Korean Epitaph Tablets and Calligraphy

Various Korean and Japanese epitaph tablets and calligraphy featuring intricate designs and historic inscriptions, showcasing traditional Asian art.

Set of Three Poem Cards (shikishi), one of three, second half 19th century, Doi Gōga, Japanese, 1817 - 1881, 8 5/8 × 8 in. (21.91 × 20.32 cm), Ink on paper, Japan, 19th century

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

Plum-blossom study. Date/Period: Mid 1640s. Scroll Paintings. Ink on paper ink on paper. Height: 1,290 mm (50.78 in); Width: 555 mm (21.85 in). Author: CHEN HONGSHOU.

Set of Three Poem Cards (shikishi), one of three, second half 19th century, Doi Gōga, Japanese, 1817 - 1881, 8 5/8 × 8 in. (21.91 × 20.32 cm), Ink on paper, Japan, 19th century

One of Eight Mortuary Tablets of So Yukyo (1755-1812). Seo Yongbo (Korea). Korea, Joseon (1392-1910), dated 1812. Furnishings; Serviceware. Slab-built porcelain with underglaze blue painted decoration and clear glaze

Couplet from Song Zhiwens poem “Ascending the Pavilion at the Monastery of Meditative Concentration” Attributed to Mi Wanzhong Mi Wanzhong was a well-known calligrapher, painter, and connoisseur of the late Ming period who claimed descent from the eminent Northern Song artist-connoisseur Mi Fu (1052-1107). While holding the post of judicial inspector in Nanjing, Mi Wanzhong fell afoul of the notorious palace eunuch Wei Zhongxian (1568-1627) and was forced to retire to his garden estate on the outskirts of Beijing in 1625. During his retirement, he whiled away the time indulging in artistic pursuits, including painting scenes of his garden on lanterns that came to be known as "Mi family lanterns." It was not until 1631, four years after the eunuch's death, that Mi was reappointed to government service. Moyai (monumental writing carved into cliffs) became a special art in north China during the sixth century. Here Mi Wanzhong combined the large scale of moyai with the powerful brush sty

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 1/4 × 7 × 1 1/8 in. (23.5 × 17.8 × 2.9 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

Enceclopedia of noh plays - Part four; Nôga Taikan Dai Yon Maki. Album with green silk cover with floral motif; Printed title sheet in the middle; 43 sheets: 1 title page; 1 Sheet with table of contents; 40 blades with illustrations of different scenes from NOH plays with bracts to which explanation in Japanese; 1 sheet with colophone.

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

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

Large Calligraphy in Cursive Script, second half 19th century, Doi Gōga, Japanese, 1817 - 1881, 66 1/8 × 29 7/8 in. (167.96 × 75.88 cm) (image)76 7/16 × 35 1/8 in. (194.15 × 89.22 cm) (mount, without roller), Ink on paper, Japan, 19th century

Clerical Script Calligraphy, 19th century, Yamamoto Tōkai, 5 1/2 × 7 in. (13.97 × 17.78 cm), Ink on paper, Japan, 19th century

Five-character Poem in Running Script. Date/Period: 1368/1644. Width: 46 cm. Height: 175.9 cm (Without frame). Author: Dong Qichang.

Farewell Poems, first half 18th century, Gion Nankai, Japanese, 1677 - 1751, 17.1 x 48.9 cm, Ink on paper, Japan, 18th century

Couplet Zhou Lianggong. Couplet. Zhou Lianggong (Chinese, 1612-1672). China. Pair of hanging scrolls; ink on paper. Calligraphy

Dragons Growl, mid 18th century, Ryū Kōbi, Japanese, 1715 - 1792, 54 1/8 × 21 15/16 in. (137.48 × 55.72 cm) (image), Ink on paper, Japan, Cursive script (sōsho), The rendering of the calligraphy embodies the characteristics of the animals described: the sinuous dragon, the crouched tiger, the darting fish, and the free bird. Read from the top right, down, and over to the left column

