Oriental Woodblock Prints

Colorful woodblock prints and traditional artworks from East Asia, featuring natural landscapes, cultural narratives, and festive themes.

Komatsubiki, Picking young pines., Katsushika, Hokusai, 1760-1849, artist, between 1804 and 1807, 1 print : woodcut, color ; 12.9 x 18.2 cm., Print shows a woman and a young boy gathering pine boughs.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Reverberations of Taiga, Volume 2 (leaf 32), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Freshshinterne, 18000, 1809 Two women and a boy on New Year's Day on the way to a temple. One of the women holds a bamboo stick to which packaged gifts hang, the boy wears the other side of the stick on his shoulder. It can be deduced from the poem that they are on their way to the Tenmangu temple near Kameido, in Edo. With three poems. Japan paper color woodcut

Komatsubiki, Picking young pines., Katsushika, Hokusai, 1760-1849, artist, between 1804 and 1807, 1 print : woodcut, color ; 12.9 x 18.2 cm., Print shows a woman and a young boy gathering pine boughs.

Shibata, from the series Pictures of No Performances (Nogaku Zue) 1893-1903 Japan. Color woodblock print . Tsukioka Kôgyo

Weeping Cherry. Artist: Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797-1858 Tokyo (Edo)). Culture: Japan. Dimensions: 8 7/8 x 6 1/2 in. (22.5 x 16.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Plum Blossoms, Cut Paper and a Knife in Sheath. Artist: Uematsu Toshu (Japanese, active late 1810s-20s). Culture: Japan. Dimensions: 8 x 7 3/16 in. (20.3 x 18.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Young Woman Playing Battledore, Utagawa Kunihiro, c. 1820 - c. 1830 print Woman with battle wood in the right and ball in the left hand, standing on an elevation with bound bamboo and pine branches. On the ground before the increase her pulled out footwear. Poem in the upper part of print. Japanese paper (handmade paper) color woodcut adult woman. ball games in which ball is hit with racket (or hand). plants; vegetation

Red Parakeet(Sh?j?-inko). Artist: Totoya Hokkei, Japanese, 1780-1850

Bamboo after Wen Tong dated 1343 Ke Jiusi Chinese This dramatically cropped image of bamboo reveals neither the plant's base nor its tip; rather, the leaves and branches seem to defy gravity, giving the pendent bough a sense of dynamic movement and growth. The contrasting ink tones and thrusting brushstrokes that define the leaves add to the vitality of the image. Ke Jiusi, a leading connoisseur and curator of the imperial art collection, here demonstrates his scholarly approach to the study of antique models by freely copying a work by the Northern Song master Wen Tong (1019-1079), the patriarch of the monochrome bamboo genre.. Bamboo after Wen Tong 39546

Pioenroos Met Krab, utagawa kunisada (I), c. 1831 A small red crab with a large flowering peony. The crab is more common in Surimono as the personal emblem of the poet Bunbunsha Kanikomaru (1780-1837), the word crab 'Kani' appears in his name. With three poems. Japan paper color woodcut crustaceans: crab. plants and herbs: peony

The Jewel River of Plovers in Mutsu Province (Mutsu Chidori no Tamagawa), from an untitled series of Six Jewel Rivers 1780-1790 Japan. Color woodblock print; aiban . Rekisentei Eiri

Myoga or Japanese ginger, Zingiber mioga. Handcoloured woodblock print by Kono Bairei from Kusa Bana Hyakushu (One Hundred Varieties of Flowers), Tokyo, Yamada, 1901.

Sparrows and Bamboo, mid- to late 1500s. Shiken Saidō (Japanese, 1486-1581), calligraphy by Ekkei Reikaku (Japanese, d. 1609). Hanging scroll; ink on paper; mounted: 115 x 51.6 cm (45 1/4 x 20 5/16 in.). Shiken Said, whose style name was Ze'an, was a Zen monk who trained at Shkokuji temple in Kyoto, and designed the garden of Reiun’in at Myshinji temple. He painted landscapes in the style of painter and art advisor to the shogun, Sami (died 1525), as well as bird-and-flower compositions. A poetic inscription by the monk Ekkei Reikaku accompanies this gentle composition of two sparrows perched on bamboo.

