Calligraphy and Poetry

Beautiful calligraphy from historical poems, reflecting traditional Chinese artistic styles and philosophical themes.

Colophon on five leaves (page two of two), 1851, Shinozaki Shōchiku, Japanese, 1781 - 1851, 7 × 17 13/16 in. (17.78 × 45.24 cm), Ink on paper, Japan, 19th century

Poetic Maxim dated 1691 Zheng Fu Zheng Fu, a Nanjing native, lived through the fall of the Ming dynasty and elected to practice medicine rather than to study for the civil-service examinations. He was best known for his large-scale clerical script writings, as exemplified by this hanging scroll. A pioneer in the revival of interest in Han dynasty (206 B.C..-A.D. 220) stele writings, Zheng traveled to Shandong and Hebei Provinces in search of original stones, inspiring the playwright Kong Shangren (1648-1718) to compose a poem about Zhengs obsession. In addition to creating independent works of calligraphy, Zheng was also much sought after to execute large-character frontispieces for paintings.This piece quotes Jiao Gans (act. 86-34 B.C.) poetic explanation of one of the trigrams in the Book of Changes (Yi Jing). The text offers an inspiring sentiment suitable for a gentlemans studio.He who acts like the single-minded cuckoo will not make mistakes.If a gentleman upholds this code of

Chinese Poem on Buddhist Teachings 1666 Nanyuan Xingpai (Japanese: Nangen Shha) The baku monk Nanyuan Xingpai, better known by his Japanese name Nangen Shha, has inscribed in vigorously brushed cursive characters of a Chinese poem with four seven-character lines on Buddhist enlightenment. Befitting the outlook of a monk who lived in temples from his teens until he died, the verse suggests that the profound teachings of baku Zen Buddhism, though hard to fathom as the deepest seas, can offer respite from woes and suffering that life in the everyday world entails.The poem can be tentatively deciphered and translated as followsAmid the affairs of the world, focus your mind on saving people. When the gate is unlocked, rain falls on all indiscriminately. Even if one seeks a thousand cures from a doctor’s blue satchel. The secret to removing suffering remains as profound as the seas.(Trans. Xiaohan Du)In his calligraphy Nanyuan followed the style of his ma

Poem of Farewell to Liu Man dated 1240 Yelü Chucai Khitan Yelü Chucai played a pivotal role in mitigating the harsh rule of the Mongols over the occupied territories of North China. A trusted adviser to both Chinggis Khan and his son Ögödei, he introduced fiscal reforms and an amnesty for tax debts. Unfortunately, many of his administrative reforms were short-lived.The blunt, monumental writing on this handscroll, with its emphatic hooks and dots and square character forms, recalls the unrestrained style of Huang Tingjian (1045-1105), a Northern Song master who advocated "driving every brushstroke with full force." The poem lauds the virtuous administration of a young official in an era of widespread exploitation and reflects Yelü's own attempts to institute more humanitarian policies: Half the population of Yunzhong and Xuande have fled their homes;Only the few thousand people under your care are secure.You are among our dynasty's most able administrators.Your good name is as loft

Epitaph Plaques for Yi Gi-ha, 1718. Korea, Joseon dynasty (1392-1910). Porcelain with underglaze blue; overall: 18.2 x 12.6 cm (7 3/16 x 4 15/16 in.).

Calligraphy Wen Conglong. , mid to late 16th century. Ink on paper, overall: 75 1/4 x 18 7/8 in., 22 3/4 in. with rollers. Asian Art mid to late 16th century

Colophon on five leaves (page two of two), 1851, Shinozaki Shōchiku, Japanese, 1781 - 1851, 7 × 17 13/16 in. (17.78 × 45.24 cm), Ink on paper, Japan, 19th century

Excerpt from Xie Huilian's Prose Poem "On Snow". Artist: Dong Qichang (Chinese, 1555-1636). Culture: China. Dimensions: 10 1/2 x 72 5/16 in. (26.7 x 183.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

Discourse on Painting dated 1667 Fa Ruozhen Chinese. Discourse on Painting. Fa Ruozhen (Chinese, 1613-1696). China. dated 1667. Handscroll; ink on paper. Qing dynasty (1644-1911). Calligraphy

Quatrain in Five-syllable Verse Sun Yueban Chinese. Quatrain in Five-syllable Verse 49169