Two Poems from One Hundred Poems by One Hundred Poets ca. 1615-20 Calligraphy by Hon'ami Kōetsu Japanese 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 Sōtatsu describes the life cycle of the lotusa plant associated with Buddhism. The two poems here are by Fujiwara no Akisuke (1090-1155) and Lady Horikawa (active late 12th century). Sakyō Dayū Akisuke 左京大夫顕輔Akikaze ni tanabiku kumo no taema yori more-izuru tsuki no kage no sayakesa The light of the moon,clear and radiant,pours through riftsin the clouds, buffetedby autumn breezes.Taikenmon’in Horikawa 待賢門院堀河Nagakaran kokoro mo shirazu kurokami no midarete kesa wa mono o koso omoe I have no idea how longhis love for me will lastas I recall this morningour affair, with my hairtangled as my emotions!Trans. John T. Carpenter. Two Poems from One Hundred Poems by One Hundred Poets 53246

"Bamboo" section, from the Mustard Seed Garden Manual of Painting (Kaishien gafu). Artist: Wang Gai (Chinese, 1645-1710). Culture: China. Dimensions: After conservation: 11 3/16 × 6 7/8 × 1/2 in. (28.4 × 17.5 × 1.3 cm). Date: 1817 (Jiaqing 2nd edition).This is a later Japanese reprint of one of the most famous drawing manuals in East Asian history. The Met is fortunate to have one volume (bird-and-flower images) of an extremely rare mid-eighteenth century edition from the Vershbow Collection, but otherwise we are lacking a good array of Japanese versions. This volume has been preserved by the insertion of archival quality paper between pages, and rebound to make it safe for displaying in the future. Museum: Metropolitan Museum of Art, New York, USA.

Ececlopultation of noh plays - Part three; Nôga Taikan Dai San Maki. Album with green silk cover with floral motif; Printed title sheet in the middle; 43 sheets: 1 title page; 1 Sheet with table of contents; 40 blades with illustrations of different scenes from NOH plays with bracts to which explanation in Japanese; 1 sheet with colophone.

Poem by Wang Wei in the Cursive Script Style (xingshu), 1256. Song Lizong (Chinese, 1205-1264). Album leaf; ink on silk; image: 25.1 x 25.3 cm (9 7/8 x 9 15/16 in.); with mat: 33.3 x 40.5 cm (13 1/8 x 15 15/16 in.).

Quatrain in Five-syllable Verse Sun Yueban Chinese Qing dynasty (1644-1911)

Landscape Handscroll Qian Gu. Landscape Handscroll, 1556 C.E. Paper, ink, Scroll: 10 7/8 x 343 5/16 in. (27.7 x 872 cm). Asian Art 1556 C.E.

Villages East and West, second half 19th century, Ono Kozan, Japanese, 1814 - 1910, 41 7/8 × 11 1/16 in. (106.36 × 28.1 cm) (image)65 11/16 × 14 13/16 in. (166.85 × 37.62 cm) (mount), Ink on paper, Japan, 19th century

Chinese Poem on Fishing and Zen Osen Keisan Japanese late 15th century Brushed in flamboyant, yet fully controlled brushwork on gorgeous orange-red dyed paper, the eminent Zen monk-literatus sen Keisan has inscribed a quatrain of a Chinese poem as his wont in a combination of standard, semi-cursive, and cursive scripts. It can be deciphered and tentatively translated as follows:My hut resembles a shallow-water skiffamid the reeds and flowers, Where I pass my time fishing idly, just enjoying nature. From the river of Zen, into the ocean of Buddhist Law,I try to reel in a whale, Using fine spring rain as a fishing line with the hook of the crescent moon.Osen Keisan was a monk of the Rinzai Zen sect, and a prominent figure in the Gozan Bungaku literary salon culture of the five high-ranking Zen temples of Kyoto of the day. He was an aide and close confidant of the eighth Ashikaga shogun, Yoshimasa (1436-1490), and advised him on both foreign affairs and literature. View more. Chinese Po

Nom de Plume "Korin" Given to a Pupil. Date/Period: Nanbokucho period, 14th century. Calligraphy. Ink on paper. Height: 393 mm (15.47 in); Width: 1,010 mm (39.76 in). Author: Tetto Giko.