Fishes Swimming with Yellow Flowers. Artist: Keisai Eisen (Japanese, 1790-1848). Culture: Japan. Dimensions: 8 1/4 x 7 7/8 in. (21 x 20 cm). Date: ca. 1830. Museum: Metropolitan Museum of Art, New York, USA. Author: KEISAI EISEN.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Swallow and hibiscus. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 31.3 x 10.6 cm (12 1/2 x 4 1/4 in.). Color woodblock print; aitanzaku. Origin: Japan. Museum: The Chicago Art Institute, USA.

Passage 237 (Nihyaku sanjunana dan), from the series Essays in Idleness for the Asakusa Group (Asakusagawa Tsurezuregusa) 1800-1850 Japan. Color woodblock print; shikishiban, surimono . Kubo Shunman

Arihara no Narihira viewing the reflection of the moon in the water HIROSHIGE, Ichiryusai (1797 1858)

Bird over Poppies. Date/Period: From 1850 until 1870. Print. Woodblock print on paper. Height: 360 mm (14.17 in); Width: 240 mm (9.44 in). Author: Sugakudo.

Three Views of Japan (Nihon sankei), with Miyajima in Aki (Aki no Miyajima), Bridge to Heaven (Tango Hashidate) (commonly Ama no Hashidate), and Pine Islands in Oshu (Oshu Matsushima). Artist: Utagawa Toyohiro, Japanese, 1773-1828

Two Cranes and Pine Branches, early 19th century, Katsushika Taito II, Japanese, fl. 1810-1853, 22 1/16 x 18 in. (56 x 45.7 cm) (mat), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Selection of New Years toys. Artist: Utagawa Toyohiro, Japanese, 1773-1828

Candle-Stand and Fan. Artist: Kubo Shunman (Japanese, 1757-1820). Culture: Japan. Dimensions: 8 1/16 x 7 1/4 in. (20.5 x 18.4 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Sorimachi 409. text. Illustrations, Botanical illustrations. 1746. Spencer Collection

Peacocks; Album Shijo-Surimono from the period 1840-1900. Peacocks. From: Album Shijo-Surimono from the 1840-1900 period.

The Thirty-Six Poetic Immortals (Sanjurokkasen). Artist: Sakai Hoitsu (Japanese, 1761-1828). Culture: Japan. Dimensions: Image: 11 5/8 in. × 27 ft. 1 13/16 in. (29.5 × 827.6 cm). Date: 1824.The Thirty-Six Poetic Immortals are famous poets, including five women, featured in an anthology compiled by Fujiwara no Kinto (966-1041) in the early eleventh century. Throughout medieval times these celebrated figures--whose periods of activity ranged from the seventh century to Kinto's day--were often depicted in hand-scroll format. Imaginary portraits of the poets were accompanied by one or more of their most famous poems, generally the ones originally selected by Kinto. The painter and calligrapher Sakai Hoitsu notes in the colophon that this work was a tracing copy of a handscroll believed to have been illustrated and transcribed by celebrated medieval monk-poet Saigyo (1118-1190). Hoitsu did his best to emulate the precious poetry scroll, going so far as to mimic wormholes and other damage

Sorimachi 409, 1746, Osaka

Evening Snow on Mt. Hira (Hira no bosetsu), No. 6 from the series "Eight Views of Omi". Nishimura Shigenaga; Japanese, 1697 ()-1756. Date: 1711-1741. Dimensions: 33.3 x 15.9 cm (13 1/8 x 6 1/4 in.). Hand-colored woodblock print; hosoban, urushi-e. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Ichikawa Danjuru VII ALS Marskramer, Utagawa Kuniyoshi, C. 1840 -C. 1850 The actor Ichikawa Danjuro in the role of Marskramer, with fan in the left hand. Japan paper The actor Ichikawa Danjuro in the role of Marskramer, with fan in the left hand. Japan paper