Kyoto, Yamada Geishudo, Yamada Shinzaburo, Sekka, Kamisaka, Chigusa, A Thousand Grasses, inside cover back - stamped, Volume two (of two) of the third edition; beige cover with silver-coloured pattern of birds and butterflies; white title strip at top centre; 7 sheets: first page, table of contents; 12 prints, mainly still lifes and landscapes; cover sheet, colophon., book, prints, Japan (collection), height 238 mm, width 355 mm, Japanese, 1866 - 1942, print maker, printmaker, 1903-06 - 1903-06, first quarter 20st century, first quarter 20th century, paper, silver powder, gold powder, colour woodcut, blind stamping, Publication (Event), Publication, publisher, seller

Chinese Poem to Celebrate a Senior Monks Sixtieth Birthday late 17th-early 18th century Duzhan Xingying (Japanese: Dokutan Sh?kei) ???? The ?baku Zen monk Duzhan Xingying, better known as Dokutan Sh?kei in Japan, has brushed two long and one short columns of bold, Ming-style cursive calligraphy to transcribe a Chinese poem composed in eight lines, five syllables each. Balanced on the left is a half-column of characters, of the same size and style, comprising the calligraphers signature. The verse was composed on the occasion of another (unnamed) monks sixtieth birthday—no doubt someone senior to Duzhan in the monastic ranks—and eulogizes the subject using natural metaphors such as the clear moonlight (a symbol of Buddhist wisdom) and the vocabulary of the transmission of the Dharma (Buddhist Law). Though brushed with unrelenting energy, each character remains in its own self-contained orbit of energy, with only seven pairs of characters connected by a brushstroke; nowhere are more t

Wine and Fish, late 18th - early 19th century, Okada Beisanjin, Japanese, 1744 - 1820, 9 × 18 15/16 in. (22.86 × 48.1 cm) (sheet, fan)11 3/16 × 19 1/2 in. (28.42 × 49.53 cm) (mount, inner mount)13 3/16 × 23 3/4 in. (33.5 × 60.33 cm) (mat), Ink on paper, Japan, 18th-19th century

Epitaph Plaques for Yi Gi-ha, 1718. Korea, Joseon dynasty (1392-1910). Porcelain with underglaze blue; overall: 18.2 x 12.6 cm (7 3/16 x 4 15/16 in.).

Calligraphy. Jingo-Ji-Kyo scroll, Heian period. 12th cent. JAPAN.

Two Poems n. d. Unidentified artist. Two Poems 51870

Reading at the Secluded Pine Studio (Song yinan). Artist: Chen Qiyuan, Chinese, born 1812

Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11 Korean. Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11, ca. 1652. Porcelain with underglaze, 10 1/16 × 7 1/16 in. (25.5 × 18 cm). Asian Art ca. 1652

Two Poems from One Hundred Poems by One Hundred Poets (Ogura hyakunin isshu). Artist: Hon'ami Koetsu (Japanese, 1558-1637); Painting by Tawaraya Sotatsu (Japanese, died ca. 1640). Culture: Japan. Dimensions: Image: 13 × 23 3/4 in. (33 × 60.4 cm)Overall with mounting: 49 5/8 × 29 1/8 in. (126 × 73.9 cm)Overall with knobs: 49 5/8 × 31 5/16 in. (126 × 79.5 cm). Date: ca. 1615-20.This fragment once belonged to a handscroll featuring the poetry of the entire anthology One Hundred Poems by One Hundred Poets. The underpainting in gold and silver by Tawaraya Sotatsu describes the life cycle of the lotus--a plant associated with Buddhism. The two poems here are by Fujiwara no Akisuke (1090-1155) and Lady Horikawa (active late 12th century). Museum: Metropolitan Museum of Art, New York, USA.

Poems on two sounds in running script. Date/Period: 1550. Ink on paper. Height: 308 mm (12.12 in); Width: 4,655 mm (15.27 ft). Author: Wen Zhengming.

Du Fu's Eight Immortals of the Wine Cup, second half 17th century, Kitajima Setsuzan, Japanese, 1636 - 1697, 52 1/4 × 23 3/8 in. (132.72 × 59.37 cm) (image), Ink on paper, Japan, 17th century, The 'Eight Immortals of the Wine Cup' is a poem attributed to the Tang Dynasty poet Du Fu (712-770) which paints a satirical picture of his fellow literati scholars and was a popular subject for Chinese and Japanese artists and calligraphers.

