Buddhist and Nature Themes

Oriental artworks depicting monks, landscapes, and serene natural elements. The images often feature contemplative figures engaged with nature and spiritual themes.

Selected images from Teikin Orai and Onna Inagawa., 1828, 1834. Woodcuts

Priest Xianzi second half of the 16th century-early 17th century Unkoku Tgan The seated figure of a Buddhist monk appears to be contemplating the large shrimp or crayfish he grasps in one raised hand while his other, holding a fishing net, rests on his knee. He is Kensu (Chinese: Xianzi), a semi-legendary eccentric priest of Tang dynasty China, who spent much of his time wandering along riverbanks, eating crayfish and clams. Kensu allegedly achieved enlightenment while catching a shrimp, in spite of Buddhist monastic strictures to maintain a vegetarian diet. The shrimp brandished by Kensu, and his fishing net, are attributes specifically associated with him, as are the ragged clothes and beatific expression. Tgan was one of the great ink painting masters of the late sixteenth-early seventeenth century and founder of the Unkoku school. His mature work was strongly influenced by the style of the Muromachi period priest-painter Sessh Ty (1420-1506). Tgan’s subject matter was often d

Kultura w sieci Kultura+ NISHIYAMA, Hoen (1804 1867)

A Scholar under Trees Looking into the Distance. Date: 16th century. Origin: China. Period: Ming dynasty. Hanging scroll; ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Selected images from Teikin Orai and Onna Inagawa., 1828, 1834. Woodcuts

Eight Views of Ōmi (Ōmi hakkei) ca. 1762-66 Soga Shōhaku Japanese Soga Shōhaku was a prominent, if eccentric, figure in Kyoto during the second half of the eighteenth century, when he developed the style that set him apart from painters of the Kano, Nanga, and Shijō schools. Here, he has depicted the standard ink landscape theme of Eight Views, but with a local twist. This screen, the left of a pair, shows four of the Eight Views of Ōmi. Each of the moments celebrated in the Chinese theme has been matched with a place and season from the area of Lake Biwa, Japan's largest and most fabled lake, just east of the mountains that form the eastern border of the ancient capital at Kyoto. His contemporary and local interpretation is rendered in a style of ink painting that knowingly refers to the work of painters of the Soga school, who were active during the late fifteenth and sixteenth centuries. Conspicuous on the right is the Ishiyamadera, the hillside temple where the author of The Tale o

esbozo de figuras femeninas, Narcís Puget Riquer, dibujo al carboncillo,museo Puget, casa noble de Can LLaudis , Dalt Vila, Ibiza, balearic islands, Spain.

John Robert Cozens, 1752-1797, British, Cypress in the Garden of the Franciscans at Salerno, ca. 1783. Graphite and varnish on thin, slightly textured, cream laid paper.

roset / black on white / pillar no. 9 "color indication pencil recto r.o.

Road entrance in the forest Narcisse Diaz de la Pena (1807-1876). Road entry in the forest. Graphite and feather pencil and brown ink on paper.

Painting, Anonymous, 1368 - 1644 Framed painting of a peacock. China silk Framed painting of a peacock. China silk

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 80r, c. 1500. Master of the First Prayerbook of Maximillian (Flemish, c. 1444-1519), and Associates. Ink, tempera, and gold on vellum; codex: 22.5 x 15.2 cm (8 7/8 x 6 in.).

Northern Netherlands, Rottermondt, Pieter, Seated Oriental with palm branch in left hand, recto - stamped, print, prints, verso - stamped, height 45 mm, width 37 mm, Noord-Nederlands - 1706, print maker, printmaker, 1639 - 1706, paper, papier, etching, etchings

View of Harbor, with Figure and Vegetation in Foreground 1695-1705 France. Red chalk on ivory laid paper, laid down on cream laid paper . Style of Adrien Manglard

Su Shi's Second Visit to the Red Cliff, 18th century, Sakaki Hyakusen, Japanese, 1697 - 1752, 38 5/8 × 15 in. (98.11 × 38.1 cm) (image)67 5/8 × 20 in. (171.77 × 50.8 cm) (mount, without roller), Ink and color on silk, Japan, 18th century