Program of the ten day performance celebrating the succession of Ichimura Uzaemon XIII. Torii Kiyomitsu II (Kiyomine); Japanese, 1787-1868. Date: 1851. Dimensions: 36.8 x 48.3 cm (14 1/2 x 19 in.). Color woodblock print. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

The tTwo riders flowing through the water Katsushika, hokusai (1760 1849)

A Poem from the Shin Kokinshu with Design of Shinobugusa (Moss Fern) Made 1605-1610 . Honíami Koetsu is regarded in Japan as an eminent calligrapher of his time, and the text of the poem he wrote here showcases his skill with alternating between thickly inked and thinly drawn characters. Together with his collaborator, Tawaraya Sotatsu, he specialized in artistic forms that evoke the elegant pastimes of courtly life, including poetry. The pair was particularly successful with a newly prosperous class of townspeople in 17th-century Kyoto who were interested in emulating their aristocratic predecessors. Tawaraya and his studio produced these shinobugusa (moss fern) designs by using real foliage to print with silver and gold ink rhythmically across the paper.The poem comes from the 1205 anthology Shin Kokinshu (New Collection of Poems Ancient and Modern) and is attributed to Fujiwara Tadahira (880ñ949), also known as Sadanobu. Within the publication, the verses are preceded by a note that

Picture Book of Crawling Creatures (The Insect Book) (Ehon mushi erami) probably 1823 (later edition) Kitagawa Utamaro Japanese. Picture Book of Crawling Creatures (The Insect Book) (Ehon mushi erami). Kitagawa Utamaro (Japanese, ca. 1754-1806). Japan. probably 1823 (later edition). One from a set of two polychrome woodblock printed books; ink and color on paper. Edo period (1615-1868). Illustrated Books

Two scenes and two cartouches with inscriptions, from the series: Views of the provinces /Koku ga harimaze ru zu kai

Court Lady with paintings of Japanese Sages, 19th century, Reizei Tamechika, Japanese, 1823 - 1864, 10 5/16 × 12 15/16 in. (26.19 × 32.86 cm) (image)44 7/8 × 19 1/16 in. (113.98 × 48.42 cm) (mount, without roller), Ink on paper, Japan, 19th century

Screen of Calligraphy and New Year Decoration 19th century Ryūryūkyo Shinsai Japanese. Screen of Calligraphy and New Year Decoration 54717

Egoyomi (Dancing Girl) Egoyomi (Dancing Girl), 18th century. Color woodblock print on paper, 4 5/16 x 2 13/16 in. (10.9 x 7.2 cm). Asian Art 18th century

Small Birds on a Willow Branch and Hibiscus Blossoms dated Fall 1850 Tsubaki Chinzan Japanese Chinzan was raised in Edo in a samurai family. He trained under the Nanga painters Tani Bunchō (1763-1840) and Watanabe Kazan (1793-1841) and favored Chinese literati artists of the Ming dynasty (1368-1644). Specializing in paintings of birds and flowers, he was an avid participant in sencha tea ceremonies, during which he would enjoy viewings of Chinese paintings and antiquities owned by his associates. He enhanced this painting with a poem that alludes to a passage from the "Song of Everlasting Sorrow" by the Tang dynasty (618-906) poet Bai Juyi (772-846). In it, Chinzan imagines the moon shining on the face of Lake Taiye and wonders if someone, a person he does not directly identify, still dances in the heavens in the deep of night. As the crisp autumn air of the west wind awakens him from his musings, he finds he can still smell her fragrance on the dew. In the original poem, the emperor d

