, painter from the Tosa school, from a traditional literature novel, Japan. Japanese Civilisation, 19th century.

Female Dancer with a Fan perhaps 18th century or 19th century Japan. Female Dancer with a Fan 45758

Filial piety, 12th century Chinese painting

Chinese from Nanking admire Koshu_ fan (Shincho_ Nankinjin kansho Koshu_ o_gi no zu), Japanese Prints - Hiroshige

Symbols of wealth on three tables HOKUTEI

Yang Kuei-fei, Hsuan, Ch'ien

China: A lady seated with her companions in a pavilion watch a girl dancing. Qing Dynasty painter Jiao Bingzhen (1689-1726) (Palace Museum, Beijing)

Needlepoint representing the god of Longevity and Eight Immortals, 1735-1796, 105 x 46 3/4in. (266.7 x 118.7cm), Silk, China, 18th century, This embroidered satin depicts the Daoist god of longevity, Shouxing, followed by his young attendant and a small, spotted deer. Shouxing carries a peach of immortality in his hand and a gourd and sacred fungus - a concoction for a Daoist elixir of immortality - around his belt. He wears a robe adorned with the repeated shou character, standing for longevity. The border depicts eight Daoist immortals surrounded by flowers that symbolize good luck.

Festival at Shiba Shinmei Shrine. Utagawa Hiroshige (Japan, Edo, 1797-1858). circa 1839-1842. Prints; woodblocks. Color woodblock print

Hunters returning from the village after carrying back the body of Yoichibea, scene from the 6th act of the drama: Treasury of fideIIty /Chishingura

Lovers at the Torii, Kama Sutra, eroticism, sex, erotic depiction from the year 1850, Japan, Historical, digitally restored reproduction from a 19th century original, Asia

China: 'Yang Guifei Mounting a Horse'. Handscroll painting by Qian Xuan (1235-1305), late 13th century. Consort Yang Yuhuan (1 June 719 15 July 756), often known as Yang Guifei (Guifei being the highest rank for imperial consorts), known briefly by the Taoist nun name Taizhen, was known as one of the Four Beauties of ancient China. She was the beloved consort of Emperor Xuanzong of Tang during his later years. During the Anshi Rebellion, as Emperor Xuanzong was fleeing from the capital Chang'an to Chengdu, she was killed because his guards blamed the rebellion on her cousin Yang Guozhong.

Life of the Buddha: Abandoning Palace Life early 15th century Japan This scroll depicts Prince Shakyamuni abandoning palace life after encountering human suffering. At the lower right, Shakyamuni's father, King Shuddhodana, asks women to dance and play musical instruments to entice the prince to remain. The identities of the two women inside the palace and the image of the Buddha ascending on a cloud remain problematic. Judging by the palatial surroundings, the two women could be Shakyamuni's wife, Yashodara, and her lady-in-waiting, in which case the ascending Buddha would signify Shakyamuni's departure from the palace to pursue enlightenment.. Life of the Buddha: Abandoning Palace Life 45211

Tsurumeso at the Gion Festival, 1926 Hanging roll painting in box. Japan paper. gold (metal). mother of pearl. wood (plant material) Hanging roll painting in box. Japan paper. gold (metal). mother of pearl. wood (plant material)

The Temple in the Snow, Japanese Prints

Anonymous watercolor depicting a Chinese ancestral cult ceremony with figures and ritual objects.

New Year's Day in the year of the rooster. A rooster, chicken and two chicks on the stick of a bamboo curtain that traditional New Year's decoration of leaves, straw and fern leaves.

Young Couple Dressed as Mendicant Monks 1789-1799 Japan. Color woodblock print; oban . Kitagawa Utamaro

After a visit to the bathhouse. Print of the line block for the print yugaeri (after a visit to the bathhouse). Woman in kimono, half shaped between the entrance curtains of the bathhouse. In her hands a container in which bath supplies. Her skin is red colored from the hot water. (Bijinga)

Japan: Wake no Kiyomaro receiving the divine message at the Usa Hachiman shrine (Usa Jingu), colour woodblock print, Ogata Kekko (1859 - 1920), 1892

Daoyin technique to tonify the blood vessels, C19 Chinese MS

Paper Talisman with Images of Deities early 20th century Unidentified artist(s). Paper Talisman with Images of Deities. Unidentified artist(s) , early 20th century. China. early 20th century. Polychrome woodblock print; ink and color on paper. Republic period (191249). Prints

Local Customs of the Ainu Ainu. Local Customs of the Ainu, 19th century. Hand scroll, ink and colors on paper, 10 5/8 x 332 1/8 in. (27 x 843.6 cm). Asian Art 19th century