On Becoming Fifty, 1836, Ema Saikō, Japanese, 1787 - 1861, 6 3/4 × 18 1/8 in. (17.15 × 46.04 cm) (image)38 7/8 × 19 5/16 in. (98.74 × 49.05 cm) (without roller), Ink on paper, Japan, Running script (gyōsho), Ema Saikō was an outstanding female literatus of her time who was undertaking Chinese studies and arts. She wrote this Chinese-style poem on elegant blue paper with a delicate design of bracken.

Poem of 1849, 1849, Fujita Tōko, Japanese, 1806 - 1855, 50 7/8 × 22 15/16 in. (129.22 × 58.26 cm) (image)73 3/8 × 24 7/16 in. (186.37 × 62.07 cm) (mount, without roller), Ink on paper, Japan, 19th century, This work is a rubbing, an impression of inscriptions carved into stone made by placing a sheet of moistened paper over the surface and tapping with a ball of cloth soaked in ink. For centuries, rubbings played an important role in transmitting calligraphy because it allowed for accurate reproductions of not just the content but also the writing style.

Poem Concerning a Wanli Era Imperial Brush. Date/Period: 1705. Painting. Hanging scroll, ink on paper. Width: 39. Height: 109.2 (image). Author: Shitao (Shih-t'ao).

Orchid Pavilion (Rantei ki 亭記), 1787, Unknown Japanese, 10 3/4 × 7 × 1/4 in. (27.31 × 17.78 × 0.64 cm), Woodblock printed book; ink on paper, Japan, 18th century

Epitaph Plaques for Yi Gi-ha, 1718. Korea, Joseon dynasty (1392-1910). Porcelain, with underglaze blue; overall: 18.2 x 12.6 cm (7 3/16 x 4 15/16 in.).

Poem in Running script (Xingshu). Artist: Lou Jian, Chinese, 1567-1631

Close-up of Chinese script

Account of the Pavillion of an Old Drunkard right of a pair, 1729, Hosoi Kōtaku, Japanese, 1658 - 1735, 66 1/4 × 146 13/16 in. (168.28 × 372.9 cm), Six-panel folding screen; ink on paper, Japan, Cursive script (sōsho)

Tokyo, Akiyama Buemon, Japan, Yoshitoshi, Tsukioka, Tsuki hyakushi, One Hundred Aspects of the Moon, Title page of the series One Hundred Aspects of the Moon, verso - stamped, Title page of the series One Hundred Aspects of the Moon; added small page with series title and signature: Taiso Yoshitoshi hitsu (brush by Taiso Yoshitoshi)., print, prints, Japan (collection), height 361 mm, width 245 mm, height 191 mm, width 49 mm, Japanese, 1839 - 1892, print maker, printmaker, 1885 - 1892, fourth quarter 19th century, paper, woodcut, Publication (Event), Publication, publisher

Calligraphy, 1878, Hirano Gogaku, Japanese, 1809 - 1893, 13 11/16 × 6 5/8 in. (34.77 × 16.83 cm), Ink on silk, Japan, 19th century

Travel Poems right of a pair, 1834, Unge, Japanese, 1773 - 1850, 7 5/8 × 330 7/16 in. (19.37 × 839.31 cm) (image)7 5/8 × 340 1/4 in. (19.37 × 864.24 cm) (mount), Ink on paper, Japan, 19th century

C14 Chinese medication chart: Fanzao, diarrhoea etc.

Poem on a hermitage late 16th century Tu Long Chinese Tu Long is best known as a poet and a dramatist. Forced out of government office in 1583 as a result of slander, Tu returned to his home in Ningbo, Zhejiang Province, to lead the life of a poor scholar, dabbling in Daoism and eking out a meager livelihood composing epitaphs and other commemorative pieces.Tu Long's calligraphy epitomizes the late Ming taste for bold large-character cursive. His sharply tilted characters of varying sizes, in which the curved and hooked strokes are emphasized, also reflect the influence of the middle Ming master Zhu Yunming (1461-1527). This poem, which was published about 1582 in Tu's first collection of poetry, is one of twelve he composed at a gathering of friends in the autumn rain.. Poem on a hermitage 45384