Index Page, prints .151-.200 (Vol.2), from the series Pictures of No Performances (Nogaku Zue) 1893-1903 Japan. Color woodblock print . Tsukioka Kôgyo

Japan: 'Shellfish'. Woodblock print by Totoya Hokkei (1780-1850), early 19th century. Totoya Hokkei was a Japanese printmaker and book illustrator. He initially studied painting with Kano Yosen (1735-1808), the head of the Kobikicho branch of the Kano School and okaeshi (official painter) to the Tokugawa shogunate. Together with Teisai Hokuba (1771-1844), Hokkei was one of Katsushika Hokusai's best students.

Lingering Snow at Asukayama (Asukayama no bosetsu), from the series "Eight Views in the Environs of Edo (Edo kinko hakkei no uchi)". Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1832-1843. Dimensions: 22.9 x 34.9 cm (9 x 13 3/4 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Puppies, Sparrows and Chrysanthemums, c. 1792-94. Nagasawa Rosetsu (Japanese, 1754-1799). Fusuma panel mounted as a hanging scroll; ink and slight color on paper; overall: 211.4 x 94 cm (83 1/4 x 37 in.); painted surface: 167.6 x 91.5 cm (66 x 36 in.). Rosetsu is regarded as one of the most versatile painters of 18th-century Japan. He studied in Kyoto, Japan's cultural capital, and enjoyed a successful career as an independent artist rather than as a more conservative "school" artist. Originally, these four paintings were mounted on the wall panels used to define room spaces in traditional Japanese interiors. The light wood panels slide along grooves, allowing interior spaces to change with minimal effort. The round circular areas in the paintings' paper surfaces, each surrounded by a dark halo of embedded dirt and finger oils, indicate the location of the door "catches."

Purple Lichees and Bird Unidentified artist. Purple Lichees and Bird 51384

Fortune Opens as a Fan in the Fragrance of Flowers (Un wa hiraku ogi hana no ka). Katsushika Hokusai; Japanese, 1760-1849. Date: 1779-1789. Dimensions: 15 x 22 cm (5 7/8 x 8 5/8 in.). Woodblock-printed book; incomplete, mounted in 13 sheets. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Poet The poet Ono no Komachi, from the series: Six famous poets Katsushika, hokusai (1760 1849)

Resting Ox, Shohaku Soga, c. 1750 - in or before 1781 A horizontal ox, seen from behind. In wooden box. Kyoto Painting: Ink. Paper. Mounting: Silk A horizontal ox, seen from behind. In wooden box. Kyoto Painting: Ink. Paper. Mounting: Silk

Dried Cuttle-Fish and Plum Blossoms. Artist: Teisai Hokuba (Japanese, 1771-1844). Calligrapher: Chou. Culture: Japan. Dimensions: 5 9/16 x 7 1/2 in. (14.1 x 19.1 cm). Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Three Courtesans Weaving Silk. Artist: Nishikawa Sukenobu (Japanese, 1671-1750). Culture: Japan. Dimensions: 9 1/4 x 12 3/4 in. (23.5 x 32.4 cm). Museum: Metropolitan Museum of Art, New York, USA.

Lacquer box and cloth, A still life of a lacquer box decorated with bamboo, a cloth with the image of a sneaking tiger and blind-pressed plum blossom and decorative strips (noshi awabi). With three poems, beasts of prey, predatory animals: tiger, plants, vegetation (flowers, blossom, blossoming), Kikugawa Eishin (mentioned on object), Japan, 1818, paper, colour woodcut, h 208 mm × w 186 mm