Taoist talisman, lucky charm

Chang'an right of a pair, 1818, Kameda Bōsai, Japanese, 1752 - 1826, 53 7/8 × 123 3/8 in. (136.84 × 313.37 cm) (image)67 3/16 × 137 1/8 × 5/8 in. (170.66 × 348.3 × 1.59 cm) (mount), Ink on paper, Japan, 19th century, This pair of screens features the calligraphy of Kameda Bōsai, a Confucian scholar celebrated for his dynamic, vibrant handwriting. (Confucianism is an ancient philosophy and code of ethics that underpins the culture of China and its neighbors.) As a scholar, Bōsai was familiar with classical Chinese literature and culture and was a skilled calligrapher, painter, and poet in his own right. In this pair of screens he used the expressive 'running' style of calligraphy, in which characters are abbreviated and multiple characters occasionally run together. The text is a transcription of a Chinese ballad (qilu) called 'Changan, Ancient Theme' ('Changan guyi') by Lu Zhaolin (c. 634-684). The city of Changan, today known as Xian, was significant to the Japanese—two of Japans

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

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

Poem Commemorating an Imperially Bestowed Feast dated 1632 Dong Qichang Chinese. Poem Commemorating an Imperially Bestowed Feast 48952

Panglong in the Wa regions near the China border is a town founded by Chinese Muslim settlers in the trans-Salween Wa States. It became an important Hui (Chinese Muslim) settlement after the collapse of the Yunnan Muslim rebellion (1856 - 1873). Chinese muleteers were known to the Burmese as Panthay, and to the Thai and Lao as Haw or Chin Haw. They were - and to some extent still are - the masters of the Golden Triangle. Yunnanese Chinese muleteers have for several centuries been the traders of the 'Golden Triangle' formed by the junction between Burma, China, Laos and Thailand. Travelling as far afield as Moulmein in Burma, Chengdu in China, Luang Prabang in Laos, Chiang Mai in Thailand and Lhasa in Tibet, they have long been indomitable caravan masters and today continue to thrive in motorized long distance commerce.

The Lingshouhua Studio 1863 Zhao Zhiqian Chinese Zhao Zhiqian, the leading scholar-artist of his day, grew up in a merchant family but received a classical education in order to pursue a career in government. Passing the provincial civil-service examination in 1859, Zhao spent the next twelve years in Beijing selling his art while trying unsuccessfully to pass the capital examination before being awarded a post as district magistrate in Jiangxi Province in 1872.Zhao was equally renowned as a calligrapher, seal carver, and painter. He is best known for a distinctive "square-brush" style of calligraphy derived from the engraved stone writings of the Northern Wei dynasty (386-534), as seen in his dedication and signature here, but he also developed a distinctively plump seal-script manner exemplified by this couplet, which expresses a sentiment appropriate for a Confucian household:Great virtue comes from forbearance,sincerity comes from a mind free from deception.(Jason Sun, translated).

Poems. Date/Period: Azuchi-Momoyama period, 17th century. Calligraphy. Ink on paper. Height: 1,043 mm (41.06 in); Width: 560 mm (22.04 in). Author: Konoe Nobutada.

Inscriptions from the Stele of Mount Yi date of stele: Song dynasty (960-1279) After Xu Xuan In 219 B.C., on the first of many inspection tours of his vast empire, the First Emperor of Qin visited Mount Yi. He ordered that a stele be erected there, and calligraphed with a text in the newly standardized script. The text praises the emperor for bringing peace to the world by defeating Qins six rival states and unifying them under his rule. Although the stele was destroyed by fire during the Tang dynasty (618-907), the inscription was passed down by scholars; the present rubbings were taken from a stele that dates from the tenth century A.D. While the calligraphic style is of that era, the balanced structure and relatively uniform size of the characters derive from the seal script established by the Qin, echoing the glorious tradition of this mighty but short-lived state. Listen to experts illuminate this artwork's story Listen Play or pause #203. Stele on Mount Yi, Shandong Supported by

Reflections of Priest Foyen, 15th century. Ikkyū Sōjun (Japanese, 1394-1481). Hanging scroll, ink on paper; Left by his mother at a small Zen temple in Kyoto at the age of six, Ikkyu later drew on his early studies and experiences for his writings, which focused on his keen interest in the Chinese classics. Poetry in particular was a favorite subject and images from classical poetry or passages from favorite poems or commentaries frequently provided Ikkyu with the core ideas for his own work. A rare example of his calligraphy, this narrow scroll contains a verse in eight phrases, each comprising four characters. The whole verse is organized in three towering lines of brusque, emphatic calligraphy augmented by Ikkyu's signature-the two lines of running script in the lower left corner. The text refers to a passage included in the Chronicle of the Zen Sect that contains a cautionary reminder attributed to the legendary Chinese monk Foyen Qingyuan (1067-1120), long revered in Japan. The i