Calligraphy in Kai-Shu Script, late 17th century, Wang Yuan-ch'i, 1642-1715, 46 x 15 1/2 in. (116.84 x 39.37 cm) (image), Ink on paper, China, 17th century, Wang Yuanqi was born in Tai-tsang, Jiangsu, into a family of prominent scholar-officials, including his grandfather, Wang Shimin (1592-1680), the important orthodox, literati painter. Wang, in fact, studied the classics and painting under his grandfather's tutelage. He held several important court appointments and was eventually grouped with his grandfather, Wang Hui and Wang Jian, as one of the Four Major Wangs of the Qing dynasty. While best known for his orthodox landscape painting, Wang was accorded the title of 'three superlatives' (san chueh) meaning good in poetry, painting, and calligraphy. In the classical verse seen here, Wang writes in the relatively formal k'ai-shu(or chen shu) script. His characters are clearly structured and well-balanced conveying a conservative air.

Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11 Korean. Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11, ca. 1652. Porcelain with underglaze, 10 1/16 × 7 1/2 in. (25.5 × 19 cm). Asian Art ca. 1652

Fragment of an essay about the art of calligraphy; 18th century (1701-00-00-1800-00-00);Confucian dialogues, Qing (era - 1644-1911), essays, calligraphies, album cards, Chinese art

Eight-Line Poem, late 18th century, Uno Genshō, 10 11/16 × 12 1/8 in. (27.15 × 30.8 cm), Ink on paper, Japan, 18th century

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.).

Excerpt from Bai Juyi's "Autobiography of a Master of Drunken Poetry Recitation" early 11th century Fujiwara no Yukinari (Kōzei) The highly skilled courtier-calligrapher Fujiwara no Yukinari earned a reputation as the consolidator of wayō (Japanese-style) calligraphy. The poet Bai Juyis collected works had a greater influence on Murasakis tale than any other Chinese work. The lines from Bais autobiographical statement read:Therefore, he called himself the “Master of Drunken Poetry Recitation.” Now in the third year of the Kaicheng reign era [838, he has reached the age of sixty-seven. Though his beard has turned white, his head is half bald, and his teeth are falling out, his enjoyment of wine and poetry has not diminished. Turning to his wife, he said, “Before now I have always been at ease, but from now on, I do not know if I can enjoy these pleasures in the same way.”—Translation by John T. Carpenter. Excerpt from Bai Juyi's "Autobiography of a Master of Drunken Poetry Recitatio

Poem by Wang Wei after 1632 Dong Qichang Chinese Immensely influential as a painter and art theorist, Dong Qichang is also renowned for his calligraphy, and, together with Xing Tong (1551-1612), Mi Wanzhong (act. ca. 1595-after 1631), and Zhang Ruitu (1570-1614), he is considered one of the Four Masters of the late Ming.As he did in his painting, Dong drew inspiration for his calligraphy from the ancient masters. Aimed at capturing the spirit rather than the physical likeness of his models, his writing style remained distinctively his own. In contrast to the brusque coarse power displayed by the calligraphy of other late Ming artists, Dong's fluid lines, alternately wet and dry from his constant twisting of the brush tip, possess tremendous grace. Dong wrote out a poem by Wang Wei (700-761):Among the mountains we bid each other farewell;The sun is setting as I close my bramble gate.Spring grass every year is green;But will the young prince ever return. Poem by Wang Wei. Dong Qichang (

Sample of Chinese printing of the Song period (960-1278) China. Sample of Chinese printing of the Song period (960-1278). China. Illustrated book. Song dynasty (960-1279). Illustrated Books

Poem Composed after Editing Jingan's Literary Works dated 1576 Unidentified artist. Poem Composed after Editing Jingan's Literary Works 48912

Album of Ming Yimin Artists. Artist: Jao Tsung-i, Chinese, born 1917 Artist: Zhang Mu, Chinese, 1607-1687 Artist: Zhang Jiayu, Chinese, active 17th century Artist: Zhao Tuifu, Chinese, active 17th century Artist: Peng Ruiguan, Chinese, active 17th century Artist: Wei Zhihuang, Chinese, 1568-after 1645 Artist: Gao Yan, Chinese, 1616-ca. 1691

C14 Chinese medication chart: Vomiting, coughing etc.