Facing the Autumn Wind, 18th century, Kan Tenjū; Artist: After I Fukyū, Japanese, 1727 - 1795, 22 5/8 x 13 9/16 in. (57.47 x 34.45 cm) (image), Ink on paper, Japan, 18th century, Kan Tanju was a friend of Japan's greatest Nanga School artist, Ike Taiga. Together with their friend and artist Ko_ Fuyo_, they climbed mountains and discussed Chinese literati painting and poetry. Unlike Taiga, Tanju's style is restrained and usually in pure ink. Here he follows the method of I Fu-chiu, a Chinese merchant and painter who visited Japan between 1720 and 1747. Although not expressly identified as such, it is likely that I Fu-chiu originally composed the poem that Tanju included on this painting

Flowers in Jardenierres. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 4 1/2 x 3 1/2 in. (11.4 x 8.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

. A swept box, sliced in the Ittôbori technique, decorated with cranes and pine needles. With multiple poems.

Mitate Watonai Ryuryuko Shinsai (Japanese, 1764-1820). Mitate Watonai, 1806. Woodblock print, 5 1/2 x 7 5/16 in. (14.0 x 18.6 cm). Asian Art 1806

Calendar Print of Two Beautiful Women. Katsushika Hokusai (Japan, 1760-1849). Japan, 1800. Prints; woodblocks. Surimono; color woodblock print with brass

The Toy Seller, illustration for The Fresh-Water Clam (Shijimigai), from the series "A Matching Game with Genroku-period Poem Shells (Genroku kasen kai awase)". Katsushika Hokusai ; Japanese, 1760-1849. Date: 1816-1826. Dimensions: 20.4 x 17.8 cm. Color woodblock print with metallic pigments; surimono shikishiban. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Bamboo. Artist: Song Sangnae, Korean, born 1773

Shamisen and Box 1860-1869 Japan. In this print, Yabu Chosui depicted a black-lacquer box with a furoshiki wrapping cloth and a shamisen leaning against it. The highly burnished black box has the design of a house mark on it, which is playfully hidden by the neck of the shamisen. Chosui frequented the pleasure quarters and created a number of geisha-related prints, and this mark likely represents the name of a geisha establishment.. Color woodblock print; surimono . Yabu Chosui

Gibbon Seated on a Branch. Artist: Unidentified Artist. Culture: China. Dimensions: 9 3/5 x 9 3/8 in. (24.4 x 23.8 cm). Date: late 12th century. Museum: Metropolitan Museum of Art, New York, USA.

Cotton processor with saddle Watakuri uma (title on object) A series with horses (series title) Umazukushi (series title on object), A saddle with a cotton processor, a plum blossom branch and a tobacco set. With three poems., Katsushika Hokusai (mentioned on object), Japan, 1822, paper, colour woodcut, h 207 mm × w 184 mm

Chinese statesman Kanyu breaks off a plumbranch. Artist: Totoya Hokkei, Japanese, 1780-1850

Loquat and bird 1825-1849 Japan. Color woodblock print; otanzaku . Utagawa Hiroshige

Goyu: The Thatched Hut of Yamamoto Kansuke. Utagawa Kuniyoshi (Japan, 1797-1861). circa 1845-1846. Prints; woodblocks. Color woodblock print

Woodcut Depicting Precious Objects. Flower arrangement with rolling paintings and brushes in a pot

Minashi-gai, shio-gai, katatsu-gai, miso-gai, chijimi-gai, and chigusa-gai, from the illustrated book Gifts from the Ebb Tide (Shiohi no tsuto) 1789 Japan. Color woodblock print; double-page illustration from book . Kitagawa Utamaro