Dragons and Clouds. Origin: Japan. Period: Momoyama or Edo period. Ink and pink tint on paper. Date: 1590-1640. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Landscape. Origin: Japan. Period: Edo period. Ink and color on paper. Date: ca. 1801-1802. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Textile fragment, anonymous, 1789 - 1800 Textile fragment, embroidery and pressure from chrysanthemums on reddish -brown crepe stock. Japan silk Textile fragment, embroidery and pressure from chrysanthemums on reddish -brown crepe stock. Japan silk

Topographical view of Birmingham.Watercolour.. 14th C Wall Paintings St Martin's Church, Birmingham. By Allen Edward Everitt

Sample 1883-1900 Associated Artists. Sample. American. 1883-1900. Silk, printed, woven. Made in Connecticut, United States

Giambattista Canal, The Assumption of the Virgin, c 1785 The Assumption of the Virgin

Pijnacker, Adam, Josi, Christiaan, Forest landscape with bull, verso cardboard - stamped, Forest landscape with a bull in the foreground, along a rapid., calque, prints, height 184 mm, width 250 mm, Dutch, 1768 - 1828-11, draughtsman, 1795 - 1821, tracing paper, chalk, crayon, Northern Netherlands, 1622-02-15 - 1673-03-28, intermediary draughtsman

Velvet Fragment, early 1400s. Italy, early 15th century. Velvet (cut, voided, and brocaded): silk and gold thread; overall: 154.6 x 53.7 cm (60 7/8 x 21 1/8 in.).

Scene from the 'Spring Shoots II' Chapter of The Tale of Genji, 16th century, Unknown Japanese, 4 3/8 × 19 7/8 in. (11.11 × 50.48 cm) (image)35 7/8 × 25 13/16 in. (91.12 × 65.56 cm) (mount), Ink on paper, Japan, 16th century, Although it is now mounted as a hanging scroll, this painting is one small section of a set of handscrolls illustrating The Tale of Genji. The painter, likely a woman, depicts a scene from chapter 35, 'Spring Shoots II,' when Genji accompanies several women on a pilgrimage. The women are shown in interior spaces defined by diagonal walls and screens. At far right two men are seated on a veranda. The three principal female characters at left are each identified by name.

Taking Shelter from the Rain. Artist: Hanabusa Itcho (Japanese, 1652-1724). Culture: Japan. Dimensions: 47 3/4 x 124 1/2 in. (121.3 x 316.2 cm). Date: after 1709. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of embroidery from womans skirt unknown

Sampler (Mexico); silk embroidery on cotton foundation

Kerchief made of IInen, printed border with emblems of trade and crafts and landscapes unknown

Artist: Wong Yuk-shue, One of a pair of Herons andLotus, Hanging scroll: ink and color on silk, unmounted, without mounting: 48 1/8 × 15 3/16 in. (122.2 × 38.6cm), China, Chinese, Ming dynasty(1368-1644), Paintings

Eagle Threatening Monkeys, second half 19th century, Kano Hōgai, Japanese, 1828 - 1888, 20 1/8 × 35 3/4 in. (51.12 × 90.81 cm) (image), Ink on paper, Japan, 19th century, A large, sharp-clawed eagle has caught sight of a family of monkeys who cower in a rocky cave, visible at the bottom right of this scroll. The eagle is about to take off, while the monkeys try desperately to avoid notice. Birds of prey such as eagles and falcons were a specialty of Kano Hōgai, who was among the last artists of the preeminent Kano house of painters. Hōgai often looked back to the subject matter and brush-styles of his Kano predecessors, but he reimagined them with unique brushwork and innovative compositions. He also incorporated painting techniques learned from study Western painting.

Tartars Hunting in a Mountain Landscape, first half of 1600s. Japan, Edo period (1615-1868). Six-panel folding screen; ink, color, and gold on paper; painting only: 143.2 x 334 cm (56 3/8 x 131 1/2 in.); overall: 159.9 x 348.8 cm (62 15/16 x 137 5/16 in.).

Landscape Noro Kaiseki (Japanese, 1747-1828). Landscape, early 19th century. Hanging scroll, ink and light color on silk, Image: 50 x 19 1/2 in. (127 x 49.5 cm). Asian Art early 19th century

Design for the Decoration of a Gun Stock. Culture: French, Versailles. Designer: Workshop of Nicolas Noël Boutet (French, Versailles and Paris, 1761-1833). Dimensions: 3 1/4 x 7 1/8 in. (8.3 x 18.1 cm). Date: ca. 1795-1805. Museum: Metropolitan Museum of Art, New York, USA.