Time must be cherished, it waits for no one” early 14th century Jakushitsu Genk? This calligraphic work mounted as a hanging scroll contains a single line of text consisting of eight Chinese characters in cursive script, in which the characters are not linked. The writing style, in tandem with the Zen message, reflect Genk?’s years of study, from 1320 to 1326, in China with Zhongfeng Mingben (1263-1323), one of the most influential Chan (Zen) masters of the early Yuan dynasty—who emphasized cultivation of the mind over reliance on textual tradition and was, as well, a celebrated calligrapher. The practice of calligraphy was part of the Zen spiritual tradition, and calligraphy came to have a major role within the cultural milieu of Japanese Zen temples. The single line of text in this hanging scroll displays characteristics of calligraphy introduced to Japan from China along with Zen: a spontaneity, plus idiosyncratic elements indicative of the Zen practitioner’s detachment from rules

Asia, Vietnam, Old Town Hoi An, UNESCO World Heritage Site. Fujian (Phuc Kien) Assembly Hall, built around 1690. Writing on a wall.

Yao, Hua (n.1876 - D.1930), parallel sentences in regular character (attributed title), 1928. Ink on paper. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Japan, Takekawa Risaburô, Gekkô, Ogata, Bijin hana kurabe, Comparisons between beauties and flowers, Colophon, verso - stamped, print, prints, Japan (collection), height 350 mm, width 238 mm, Japanese, 1859 - 1920, print maker, printmaker, 1887 - 1896, paper, colour woodcut, Publication (Event), Publication, publisher

Handscroll of Calligraphy by baku Zen Monks Yinyuan Longqui (Ingen Ryki) Chinese mid-17th to mid-18th century The baku sect of Zen Buddhism was established in Japan in 1661 by a small faction of masters from China and their Japanese disciples, who founded a temple at Manpukuji in Uji, south of Kyoto. From the time they arrived, the Chinese masters were recognized as expert calligraphers. Consequently, baku monks cultivated the arts of Chinese poetry and calligraphy as a means of promoting Zen teachings. These two handscrolls comprise dynamic calligraphies by forty-two different monks, including nearly all of the most famous émigré masters, and an impressive array of Japanese-born disciples. That these scrolls once belonged to Robert van Gulik (1910-1967)—the celebrated diplomat, popular writer, scholar, and collector of Asian art—adds to their prestige.LIST OF MONK-CALLIGRAPHERSScroll a1. Yinyuan Longqi (Ingen Ryki) (Chinese, 1592-1673) 2. Mu’an Xingtao (Mokuan Sht) (C

top view composition chinese symbols written with ink

Calligraphy.This pair of calligraphy scrolls is a gift from a scholar to his scholar friend to hang in the study. The texts read in translation: The things that are clean easily become dusty, the things that are white easily become dirty’ and (when making pottery) when it is hard, it is easy to break, when it is soft it is easy to shape.’

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

Landscape Handscroll Qian Gu. Landscape Handscroll, 1556 C.E. Paper, ink, Scroll: 10 7/8 x 343 5/16 in. (27.7 x 872 cm). Asian Art 1556 C.E.

Chinese Poem Lamenting the Death of a Friend Rykan Taigu To those trained in how to read and write kanji (Chinese characters), the calligraphy of Monk Rykan in this example may come across at first glance to be slightly off balance, out of alignment, and almost childish in appearance. But this disarmingly simple, artless, and exuberant style of brush writing—utterly individual and idiosyncratic—earned Rykan esteem as one of the great monk calligraphers of all time. Though he trained as a St Zen monk under Abbot Kokusen at Entsji Temple, and was offered the position of head of the temple after his master died, he renounced the rigors of a monastic regimen and instead decided to live mostly as a recluse and earned the reputation of being an eccentric. He was dedicated to writing poetry in both Chinese and Japanese (especially seventeen-syllable hokku), and examples of his verse brushed in his own distinctive hand were avidly sought, both in his own day and into the present (see

Model Calligraphies from the Hall of Three Rarities” (Sanxitang) and the "Collected Treasures of the Stony Moat” (Shiqu Baoji) second half of 18th century Various artists The Hall of Three Rarities, an anthology of rubbings, is one of the monuments of cultural patronage sponsored by the Qianlong Emperor. Based on calligraphic masterworks in the imperial collection, this encyclopedic compilation, which establishes a canon of orthodox writing styles in standard, running, and cursive scripts, is a remarkable demonstration of eighteenth-century connoisseurship and craftsmanship. In eighteenth-century China, the best technique for reproducing a work of calligraphy was to painstakingly make an ink rubbing from a stone engraving. After a tracing copy of the original was made, it was transferred onto a finely polished stone. Next, the traced design was engraved into the stone so that the characters were reversed. Paper was then laid over the stone, dampened, and pressed carefully into the eng

Tablet, 1778. China, Qing dynasty (1644-1911), Qianlong reign (1735-1795). Jade; overall: 18.5 cm (7 5/16 in.).