Daoyin technique to nurture the heart, C19 Chinese MS

Actor in the role of an oiran with a cup in his hand

Kuan Yu (162-220) and his squire Chou-tsang. Chinese military hero, canonized in 1594 as Guan Di, god of War (Taoist) and Protector of China (Buddhist). His legend is told in Kabuki eighteen play Kang-Yu. Print Undated

Japan: Bugaku dancers depicted in a horizontal emaki scroll painting, the Makura no Soshi Ekotoba, Kamakura Period (1185-1333), 12th-13th Century

A deity of a szym surrounded by a day; beginning of the 20th century (1901-00-00-1932-00-00);

Three men at a drum KIYOMITSU, TORII (1735 1785)

China: The Daoist immortal He Xiangu on a celestial crane, from the album of 18 Daoist Paintings by Zhang Lu (1464-1538), 16th century CE. Painting sprinkled with gold leaf, Shanghai Museum, Shanghai

Yamabushi Mountain Priest with Naginata Spear. Tsukioka Yoshitoshi (school of) (Japan, active late 19th century). Japan, late 19th century. Drawings. Ink on paper

17th C Chinese acupuncture chart, lung channel of hand taiyin

The oldest frescos in the German-speaking world, 10 - 11 century in Saint Prokulus Church in Naturns, South Tirol, Italy, Europe

A view of Shiba Shinmei Shrine: c1775-1781. Utagawa Toyoharu (1735-1814) Japanese Ukiyo-e artist. Scene of people entering the shrine and of the shops in the streets around the shrine situated south of Tokyo, Japan.

Oriental-style Holy Mother Mary and son Jesus Christ honored in statuary in sanctuary of Nazareth's Basilica of the Annunciation. Israel

Kanasugi Bridge, Shibaura (Kanasugi-bashi Shibaura) From the Series One hunred Views of Edo, Ando Hiroshige, Japanese, 1797-1858, Woodblock print in colored ink on paper, Here we see a parade of people celebrating the anniversary of Nichiren's, the founder of the school of Buddhism, death heading to the Honmonji funerary temple in Ikegami. Red, white, and blue signs are held up in celebration. Tenugui towels suspended from poles contain the emblem of the Nichiren School of Buddhism. The blue and white cloths located on the bottom left corner has the name of the publishers of the series. The red banner on the bamboo pole contains a sentiment translated as 'Salvation is in thee, thou wonderful law of the Lotus Sutra.' Written on a drum in the crowd, is: 'Heaven and earth are subject to the Lotus Sutra.' Each year thousands of people still come to gather in celebration., Japan, 1857, landscapes, Print, Print

Fujisawa: The village by the edge of a stream, and a bridge leading to it, over which people are passing. In background, overlooking the village on a wooded hill, above the mists, stands the temple Yugi-o-ji; in the foreground a torii, and close to it four blind men following each other by the bank of the stream. This station was crowded with pilgrims visiting the famous temple at this station, and the neighbouring shrine. The imposing buildings of Yugyoji Temple (established in 1325) stand on a hillside in the background. The torii (archway) leads to the Enoshima Benten Shrine which is dedicated to the Goddess of Music. Utagawa Hiroshige (1797 October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andi Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyusai Hiroshige. The Ti kaidi (East Sea Road) was the most important of the Five Routes of the Edo period, connecting Edo

Picture of Men and Women from all Nations (Bankoku danjo jinbutsu zue) 4th month, 1861 Utagawa Yoshiiku Japanese. Picture of Men and Women from all Nations (Bankoku danjo jinbutsu zue) 73520

Durga Confronts the Army of the Demon Chikshura: Scene from the Devi Mahatmya ca. 1780 India (Himachal Pradesh, Guler) At the command of Mahisha, the demon general Chikshura approaches Durga with a great army of lesser demons, chariots, horses, and elephants and thus opens the battle between Mahisha and Durga, described in the Devi Mahatmya as lasting one hundred years. Durga is shown seated on her lion mount brandishing the many weapons given to her by Shiva, Krishna, Agni, Indra, Yama, and others. The soft line of the charcoal suggests that this image was transferred from an original drawing that had been pounced (pierced with small holes so that charcoal dust could sift through). The red ocher was then applied to bring this sketch to a more finished state.. Durga Confronts the Army of the Demon Chikshura: Scene from the Devi Mahatmya 74659