Design for the painted decoration in the Chinese style for the stairway of the house offered by the Empress to the duc de Mouchy on the occasion of his marriage second half 19th century Jules-Edmond-Charles Lachaise French. Design for the painted decoration in the Chinese style for the stairway of the house offered by the Empress to the duc de Mouchy on the occasion of his marriage 384908

Fisherman Returning Home. Artist: Unidentified Artist; Copy after () Liang Kai (Chinese, active early 13th century). Culture: China. Dimensions: 9 1/4 x 9 1/3 in. (23.5 x 23.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

Lotuses, Insects, and Birds, 1800s. Korea, Joseon dynasty (1392-1910). Hanging scroll, ink and color on silk; image: 112.6 x 57.5 cm (44 5/16 x 22 5/8 in.); overall: 174.5 x 77.5 cm (68 11/16 x 30 1/2 in.).

Dragon, c. 1250-1279. Fachang Muqi (Chinese, 1220-1280). Hanging scroll, ink on silk; overall: 123.8 x 55.9 cm (48 3/4 x 22 in.).

A Garden Party. Origin: China. Period: Ming dynasty. Ink and color on silk. Date: 16th century. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Fragment of a Shawl with Inscription 8th-9th century In the medieval period, Yemen had a flourishing textile industry and both Umayyad and Abbasid caliphs established factories there. The large and prosperous city of Sana'a, to which this textile is attributed, was one of the most important centers of Yemeni textile production. The Arabic inscription under the lozenge-patterned band reads: "In the name of God. Blessing from God. Of what was made in the tiraz of Sana'a." The "tiraz of Sana'a" mentioned in the inscription refers to the workshop in which the textile was made, reflecting the convention of using the word (which literally means embroidery) to describe both textiles like this one and the workshops in which they were made.. Fragment of a Shawl with Inscription 448599

Design for the Decoration of Firearms. Culture: French, Versailles. Designer: Workshop of Nicolas Noël Boutet (French, Versailles and Paris, 1761-1833). Dimensions: 2 x 4 7/8 in. (5.1 x 12.4 cm). Date: ca. 1797-1805. Museum: Metropolitan Museum of Art, New York, USA.

Rainy Day at Ochanomizu, Tokyo. Kobayashi Kiyochika (Japan, 1847-1915). Japan, late 19th century. Paintings; scrolls. Hanging scroll; ink and colors on paper

Tasting Tea in a Pavilion by the Water. Date: 16th century. Origin: China. Period: Ming dynasty. Ink on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Dragon Boat Regatta on Jinming Lake 14th century () After Wang Zhenpeng Chinese Dragon boat races are traditionally held on the fifth day of the fifth lunar month to commemorate the death of the virtuous minister Qu Yuan (343-277 B.C.), who drowned himself to refute slander. Depicted here is a race sponsored by Emperor Huizong (r. 1101-25) on the third day of the third month, on Jinming ("Golden Bright") Lake, which was located in an imperial park at the Northern Song capital of Kaifeng.The picture is a remarkable example of jiehua, or "ruled-line," painting, the intricate style of depicting architecture perfected by Wang Zhenpeng. According to the inscription, Wang executed this painting in 1323 for the Grand Elder Princess Sennge (ca. 1283-1331), the older sister of Emperor Renzong (r. 1312-20), after a similar composition he had painted for Renzong in 1310.A powerful figure in the Mongol court, Princess Sennge was one of the foremost art collectors of the age, and her seals appear

PINTURA - S XX. Author: JOSE MANUEL BROTO. Location: GALERIA SOLEDAD LORENZO. MADRID. SPAIN.

Persius Reinhold (1835-1912), baptismal font: View. Pencil on transparent, 21.1 x 20 cm (including scan edges)

Tkanina koptyjska. warsztat egipski, workshop

Victor Hugo. "General view of a city by the sea". Plume and brown ink wash on woven paper. Paris, house of Victor Hugo. 74628-19 Drawing, city, 19th XIXth XIX 19th 19th 19th century

Piece of fabric. unknown, author

InkLandscape. Artist, attributed to: Soga Sh?haku, Japanese, 1730-1781

Design for a tomb with the weeping Mary on the left, Jacques Stella, 1606 - 1657, paper, chalk, ink, brush, h 105 mm × w 390 mm