Auspicious Couplet in Clerical Script Calligraphy Li Ruiqing (1867-1920). Auspicious Couplet in Clerical Script Calligraphy, 1910. Hanging scroll, ink on paper, overall: 95 1/2 x 23 in. (243.0 x 58.5 cm). Asian Art 1910

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

Vietnam, Da Nang. Old imperial capital city of Hue. Emperor Tu Duc's Tomb complex. Detail of stone tomb marker.

Chinese Writing on Stone Slab, Temple of Literature, Hanoi, Vietnam

Stele "Chokkhwa". Stele monument erected by Heungseon Daewon, regent during the late Joseon Dynasty, In April 1871, to express a firm determination to reject the invasion of imperialism and strengthen the seclusion, and to urge the people to awaken to the invasion of Western powers.

Fragment of an essay on the art of calligraphy.

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/8 × 6 1/8 × 1 3/8 in. (23.8 × 15.6 × 3.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Chinese War Poster . 1942 - 1945. Office for Emergency Management. Office of War Information. Domestic Operations Branch. Bureau of Special Services. 3/9/1943-9/15/1945. World War II Foreign Posters

Kaishien gaden' (The Mustard Seed Garden Painting Manual), 1753. Wang Gai, active 1677-1705., Kyoto. Woodcuts

Quatrain on a Spring Garden Emperor Lizong Chinese This verse, written during Lizong's maturity in a charming cursive script for the "noble consort" who inspired it, makes clear that life was not without its pleasures for the aging emperor:Last year I saw a branch scented with a red fragrance;Faintly, I imagined red corollas with little makeup.Today, in the palace garden, such colors abound.Perhaps, without knowing it, I prayed to the god of spring.(Wen C. Fong, trans., in Beyond Representation: Chinese Painting and Calligraphy, 8th-14th Century New York: The Metropolitan Museum of Art,1992, p. 242). Quatrain on a Spring Garden 40187

Kaishien gaden = The mustard seed garden painting manual.. Wang, Gai, active 1677-1705. Prints, Illustrations. 1753. Spencer Collection

Bloemrich Designs, 1905 book Hard cover with blue and white block pattern and the title in white lane; 25 sheets, two pattern designs for textiles per leaf; Last page, Colophon. paper. color woodcut

(Chinese and Japanese poetry), first half 17th century, Shōjō Shōkadō, Japanese, 1584 - 1639, 61 3/8 × 139 3/4 in. (155.89 × 354.97 cm) (image), Six-panel folding screen; ink on paper, Japan, Cursive script (sōsho)

Poem on Imperial Gift of an Embroidered Silk: Calligraphy in Cursive Script Style (xingshu), c. 1525. Wen Zhengming (Chinese, 1470-1559). Hanging scroll, ink on paper; painting only: 343.5 x 93.5 cm (135 1/4 x 36 13/16 in.); overall with knobs: 698.5 x 124.4 cm (275 x 49 in.).

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 1/2 × 6 9/16 × 1 3/8 in. (24.1 × 16.7 × 3.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8 Korean. Epitaph Tablet for Kim Gyehui (1526-1582), from a Set of 8, ca. 1582. Porcelain with underglaze, 9 5/8 × 7 1/16 in. (24.5 × 18 cm). Asian Art ca. 1582

Poem by Wang Wei. Artist: Dong Qichang (Chinese, 1555-1636). Culture: China. Dimensions: Image: 74 3/8 × 29 1/4 in. (188.9 × 74.3 cm)Overall with mounting: 8 ft. 7 3/4 in. × 34 1/4 in. (263.5 × 87 cm)Overall with knobs: 8 ft. 7 3/4 in. × 38 in. (263.5 × 96.5 cm). Date: after 1632.Immensely influential as a painter and art theorist, Dong Qichang is also renowned for his calligraphy, and, together with Xing Tong (1551-1612), Mi Wanzhong (act. ca. 1595-after 1631), and Zhang Ruitu (1570-1614), he is considered one of the Four Masters of the late Ming.As he did in his painting, Dong drew inspiration for his calligraphy from the ancient masters. Aimed at capturing the spirit rather than the physical likeness of his models, his writing style remained distinctively his own. In contrast to the brusque coarse power displayed by the calligraphy of other late Ming artists, Dong's fluid lines, alternately wet and dry from his constant twisting of the brush tip, possess tremendous grace. Dong w

Statistics of ruined schools during the gunfire. This was conducted during the Japanese invasion of China.