Fan-Box with Fans 19th century Totoya Hokkei Japanese. Fan-Box with Fans 54918

Ancient Plum Tree in Bloom. Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760-1849 Tokyo (Edo)). Culture: Japan. Dimensions: 7 11/16 x 20 3/8 in. (19.5 x 51.8 cm). Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Window Snow, late 17th - early 18th century, Kō Gentai, Japanese, 1649 - 1722, 11 3/8 × 19 1/16 in. (28.89 × 48.42 cm) (image), Ink on paper, Japan, Cursive script (sōsho), Kō Gentais father was a Chinese administrator who had left Japan after fathering a child there. Gentai spent ten years as a young man searching unsuccessfully for his father in China and then returned to Japan to become an interpreter. He studied medicine and became a health expert, serving the shogun in Edo (todays Tokyo) from 1709-1721. Gentai was known for his cursive script. This calligraphy shows two characters of stark contrast. For 'window' on the right Gentai used the character 牕 instead of 窗 or 窓 which is the variation in use today. He simply omitted the radical 心 at bottom right of 牕 and constructed the remaining elements primarily of straight and rectangular lines. 'Snow' on the left is usually written with eleven strokes but here Gentai rendered it very fluid with only four.

Paulownia Court from Album of Illustrations for the Tale of Genji, 1600s. Japan, Edo period (1615-1868). Accordion album; ink, light color, and gold on paper; each leaf: 26.3 x 22 cm (10 3/8 x 8 11/16 in.); painting only: 17 x 20.6 cm (6 11/16 x 8 1/8 in.). This album contains illustrations for the classic literary work the Tale of Genji, authored in the 1000s by Murasaki Shikibu, an aristocrat of the Heian period (794-1185) court. The scenes are painted in the white drawing” (hakuby?) mode, in which a fine ink line is used to depict figures and spaces with great subtlety, punctuated only occasionally by traces of red pigment for a character’s lips, a detail of a garment, or a decorative element. These two scenes illustrate episodes from the chapters Thin Veil of Cloud” (Usugumo) and Barrier Gate” (Sekiya).

The monkey king blows its hair away. In a circular medallion, the one hundred-year-old monkey Songoku has been displayed while he blows away his hair, which then changes into an Apen army. A pattern of monkey puppets has been processed in the silver colored background around the medallion. This print is a calendar sheet (egoyomi) for the year of the monkey, 1836. The short months have been incorporated into the folds of the auditorium of the monkey. With two anonymous poems.

Rat and come with Adonis; A series of thirty-six birds; Sanjûrokutoritsukushi. A rat next to a flowerpot with Adonis in bloom. With two poems.

Reverberations of Taiga, Volume 1 (leaf 13), mid- to late 1700s. Aoki Shukuya (Japanese, d. 1802). Pair of albums; ink, or ink and light color on paper; album, closed: 28.3 x 33 cm (11 1/8 x 13 in.). Traditionally, young painters in Japan began their studies with an established master-painter. The master's compositions invariably became models that the apprentice copied to learn various ink and brush techniques. Shukuya was a pupil of the famous Kyoto artist Ikeno Taiga, whose style is reflected in these sketches of rocks, trees, and mountains.

Spring Rain Collection (Harusame shū), vol. 3: Mountain Dove and Peach Flowers ca. 1820 Teisai Hokuba Japanese Surimono are privately published woodblock prints, usually commissioned by individual poets or poetry groups as a form of New Years greeting card. The poems, most commonly kyōka (witty thirty-one syllable verse), inscribed on the prints usually include felicitous imagery connected with spring, which in the lunar calendar begins on the first day of the first month. Themes of surimono are often erudite, frequently alluding to Japanese literary classics in both texts and images.All four compositions on these leaves (JP2362-2365) come from the same set of prints, Six Bird-and-flower Prints for Utsunomiya in Shimotsuke Province (Kachō rokuban no uchi, Shimotsuke Utsunomiya). The series was commissioned by a branch of the Asakusa kyōka poetry group based in the city of Utsunomiya, north of Edo (present-day Tokyo). The artist Teisai Hokuba, an early pupil of the great ukiyo-e master

Ryogoku, between 1804 and 1818, 1 print : woodcut, color ; 19.8 x 13.8 cm., Print shows a bird's-eye view of the Ryogoku section of Edo (Tokyo) with harbor, boats, and bridge.