Design for the room wall in the hall of Jan de Groot, Keizersgracht 187, Jurriaan Andriessen, c. 1752 - c. 1819 drawing Design for the room wall in the hall of the bookseller and art collector Jan de Groot, Keizersgracht 187. paper. watercolor (paint). ink. graphite (mineral) pen / brush

Birds and Flowers in a Landscape of the Four Seasons, second half of the 1500s. Follower of Sesshū Tōyō (Japanese, 1420-1506). Six-panel folding screen, ink and color on paper; image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); overall: 175.2 x 374.4 cm (69 x 147 3/8 in.). The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject

Wisteria Maiden and Demon Priest, c. 1872, Kawanabe Kyōsai, Japanese, 1831 - 1889, 43 1/8 × 13 3/8 in. (109.54 × 33.97 cm) (image)77 3/8 × 18 in. (196.53 × 45.72 cm) (mount)78 3/4 × 20 1/8 × 2 in. (200.03 × 51.12 × 5.08 cm) (mount, with roller), Ink and color on silk, Japan, 19th century, This comical juxtaposition of the beauty and the beast pairs two popular characters from folk paintings sold as souvenirs. The Wisteria Maiden steps on the back of a demon priest to pull a branch of wisteria, ignoring his rapturous gaze and using him as no more than a footstool.

Landscape with Daoist Immortals Playing Weiqi 1400-1499 China. Hanging scroll; ink and colors on silk . Dai Jin

Design for a Stage Set. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Date: 1830-90. Museum: Metropolitan Museum of Art, New York, USA.

Hermit center of a triptych of Doves, Hermit, and Kingfisher, 17th century, Setsuzan, 43 7/8 × 19 13/16 in. (111.44 × 50.32 cm) (image)67 1/2 × 24 1/2 in. (171.45 × 62.23 cm) (mount, without roller), Ink on paper, Japan, 17th century, As this trio of paintings currently exists, pictures of birds and flowers flank a central figural subject. This is an age-old compositional device frequently used for devotional Zen paintings in the 1400s and 1500s. In the center is a Chinese hermit, who appears to have fallen asleep. Writing utensils are set out beside him. A dove at right sits on an old plum branch, a tree that blossoms in late winter or early spring, while the kingfisher rests on a stalk of lotus, at left, its ragged edged leaf and exposed pod suggestive of autumn. However, its unlikely that these paintings were originally intended to be shown together like this, given the uneven composition, with the motifs clustered in the lower right corner. Instead, they may have been part of a se

Plate with engraved decorations for an earthenware board with the decor Canton, Petrus Regout, c. 1801 - c. 1879 Copper plate with engraved performances for a plate with the Canton decor, and the corresponding factory stamps. Right above the text: plate no 8. The rear of the plate shows a decisive image on the front. In the top right corner the number 3196 and number 353 (removed). Maastricht copper (metal) engraving Copper plate with engraved performances for a plate with the Canton decor, and the corresponding factory stamps. Right above the text: plate no 8. The rear of the plate shows a decisive image on the front. In the top right corner the number 3196 and number 353 (removed). Maastricht copper (metal) engraving

Frieze (USA); Distributed by Maxwell & Co., S.A. (United States); machine-printed paper; 186.5 x 49.5 cm (73 7/16 x 19 1/2 in.)

Scenic Sites in the Qianlong Emperors Southern Inspection Tour 19th century China These four tapestry hangings (13.220.134-.137) may be from a larger group depicting the scenic sites that the Qianlong Emperor (r. 1736-95) visited during his historic tours south of the capital. The inscriptions identify these four places as Forest of Springs (Quanlin), Pool of the Ancient School (Panchi), Guangyue Tower (Guangyuelou), and Wuwei Monastery (Wuweiguan), all now in Shandong Province. Aside from Guangyue Tower, the buildings at the other three sites have been destroyed, though the first two are known to have housed auxiliary palaces. The images on these panels are comparable to woodblock illustrations in Nanxun Shengdian, a book published in 1770 to memorize the emperors tours.. Scenic Sites in the Qianlong Emperors Southern Inspection Tour. China. 19th century. Silk tapestry (kesi) with ink and color. Qing dynasty (1644-1911). Textiles-Tapestries

Rat on the hammer of Daikoku. .