Mirror Case with Lunar Scene 19th century China Chang Ê, who stole the elixir of immortality from her husband and swallowed it as she fled to the moon, became a moon goddess by the time of the Tang period (618-906) and was worshipped during the lunar festival, held annually in the eighth lunar month at the time of the full moon. In this embroidery, Chang Ê and an attendant are seen against a large disk representing the moon, within which is a house and a hare who is pounding the elixir of immortality. Chang Ê is handing an acacia branch to a scholar who is floating on clouds. In Chinese literature plucking a branch of the acacia tree” was a metaphor for success in the imperial civil-service examinations. Somewhat like needlepoint (but with silk, not wool), the embroidery technique employed in most of the piece involves stitches that regularly skip some of the openings in the fine silk gauze foundation cloth to create the various patterns seen here: a swastika (wan) fret for the moon d

Seven The seven Gods gods of Wealth fortune in a home altar unknown

Twenty-one Ancestors with Spirit Tablet Unidentified artist. Twenty-one Ancestors with Spirit Tablet 42889

The actor Karazaki Gonjūrō I as Jihizō. .

Pagoda, late 19th century, Unknown Japanese, 23 3/8 x 9 1/4in. (59.4 x 23.5cm), Hanging scroll; ink and color on paper, Japan, 19th century, A pagoda is an impressive part of a Buddhist temple complex, towering above the trees and dwarfing the neighboring buildings. A holy relic placed in the stone foundation or beneath the central wooden pillar makes the entire structure a focus of worship.

Japanese King's Assistant

God of wealth; 1. PO. 20th century (1901-00-00-1950-00-00);

Buddhist Vestment (Kesa) , early 1900s. Japan, Japan, Meiji period (1868-1912), early 20th century. Silk; metal thread; overall: 118 x 223.5 cm (46 7/16 x 88 in.).

The Eight Immortals (Chinese: Baxian; Pa-hsien) are a group of legendary 'xian' (immortals; transcendents; fairies) in Chinese mythology. Each Immortal's power can give life or destroy evil. Most of them are said to have been born in the Tang Dynasty or Song Dynasty. They are revered in Daoism (Taoism) and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea which includes Penglai Mountain-Island. The Immortals are: 1. Immortal Woman He (He Xiangu)<br/><br/> 2. Royal Uncle Cao (Cao Guojiu)<br/><br/> 3. Iron-Crutch Li (Tieguai Li)<br/><br/> 4. Lan Caihe<br/><br/> 5. Lu Dongbin, (leader) 6. Philosopher Han Xiang (Han Xiang Zi)<br/><br/> 7. Elder Zhang Guo (Zhang Guo Lao)<br/><br/> 8. Han Zhongli (Zhongli Quan) In literature before the 1970s, they were sometimes translated as the Eight Genies. First described in the Yuan Dynasty, they were probably named after the Eight Immortal Scholars of the Han.

Indonesian women with bowls on the head, 1925 The women wear traditional costume. Page 60 from a sketchbook with 74 sheets. Indonesia paper. watercolor (paint). pencil brush Asiatic races and peoples. adult woman. folk costume, regional costume. carrying something on the head or on the shoulders

Taoist figures. Lantern. 1720. CHINA.

Ebisu and catfish. Print shows Ebisu, one of the seven lucky gods of Japan, cutting up a catfish, a woman fans a hibachi next to him, and on the left two patrons are eating.

Door god (Menshen) in warrior uniform on horseback. unknown, graphic artist

Three Courtisanes from the Tamaya House. Courtisane in kimono with stylized flower cartridges, witching, standing at large black and white lantern against wooden wall.

Khubilai Khan Hunting 1280, Kuan-tao, Liu, 1280

Ancient Chinese clothes, tunic with large sleeves and embroidery, Qing dynasty, nineteenth century (detail of the embroidery).

A drawing in black and pastel chalk with reddish lavation depicting Chinese dancers holding bells, dated 1764.

Courtesan welcomes a new guest, two cards from the album Sha Kintai" (vol. V). unknown, author

Wu Sung, heading mountains and a innkeeper trying to stop him; around 1920-1930 (1915-00-00-1925-00-00);

Faithful Depiction of the House Kimono Patterns Worn by Yoshiwara Courtesans Paying Holiday Visits on the Second Day of New Year Eishusai Choki (Japanese, died 1805). Faithful Depiction of the House Kimono Patterns Worn by Yoshiwara Courtesans Paying Holiday Visits on the Second Day of New Year, ca. 1785-1790. Woodblock color print, 12 x 29 1/16 in. (30.5 x 73.8 cm). Asian Art ca. 1785-1790

of 4