Clouds and Dew, second half 18th century, Ryū Kōbi, Japanese, 1715 - 1792, 53 13/16 × 21 5/8 in. (136.68 × 54.93 cm) (image)80 1/16 × 25 5/16 in. (203.36 × 64.29 cm) (mount, without roller), Ink on paper, Japan, 18th century, 'Yellow clouds become snow

Designs for applied art - part seven, 1890 - 1900 book. magazine Part seven; Pink cover with various emblems and image of a vase on which title; 10 magazines: one leaf, text; eight sheets, black and white designs; Last sheet, Colophon. paper

Bamboo Shoots. Artist: Shibata Zeshin (Japanese, 1807-1891). Culture: Japan. Dimensions: 4 1/2 x 3 1/2 in. (11.4 x 8.9 cm). Date: ca. 1880s.The lacquer artist and painter Shibata Zeshin rendered plump bamboo shoots and a single branch of leaves not in traditional ink and mineral pigments but in lacquer (urushi) on paper, using a technique of his own invention. Museum: Metropolitan Museum of Art, New York, USA.

fine arts, Japan, graphics, ""courtesan in kimono on room divider"", circa 1820, colour woodcut, private collection,

Mountain Hermitage in Summer Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Asian Art 16th century

Screen and Utensils for the Incense Ceremony 19th century Kubo Shunman Japanese Surimono, literally "printed matter", are high-quality, limited-edition, privately commissioned, woodblock-printed "greeting cards," mainly produced between the 1790s and the 1830s, and usually ordered for New Year's greetings. On this surimono by Shunman, we can see preparations for an incense ceremony: an incense tray is depicted with an incense heater and tools for burning the incense. A piece of hot charcoal is placed in the ash to warm the small piece of incense wood, so it can release its fragrance. The ash and the charcoal are handled and shaped with the fire tools. The preparations take place behind a curtained partition, which suggests a wedding or a special celebration. There are three poems depicted on the print. The first poem suggests a wedding; the second, a hazy spring moon and plum flowers; and the third, Mount Fuji and the first song of spring by the bush warbler. All the motifs have auspic

Komakata, Komagata near Asakusa., Ryuryukyo, Shinsai, approximately 1764-1820, artist, 1810., 1 print : woodcut, color ; 19 x 13.4 cm., Print shows a man and a horse in a boat with a small pine tree, also a flowering tree nearby.

The Paroquet ca. 1900 Itō Jakuchū Japanese. The Paroquet 57121

Scholar's Rock, Orchids, and Fruit, second half of 19th century, Hirano Gogaku, Japanese, 1809 - 1893, 57 5/8 × 19 in. (146.37 × 48.26 cm) (image)77 × 25 1/4 in. (195.58 × 64.14 cm) (without roller), Ink and color on silk, Japan, 19th century

Rat Snake (Hebi); Lizard or Skink (Tokage), from the Picture Book of Crawling Creatures (Ehon mushi erami). Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Overall: 10 1/2 x 7 1/4in. (26.7 x 18.4cm). Date: 1788.Ehon mushi erami (Picture Book of Crawling Creatures) is illustrated with fifteen designs of insects and other garden creatures by Utamaro. Published by Tsutaya Juzaburo , the poems were selected and introduced by a preface written by the poet and scholar Yadoya no Meshimori (Rokujuen; 1753-1830), who later became head of the influential Go-gawa poetry group. Several of the top kyoka poets of the day were invited to contribute. Museum: Metropolitan Museum of Art, New York, USA.

Chidori-gai, itaya-gai, awabi, utsuse-gai, asari-gai, and monoara-gai, from the illustrated book "Gifts from the Ebb Tide (Shiohi no tsuto)". Kitagawa Utamaro ; Japanese, 1753 ()-1806. Date: 1789. Dimensions: . Color woodblock print; double-page illustration from book. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

Birds on camellia branch. Utagawa Hiroshige ; Japanese, 1797-1858. Date: 1830-1839. Dimensions: 22.8 x 17 cm (9 x 6 5/8 in.). Color woodblock print; chuban. Origin: Japan. Museum: The Chicago Art Institute, USA.