Kosode (Kimono) Fragment with Cranes, Water, and Pine. Japan, Edo period (1615-1868), late 18th- early 19th century. Textiles. Silk figured satin (rinzu) with paste-resist dyed (shiorage), silk- and gilt paper wrapped silk thread embroidery

Scroll Made 1870-1890 Japan. Mount and inner mount Silk, cotton and gold-leaf-over-lacquered-paper strip, twill weave with plain interlacings of secondary binding warps and patterning wefts; scroll panel silk and cotton, satin weave; embroidered with silk in Chinese knot, satin, single satin, and stem stitches; laidwork and couching; tying tape cotton, plain weave .

Crested Bird on Stump of Plum Tree Attributed to Kano Naonobu Japanese. Crested Bird on Stump of Plum Tree. Attributed to Kano Naonobu (Japanese, 1607-1650). Japan. Hanging scroll; ink on paper. Edo period (1615-1868). Paintings

Plate with engraved decorations for an earthenware pot with lid, Peter Regout, c. 1801 - c. 1879 Copper plate with engraved performances. On the one hand with engraved decorations for a pot with lid. In the top right corner the text: Jedo No 2. The rear shows the decisive front of the front. In the top right corner: 2725. Maastricht copper (metal) engraving Copper plate with engraved performances. On the one hand with engraved decorations for a pot with lid. In the top right corner the text: Jedo No 2. The rear shows the decisive front of the front. In the top right corner: 2725. Maastricht copper (metal) engraving

Before becoming a ceramist, Seif Yohei III briefly trained with painter Tanomura Chokuny (1814-1907). He learned to paint ink compositions in an abstracted, calligraphic way associated with well-read people who made paintings for their own amusement and as gifts for friends. Such works might be exchanged or even made at gatherings where attendees enjoyed sencha, or steeped leaf tea. This scroll shows a Buddhist temple tucked into the forest in a mountain valley. Rain Clearing over a Summer’s Mountain, 1893-1914. Seifū Yohei III (Japanese, 1851-1914). Hanging scroll; ink on paper; painting: 122.1 x 32.8 cm (48 1/16 x 12 15/16 in.); mounted: 183.5 x 44.8 cm (72 1/4 x 17 5/8 in.).

Standard Banner (Sashimono). Culture: Japanese. Dimensions: 30 5/16 x 14 1/2 in. (77 x 36.8 cm). Date: probably late 18th-early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Design for a Stage Set at the Opéra, Paris. Artist: Eugène Cicéri (French, Paris 1813-1890 Fontainebleau). Dimensions: Irregular sheet: 12 7/16 x 10 7/16 in. (31.6 x 26.5 cm). Date: 1828-90. Museum: Metropolitan Museum of Art, New York, USA.

William Blake, The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo, 1827 William Blake (British, 1757 - 1827), The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo, 1827, engraved copper plate, Rosenwald Collection 1943.3.1739

World of Arts, c. 1890 - c. 1893 book Series books for which contemporary artists contribute for, inspired by well -known prints and paintings. Two booklets appeared every month. Tokyo paper color woodcut

Case (Inrō) with Design of Pavilion on Rocks above Waves, with Flowering Plum Trees 18th-19th century Japan. Case (Inrō) with Design of Pavilion on Rocks above Waves, with Flowering Plum Trees 58712

ARTE JAPONES - (PAISAJE) -.

Old man with a beard; Płoński, Michał (1778-1812); 1802 (1802-00-00-1802-00-00);

Landscape. unknown c. 1600-1700 Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: unknown Ownership History: French & Co.

Three people of the Trinity; Alais, John (Ca 1778-Fl. Ca 1820), Hallnat, P. (Flow. Ca 1788-1808); 1803-1820 (1803-00-00-1820-00-00);

Huai Su in the Banana Grove dated 1869 Gu Yun Gu Yün was the leader of a group of painters working in Shanghai during the last quarter of the 19th century who called themselves "The Nine Friends" in imitation of Dong Qichang's (1555-1636) literati circle. the group included Wu Dacheng, Lu Hui, Ren Yü, Jin Lan and Ni Dian, all represented in this exhibition.In Gu's portrayal of Huai Su (737-), the Tang monk is seated in the banana grove he called "Green Sky Temple," practicing calligraphy on nature's affordable paper—the banana leaf. Flywhisk in hand and drowsy from effort and perhaps drink, he wipes moisture from his brow, giving the impression that he is preparing for a nap. This amusing and very human portrayal is typical of the 19th century populist artist's approach to venerable and traditional subjects.. Huai Su in the Banana Grove 36173