A satirical couplet posted on the gate of the High School Affiliated to Datong University: "The school gate is opened, but with no money, you cannot come in"

Poetic Phrases. Calligrapher: a) Hiin Tsuyo (Chinese/ Japanese, 1593-1661); Mokuan Shoto (Chinese, 1611-1684); c) Sokuhi Nyoitsu (Jifei Ruyi) (Chinese/ Japanese, 1616-1671). Culture: Japan. Dimensions: Image (a (right)): 48 7/8 in. × 11 in. (124.1 × 27.9 cm)Overall with mounting (a (right)): 79 3/4 × 15 3/8 in. (202.6 × 39.1 cm)Overall with knobs (a (right)): 79 3/4 × 17 1/4 in. (202.6 × 43.8 cm)Image (b (center)): 48 7/8 × 14 1/2 in. (124.1 × 36.8 cm)Overall with mounting (b (center)): 79 5/8 × 15 1/2 in. (202.2 × 39.4 cm)Overall with knobs (b (center)): 79 5/8 × 17 3/8 in. (202.2 × 44.1 cm)Image (c (left)): 48 7/8 in. × 11 in. (124.1 × 27.9 cm)Overall with mounting (c (left)): 79 3/4 × 15 3/8 in. (202.6 × 39.1 cm)Overall with knobs (c (left)): 79 3/4 × 17 1/4 in. (202.6 × 43.8 cm). Date: 17th century.Obaku Zen calligraphy is characterized by strong, boldly brushed characters in one or sometimes two columns. These scrolls, inscribed by Mokuan Shoto and Sokuhi Nyoitsu (Chinese: Jifei R

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

Poem Zou Zhilin Chinese. Poem 49015

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

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

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 × 7 × 1 1/8 in. (23.5 × 17.8 × 2.9 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

Poem. Artist: After Dong Qichang (Chinese, 1555-1636). Culture: China. Dimensions: 6 11/16 x 20 1/2 in. (17.0 x 52.1 cm). Date: 17th century or later. Museum: Metropolitan Museum of Art, New York, USA.

"Lan-ting Xu"Preface to the Poems Composed at the Orchid Pavilion,copy by an artist in the Tang dynasty. Date/Period: 618/906. Painting. Width: 65.6 cm. Height: 24.5 cm (Without frame). Author: UNKNOWN.

Poem 17th century or later After Dong Qichang Chinese. Poem 48959

In the Pine Courtyard, Leisurely Feelings Wang Zhideng Chinese. In the Pine Courtyard, Leisurely Feelings 51807

Old Trees, late 18th - early 19th century, Kameda Bōsai, Japanese, 1752 - 1826, 52 × 18 5/8 in. (132.08 × 47.31 cm) (image), Ink on paper, Japan, Cursive script (sōsho), Bōsai was the friend of Daigu Ryōkan, a Zen Buddhist monk and poet, whose calligraphy is also admired, and may be the mountain hermit’ referenced in the poem.

Close-up of a Chinese good luck and bad luck symbol

Tablet, 1778. China, Qing dynasty (1644-1911), Qianlong reign (1735-1795). Jade; overall: 18.5 cm (7 5/16 in.).