Traditional printing block, Museum of Chinese Imperial Examination, Nanjing, Jiangsu Province, China

Leaflets distributed by Shanghai Student Union, calling for "Three Strikes". "Three Strikes" included work strike, class strike, and market strike, it was a part of the May Fourth Movement, a Chinese anti-imperialist, cultural, and political movement that grew out of student protests in Beijing on May 4, 1919.

Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11 Korean. Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11, ca. 1652. Porcelain with underglaze, 10 1/16 × 7 1/2 in. (25.5 × 19 cm). Asian Art ca. 1652

China: 'Orchid and Rock'. Hanging scroll painting attributed to Ma Shouzhen (1548-1604), 1572. Ma Shouzhen (1548-1604), pen names Xianglan and Yuejiao, was a Chinese artist and courtesan born in Nanjing during the latter years of the Ming Dynasty period. She was a matriarch in courtesan society, only allowing educated men or young student lords within her residence. She became a renowned composer, painter and poet, developing a brush style of delicate, monochromatic ink.

Close-up of lot

Ngo Si Lien was a historian of the Vietnamese Le Dynasty. He is best-known for being the principal compiler of the Dai Viet su ky toan thu, a comprehensive chronicle of the history of Vietnam and the oldest official historical record of a Vietnamese dynasty that remains today. In his 'Complete Historical Record of Dai Viet', Ngo Si Lien is appreciated not only for the precision of his records but also for the innovative method of compilation, he was the first Vietnamese writer who extracted information for historical book from collections of myths and legends. Down to the present day, Ngo Si Lien is considered one of the most important figures in the the historiography of Vietnam.

Couplet in Clerical Script Luo Ping. Couplet in Clerical Script, mid 18th century. Ink on paper, overall: 57 1/8 x 11 1/2 in. each. Asian Art mid 18th century

Poem in Chinese about Sugar 14th century Kokan Shiren Japanese A prominent figure in early fourteenth-century Japanese Zen, Shiren was born into an aristocratic family in Kyoto and studied Zen in Kamakura with the Chinese émigré monk Yishan Yining (Japanese: Issan Ichinei, 1247-1317). Shirens calligraphy reveals a debt to his master in its crisp brushwork, long horizontal strokes, and overall rightward-leaning tendency. The seven-character quatrain, about sugar, reads:Now let fire and water fight it out:Heat and boil it many times,It will form naturally;Dont say that it always tastes like honey.When you roll your tongueIt may also taste sour.—Trans. Yoshiaki Shimizu and John M. Rosenfield. Poem in Chinese about Sugar 42693

Scroll ca. 1800 Anonymous. Scroll. Japanese. ca. 1800. Ink on paper. Osaka. Miscellaneous

Miniature Album of 18 Landscapes, 1857, Nakabayashi Chikkei, Japanese, 1816 - 1867, 7/16 × 2 3/16 × 3 1/8 in. (1.11 × 5.56 × 7.94 cm), Ink and colors on paper, Japan, 19th century

Poem on Satin, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 44 3/4 × 4 1/4 in. (113.67 × 10.8 cm) (image)62 13/16 × 6 7/8 in. (159.54 × 17.46 cm) (mount, without roller), Ink on paper, Japan, 19th century

Calligraphy, c. 1900 Roller painting with calligraphy: two spells (Duilian) by statesman Zhang Jian (general and reform -minded politician). In wooden box. China ink. paper. silk Roller painting with calligraphy: two spells (Duilian) by statesman Zhang Jian (general and reform -minded politician). In wooden box. China ink. paper. silk

CHINA, Chongqing Province, Chongqing City. The Three Gorges Museum / old Genealogy Carvings found in Yangzi River Town.

History of the Han Dynasty' wood block print from the period of Ching-you of the Sung Dynasty (1034 - 1036 A.D.). Beijing Library, China.