Embroidered coverlet ca. 1760-75 Ruth Culver Coleman American The coverlet is composed of three undyed linen panels seamed together, each approximately thirty-two inches wide. It is embroidered with wool in economy, stem, chain, and darning stitches. The wide floral border is embroidered in shades of blue; the central floral and fruit motifs are in shades of pink, brown, gold, lavender, and blue. The top edge of the coverlet seems to have been cut off.. Embroidered coverlet 13611

Pijnacker, Adam, Josi, Christiaan, Forest landscape with bull, verso cardboard - stamped, Forest landscape with a bull in the foreground, along a rapid., drawing, design drawing, prints, height 168 mm, width 258 mm, Dutch, 1768 - 1828-11, draughtsman, 1795 - 1821, paper, chalk, crayon, Northern Netherlands, 1622-02-15 - 1673-03-28, intermediary draughtsman

Album of Fan-Shaped Paintings of Figures, Birds and Flowers 17th-early 18th century Kano Tsunenobu This album preserves a marvelous selection of miniature and meticulously brushed paintings of the variety Kano Tsunenobu became famous for. He was the quintessential chronicler of the history of East Asian painting styles, and this compilation serves as an excellent record of the reception of Chinese and Japanese painting styles in early modern Japan.Kano Tsunenobu is recognized as the last of the great four Kano painters, a roster that also includes masters of the previous generations: Kano Motonobu (1434-1530), Kano Eitoku (1534-1590), and Kano Tany? (1602-1674). Though it began as an atelier specializing in Chinese-style painting (kanga), Kano adherents in both Kyoto and Edo also inherited and preserved the traditions of Japanese-style painting, as demonstrated here by several of the exquisite paintings here on indigenous genre themes or a scene from The Tale of Genji.Pictorial topics

Victor Hugo (1802-1885), French writer. Chinese lounge, decor from Juliette Drouet's house in Guernsey. Southwest wall. Polychrome engraved wood. 1857-1864. Paris, house of Victor Hugo. 77436-7 Art craftsmanship, arts decoratives, serious wood, Chinese cabinet, chinoiserie, oriental influence, orientalism, wooden panel, Chinese living room, 19th 19th 19th 19th 19th 19th century, engraving

Boys miyamairi kimono with yoshitsune on horseback and benkei, 1920 - 1940 Formal Kimono for a boy for the first visit to a Shinto shrine (Miyamairi Kimono), with a decoration of a nocturnal scene with a samurai on horseback at a city wall, approached by a man with a hellaard. An unknown strong man collects swords from Samurai who are closed outside the city of Kyoto at night. Yoshitsune comes to inspect, affects Benkei and will easily beat him despite his Hellaard. Black silk with a painted Yuzen decoration. White silk lining, with separate white silk lower kimono. Five family weapons (Mon) of four squares in a circle (Meyui). Japan silk painting Formal Kimono for a boy for the first visit to a Shinto shrine (Miyamairi Kimono), with a decoration of a nocturnal scene with a samurai on horseback at a city wall, approached by a man with a hellaard. An unknown strong man collects swords from Samurai who are closed outside the city of Kyoto at night. Yoshitsune comes to inspect, affects Be

Drunken poets. Origin: China. Date: 1368-1644. Period: Ming dynasty. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Traveler beside a Tree. Date: 1847. Origin: Japan. Period: Edo period. Ink and color on silk. Museum: Freer Gallery of Art and Arthur M. Sackler Gallery.

Eight Views of the Xiao and Xiang River Valleys. Attributed to Kanō Tan'yū (Japan, 1602-1674). Japan, circa 1650. Paintings; scrolls. One from a set of eight hanging scrolls; ink on silk

The Knickknack Peddler, 1212. Li Song (Chinese, active c. 1190-c. 1230). Album leaf, ink and color on silk; image: 24.1 x 26 cm (9 1/2 x 10 1/4 in.); with mat: 33.3 x 40.5 cm (13 1/8 x 15 15/16 in.).