Kyoto, Yamada Naosaburo, Sekka, Kamisaka, Momoyogusa, vol. 1, Flowers of a Hundred Worlds, Cover and blank pages of part 1 of the picture album Momoyogusa. On one of the interleaves a sketch of a woman, probably copied or traced from the print that was originally behind that sheet (see RP-P-1992-91)., print album, prints, Japan (collection), height 300 mm, width 460 mm, Japanese, 1866 - 1942, print maker, printmaker, 1909 - 1909, first quarter 20st century, first quarter 20th century, paper, woodcut, Publication (Event), Publication, publisher

Teikas Ten Styles of Japanese Poetry early 18th century Unidentified Two types of poetry cards—shikishi, almost square, and tanzaku, tall and narrowly rectangular in shape—have been used to transcribe waka poems since ancient times. The unusual examples here are paired on gold-leaf-backed leaves of a large album. Most remarkably, the borders of the tanzaku have colorfully painted floral motifs meticulously cut out to create vibrant eye-catching “frames.” Eight of the pairs have the same waka inscribed—by different hands, in different styles—on both cards. The poems selected for this album categorizedwaka according to the distinctive styles advocated by the early medieval courtier-poetand literary arbiter Fujiwara no Teika (or Sadaie, 1162-1241).. Teikas Ten Styles of Japanese Poetry. Unidentified Artist. Japan. early 18th century. Album of ten leaves; ink and color on paper. Edo period (1615-1868). Paintings

Four Poems: Calligraphy in Cursive Script (xingshu), 1500s-1600s. Chen Jiru (Chinese, 1558-1639). Handscroll; ink on gold speckled paper; overall: 26.5 x 190.2 cm (10 7/16 x 74 7/8 in.). Written in graceful calligraphy with well-composed characters, the artist communicates his thoughts and state of mind in four poems. Characters written in dark, thick strokes convey rhythm, and indicate the moment after the writer had paused to recharge his brush with ink. Chen Jiru was a native of Huating (modern Shanghai). His calligraphy style resembles that of his friend, influential calligrapher Dong Qichang (1555-1636). Unlike Dong, Chen did not pursue government service: he burned his Confucian robes, declined a summons to serve at court, and immersed himself in literature, calligraphy, and painting.

Rubbing of a Stone Monument to Ernest Fenollosa Japan 20th century View more. Rubbing of a Stone Monument to Ernest Fenollosa. Japan. 20th century. Ink on paper. Rubbing

Poem Composed by King Sejong for his deceased Consort, Queen Sohon. Sejong (1397 - 1450) fourth ruler of the Joseon Dynasty of Korea. He reinforced Confucian and Neo-Confucian policies, and enacted major legal amendments. He created and promulgated the Korean alphabet ,encouraged advancements of science and technology.

Japan, Morikuni, Tachibana, Ehon tsuhoshi, Illustrated book with useful information, verso cover - stamped, Three parts (of ten), bound together as one part in original blue cover of the fourth part; title strip top left; black and white illustrations of landscapes, people and birds., book, prints, Japan (collection), height 227 mm, width 138 mm, 1679 - 1748, print maker, printmaker, 1729 - 1730, second quarter 18th century, paper, woodcut

Collection of landscapes by He Tianjian - Series. He, Tianjian (1891-1977), author, Rong Bao Zhai (1672- ), publishing house

Bamboo writing slips

Poem, mid 19th century, Ema Saikō, Japanese, 1787 - 1861, 7 1/4 × 18 1/2 in. (18.42 × 46.99 cm) (sheet, fan)12 1/2 × 22 in. (31.75 × 55.88 cm) (mount), Ink on mica paper, Japan, 19th century

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

Masterpieces van Seiho, Takeuchi Seihô, 1937 Album with yellow and green cover with floral motif, in the middle of a white title strip with pattern in mica; 32 magazines: first leaf, introduction; 31 prints of Takeuchi Seiho; In dark blue cover with title strip. paper color woodcut / letterpress printing

Fragment of a manuscript of the Sutra of Accumulated Treasures (Dabaoji jing) ca. 700 Unidentified artist This fragmentary scripture encapsulates the grace of Tang-dynasty sutra script,” the formal hand used for copying scriptures. Regular spacing within characters and columns imparts a stately quality; fluidity of line and the occasional looping flourishes inject sumptuous elegance.. Fragment of a manuscript of the Sutra of Accumulated Treasures (Dabaoji jing). Unidentified artist , (late 7th-early 8th century). China. ca. 700. Ink on brown paper. Tang dynasty (618-907). Calligraphy

assortment chinese symbols written with ink

The symbol of the petition group by Shanghai Datong High School. This petition was aimed for the government to fight against the Japanese army.

Single-line calligraphy left of a set of three scrolls, first half 18th century, Unknown Japanese, 44 7/16 × 10 5/8 in. (112.87 × 26.99 cm) (image)55 7/16 × 12 5/16 in. (140.81 × 31.27 cm) (mount, without roller), Ink on gold paper, Japan, 18th century

We do not give this joy to: Haikai on poem documents. .