Design for the painting of a plate. .

The immortal (Sennin) ôkyô, Yashima Gakutei, c. 1821 - c. 1822 A high -ranking Courtisane sticks to a kimonorek, while the two geese under her feet carry her through the air. The immortal ôkyô was of royal descent, but left his family to become a monk on a mountain. His family was only allowed to visit him on the seventh day of the seventh month. When his family arrived at the mountain, they saw him fly away on a white crane. This series persifers immortal men (Sennin) by portraying them as Courtisanes. Japan paper color woodcut courtesan, hetaera

The Actors Onoe Kikugoro I (right), Sanogawa Ichimatsu I (center), and Sanogowa Senzo (left), from the triptych Negura sanpukutsui 1743-1753 Japan. Color woodblock print; hosoban triptych, benizuri-e . Torii Kiyonobu II

Flowers of a Hundred Worlds (Momoyogusa), Vol. 2, 1909-10. Kamisaka Sekka (Japanese, 1866-1942). Woodblock prints, ink, color, gold, and silver on paper; sheet: 29.9 x 22.1 cm (11 3/4 x 8 11/16 in.). This volume from a set of three woodblock printed albums displays the graphic design prowess of Kamisaka Sekka. The images were first distributed one by one to subscribers to the series but later were reissued in bound form, like this book, for mass consumers. Each print features a vignette taken from nature or Japanese literature. Many of the scenes have a long history in Japan, originating in the 900s or 1000s and having been interpreted by all manner of artists since that time. Sekkas selections hew closely to precedents from the Rinpa style originated by painter Tawaraya S?tatsu (c. 1570-c. 1640) and calligrapher Honami K?etsu (1558-1637).

Courtisane on a crane. Courtisane with a long letter on a flying crane. She sets the Chinese immortal kung Ho for which is usually depicted on a crane with a book. With three poems

Fragment textiel, anonymous, 1573 - 1591 Textile fragment, embroidery of flowers and leaves on purple silk stock. Japan silk Textile fragment, embroidery of flowers and leaves on purple silk stock. Japan silk

A hundred designs - part one, 1910 book Leporelloalbum; Cover with image of three birds in bamboo branches; 27 magazines: first page, introduction; 51 images of mainly flowers, plants and landscapes. paper color woodcut

Page from Shi Zhu Zhai China. Page from Shi Zhu Zhai. China. Polychrome woodblock print; ink and color on paper. Qing dynasty (1644-1911), Kangxi period (1662-1722). Prints

C19 Chinese ink drawing: Boils - Snake-Coil boil

White-headed Bird on Maple Branch, 1830s, Utagawa Hiroshige, Japanese, 1797 - 1858, 13 7/16 × 4 1/8 in. (34.2 × 10.4 cm) (image, aitanzaku), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

Returning geese in Yamazaki, board 4 from the series: Chushingura compared to eight views /Chushingura hak`kei; scene from the 4th act Choki, Eishosai (FL. 17 .. 18 ..)

Peonies and Canary (Shakuyaku, kanaari), from an untitled series known as Small Flowers. Date/Period: Ca. 1834 (Tenpo 5). Print. Woodblock print (nishiki-e); ink and color on paper. Height: 259 mm (10.19 in); Width: 190 mm (7.48 in). Author: KATSUSHIKA HOKUSAI.

Mountain River on the Kiso Road, 1857, 8th month, Utagawa Hiroshige; Publisher: Okazawaya Taheiji, Japanese, 1797 - 1858, 13 1/2 × 9 3/8 in. (34.3 × 23.8 cm) (image, sheet, vertical ōban), Woodblock print (nishiki-e); ink and color on paper, Japan, 19th century

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