Ploughing (Sketch) Malczewski, Jacek (1854 1929)

Scenes from the Eight Views of the Xiao and Xiang Rivers 17th century Unkoku Tōeki Japanese This pair of screens, invoking the Chinese landscape around the Xiao and Xiang Rivers and the traditional couplets associated with its representation, was painted by the second son of Unkoku Tōgan (1547-1618), heir to the artistic legacy and patrons of Sesshû Tōyō (1420-1506) in western Japan. Regional schools like the Unkoku workshop were patronized by powerful local daimyo—in this instance, the Mōri in Suō and Hagi—who brought Kyoto-trained artists to their strongholds in the provinces to underscore their cultural and military authority. The Unkoku style was characterized by a strong, tensile ink line, a composition based on a balance of wash and large unpainted areas, and a shallow spatial representation.. Scenes from the Eight Views of the Xiao and Xiang Rivers 45423

Maffet Ledger: Drawing ca. 1874-81 Southern and Northern Cheyenne. Maffet Ledger: Drawing 766632

Landscape in Moonlight after 1662 Kano Tan'y Japanese Kano Tan’y brilliantly recasts landscape motifs taken from the traditional subject Eight Views of Xiao and Xiang Rivers. In an ethereal panoramic view, the artist balances unpainted void with painted form and exploits the separate-but-linked quality of the triptych format. These paintings (1975.268.49-.51) by Tan’y, the Tokugawa shogunate’s official painter (goy-eshi), reveal a striking shift of taste from the lush heroic style of the Momoyama period (late sixteenth to early seventeenth century) to the more subdued and erudite style of the Kano school, which dominated Japanese art through the Edo period. All three scrolls bear the signature “Hin Tan’y,” which indicates that they were made after the influential painter was granted the honorific title Hin (Seal of the Buddhist Law) from the palace in 1662 at age sixty-one.. Landscape in Moonlight. Kano Tan'y (Japanese, 1602-1674). Japan. after 1662. One of a triptych of hangin

Fragment of the decorative belt tunics or bedspreads; Egyptian workshop; VIII-IX century (701-00-00-900-00-00);

Drawing, Designs for Souvenir Fans for the 1867 Paris Exposition Universelle; France

Winter, school of Unkoku, c. 1630 - c. 1660

Various human types in two rows. Płoński, Michał (1778-1812), graphic artist

PleMpen in a ditch, south of Amsterdam ..

Leaves. Date: 1909. oil stick on paper. Museum: Anacostia Community Museum.

Chrysanthemum boy.. Kamisaka, Sekka, 1866-1942. Prints, Illustrations. 1909 - 1910. Spencer Collection. Japan , Social life and customs, Chrysanthemums

A Beautiful Woman, 1735-1785. Torii Kiyomitsu (Japanese, 1735-1785). Color woodblock print; sheet: 65.4 x 9 cm (25 3/4 x 3 9/16 in.).

Tao Yuanming's Return Home, 1300s. China, Yuan dynasty (1271-1368). Handscroll, ink and slight color on silk; image: 34.6 x 566.4 cm (13 5/8 x 223 in.); overall: 37.7 x 1001.1 cm (14 13/16 x 394 1/8 in.).

Two Brave Men Battling on the Roof of Hōryūkaku, October 1885, Tsukioka Yoshitoshi; Publisher: Matsui Eikichi; Carver: Takimoto Chokuzan, Japanese, 1839 - 1892, 15 1/4 × 10 1/4 in. (38.74 × 26.04 cm) (sheet, each, approx., vertical ōban, upright diptych), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Calligraphy Couplet 19th century Lianfang Songfou Chinese The poetic couplet on this pair of tapestries is woven to represent calligraphy written in clerical script. The background imitates spotted bamboo, which was highly regarded in China because the spots on the stalks were understood to represent the tears of two empresses after the death of the legendary ruler Shun. The signature indicates that the original calligraphy is the work of Aisin Gioro Songfu (act. early 19th century), a member of the imperial family who was Minister of the Justice from 1825 to 1826. The couplet conflates two different poems by the famous Song dynasty poet Su Shi (1037-1101):Clear spirit and cool mind keep one fromthe mundaneGood harvest and social harmony create ease.. Calligraphy Couplet. China. 19th century. Silk. Qing dynasty (1644-1911). Textiles-Tapestries

Samantabhadra, 1100s. China, Southern Song dynasty (1127-1279). Hanging scroll, ink and color on silk; image: 114.8 x 55.1 cm (45 3/16 x 21 11/16 in.); mounted: 208.6 x 75.4 cm (82 1/8 x 29 11/16 in.).

Mountain Scenery 19th century Attributed to Senkaku Toshu. Mountain Scenery. Attributed to Senkaku Toshu (1804-1871). Japan. 19th century. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

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