Japanese newspaper, Macro. Macro shot of Japanese newspaper, shallow dof. Copyright: xZoonar.com/DanilxRoudenkox 3395044

Album of Poems and Paintings Album of Poems and Paintings, 19th century. Album leaves, ink and light color on paper, 8 7/16 x 6 in. (21.4 x 15.2 cm). Asian Art 19th century

Regular-script Calligraphic Couplet Weng Tonghe Chinese. Regular-script Calligraphic Couplet 36122

Quotations of Chairman Mao Zedong; a book of statements from speeches and writings by Mao the Chairman of the Communist Party of China. The book was published from 1964 to about 1976 and was widely distributed during the Cultural Revolution.

Top view composition chinese symbols written with ink

Quotations of Chairman Mao Zedong; a book of statements from speeches and writings by Mao the Chairman of the Communist Party of China. The book was published from 1964 to about 1976 and was widely distributed during the Cultural Revolution.

Envelope for a New Year´s gift

Between 1405 and 1433, the Ming government sponsored a series of seven naval expeditions. The Yongle emperor designed them to establish a Chinese presence, impose imperial control over trade, impress foreign peoples in the Indian Ocean basin and extend the empire's tributary system. Zheng He was placed as the admiral in control of the huge fleet and armed forces that undertook these expeditions. Zheng He's first voyage consisted of a fleet of up to 317 ships holding almost 28,000 crewmen, with each ship housing up to 500 men. Zheng He's fleets visited Arabia, Brunei, East Africa, India, the Malay Archipelago and Thailand, dispensing and receiving goods along the way. Zheng He presented gifts of gold, silver, porcelain and silk; in return, China received such novelties as ostriches, zebras, camels, ivory and giraffes.

After Three Rubbings. Artist: Yun Shouping (Chinese, 1633-1690). Culture: China. Dimensions: 6 11/16 x 20 in. (17 x 50.8 cm). Date: dated 1680.Yun Shouping's normal writing style derives from the Tang master Chu Suiliang (596-658). In this fan, however, Yun copied texts by three other early masters preserved in stone rubbings. From right to left the texts are: Classic of the Yellow Court, attributed to Wang Xizhi (303-361); Xuanjing bei by Zhang Sizhi (dates unknown); and the Zhengzuo tie by Yan Zhenqing (709-785). In each case, Yun's graceful hand softens the distinguishing marks of the originals; the writing is naturally his own. Museum: Metropolitan Museum of Art, New York, USA.

Japan, 1944 WARNING! Propaganda leaflet dropped in Japan urging civilians to evacuate before being bombed by the United States air force. created by United States Army Forces, Pacific, Psychological Warfare Branch.

Town of the journey from Mülberg to Regensburg. Churfurstag 1575

On December 16, 1934, the Provincial Party Committee made a resolution on the "Task of Creating a New Soviet Base Area in Hunan, Hubei, Sichuan and Guizhou".

Collection of modern fast drawings - Autumn, 1917 book Part three (of four); white cover with image of chickens in trees; At the top left in black the title; Red wrapper; 35 magazines: first page, title page; one page, preface; three pages, table of contents; 30 performances of persons and landscapes in the fall; two pages, afterword; Inside cover, colophon. paper color woodcut

Type printing

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

Close-up of three lots

Newspaper at the time reporting on the May Fourth Movement state of affairs. The May Fourth Movement was a Chinese anti-imperialist, cultural, and political movement that grew out of student protests in Beijing on May 4, 1919.

Japanese writing

Bamboo writing slips

Classics

Calligraphy with Willow and Swallows, 1400s. Ikkyū Sōjun (Japanese, 1394-1481). Hanging scroll, ink on paper; overall: 104 x 34.8 cm (40 15/16 x 13 11/16 in.). The famed Buddhist monk Ikky is best remembered for his calligraphy. Calligraphic conventions of his time called for brushwork that did not vary much in style from character to character. However, as Ikky’s lines progress, his brushwork wanders between standard script and a sort of shorthand, marked by an uneven distribution of ink and a reduction of the characters to only the most necessary strokes. Ikky’s direct communication of emotion via brushwork became characteristic of the works produced by monks affiliated with the temple Daitokuji later in the Edo period (1615-1868).

Reports about the American army's violent actions at the time.

of 3