Fan, Shibata Zeshin, c. 1866 - c. 1878 print There is a sprig over a fan. With poems. paper color woodcut fan. oriental ideographic script (Chinese, Korean, Japanese)

The Setting Sun, early 18th century, Ogyū Sorai, Japanese, 1666 - 1728, 50 1/4 × 10 5/16 in. (127.64 × 26.19 cm) (image), Ink on paper, Japan, Cursive script (sōsho), Setting sunlight on lingering snow illuminates the studio

Couplet in Clerical Script Luo Ping. Couplet in Clerical Script, mid 18th century. Ink on paper, overall: 57 1/8 x 11 1/2 in. each. Asian Art mid 18th century

Listening to Music School of Chen Hongshou (Chinese, 1598-1652). Listening to Music, 1368-1644. Hanging scroll, ink and color on silk, Overall: 94 x 24 in. (238.8 x 61 cm). Asian Art 1368-1644

Li Yangbing was a high-ranking Tang Dynasty Chinese government official (imperial magistrate), important literary figure, noted calligrapher, and relative of the famous Chinese poet Li Bai. Li Yangbing (also appearing in English as Li Yang-Ping) is notable for being the initial editor and compiler of the poetry of his kinsman, Li Bai; also for writing a preface to this which is important as one of the few primary historical sources on Li Bai.

Calligraphy, Lieh Tzu, Yang-chu Chapter Kojima Soshin. Calligraphy, Lieh Tzu, Yang-chu Chapter, 1651. Handscroll; ink, color, and gold on paper, 11 3/8 x 322 in. (28.9 x 817.9cm). Asian Art 1651

Close-up of asian calligraphy in ink on paper Sepia photograph

Kanji are the logographic traditional Chinese characters that are used in the modern Japanese writing system along with hiragana, katakana, Indo-Arabic numerals, and the occasional use of the Latin alphabet (known as 'romaji'). The Japanese term 'kanji' literally means 'Han characters' or 'Chinese characters' and is the same written term used in the Chinese language to refer to the character writing system. The Mahaprajnaparamita Sutra was an encyclopedic collection of Prajnaparamita texts, usually attributed to Nagarjuna, translated into Chinese by Xuanzang and his assistants.

Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11 Korean. Epitaph Tablet for Mok Seoheum (1571-1652), from a Set of 11, ca. 1652. Porcelain with underglaze, 10 1/16 × 7 1/2 in. (25.5 × 19 cm). Asian Art ca. 1652

A stone tablet rubbing bearing part of the 1,000 word inscription written by Huai Su, a monk of the Tang Dynasty (618 - 907 A.D.). The epitaph shows the art of 'cao shu', a style of handwriting with characters executed swiftly and strokes flowing together.

Dainihon rokuju yoshu meisho zue - mokuroku. Print shows a table of contents page for the series of prints; Famous views in the sixty-odd provinces. Date 1856. Attributed to: Baiso Gengyo.

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 1/2 × 6 9/16 × 1 3/8 in. (24.1 × 16.7 × 3.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/4 × 6 3/4 × 1 in. (24.8 × 17.1 × 2.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 1/4 × 6 3/8 × 1 in. (23.5 × 16.2 × 2.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/8 × 6 7/8 × 1 in. (23.8 × 17.5 × 2.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/4 × 6 1/2 × 1 in. (24.8 × 16.5 × 2.5 cm). When important individuals died during the Joseon dynasty (1392-1910), they were commemorated in lengthy epitaphs that were inscribed on durable surfaces for posterity. This set of fourteen plaques (we are showing only part of the set) records the biography and family history of a celebrated poet, Park Eun (1479-1504), and even includes examples of his verses. This is an unusually early example of the use of porcelain for preserving epitaphs. Prior to this period, epitaphs were carved into stone. In this early period, iron oxide was used to write the text, whereas later cobalt blue would be preferred. Asian Art 1509

Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14 Korean. Epitaph Tablet for Bak Eun (1479-1504), from a Set of 14, 1509. Porcelain with underglaze, 9 3/8 × 6 1/8 × 1 3/8 in. (23.8 × 15.6 × 3.5 cm). Asian Art 1509

Taipei, Taiwan, China

Mount Fuji, second half 19th century, Yamanaka Shinten'ō, Japanese, 1822 - 1885, 14 7/16 × 2 9/16 in. (36.67 × 6.51 cm), Ink on paper, Japan, 19th century

Couplet in Clerical Script Luo Ping. Couplet in Clerical Script, mid 18th century. Ink on paper, overall: 57 1/8 x 11 1/2 in. each. Asian Art mid 18th century

Section of the Flower Garland Sutra, Fascicle 53. Japan, 1050-1100. Paintings; scrolls. Hanging scroll; ink and gold on paper

Noble Trees andFlowers. Calligrapher: Mitsui Shinna, Japanese, 1700-1782

Dated inscription. unknown, graphic artist

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