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Browsing 261 results for facet Temporal (Time) with value of Japan - Edo-Tokugawa 1615 - 1868.
  • Thumbnail for Japanese Ceramics: Raku Tea Bowl, "Summer Festival Music."  View showing interior of the bowl.
    Japanese Ceramics: Raku Tea Bowl, "Summer Festival Music." View showing interior of the bowl. by attributed to Raku Sonyu

    A second view of the bowl named, "Summer Festival Music," an Edo period tea bowl attributed to Raku Sonyu, the fifth generation of the Raku family of potters. Interior view of the piece.

  • Thumbnail for Japanese Ceramics:  Jar with wisteria design, Imari-type Arita ware.
    Japanese Ceramics: Jar with wisteria design, Imari-type Arita ware. by unknown

    Porcelain jar with underglaze cobalt decoration, wisteria design. Imari-type Arita ware. (The Avery Brundage Collection, B67P7)

  • Thumbnail for Japanese Ceramics:  Jar with lid, Kakiemon-type Arita ware.
    Japanese Ceramics: Jar with lid, Kakiemon-type Arita ware. by unknown

    Porcelain lidded jar with overglaze enamel decoration. Kakiemon-type Arita ware from Saga Prefecture, Kyushu. (Avery Brundage Collection, B60P1206 )

  • Thumbnail for Kinoshita
    Kinoshita by Donyo

    Kinoshita, a black tea bowl by Donyu.

  • Thumbnail for Red-Carpet Treatment
    Red-Carpet Treatment

    Global transportation, instructive tours, and lavish entertainment were provided to make welcome in 1860 the first envoys to the United States. The group picture of the ambassadors was taken at a naval shipbuilding yard in Washington, D.C.

  • Thumbnail for Dish with PineTree Motif
    Dish with PineTree Motif

    Late 17th - early 18th century work produced at the official Nabeshima clan kiln in present-day Saga Prefecture.

  • Thumbnail for Emperor Go-Mizunoo
    Emperor Go-Mizunoo by Gen'yo Shonin [1634-1727]

    Ink and color painted I\image of the Tokugawa-era emperor Go-Mizunoo. The two poems were copied from inscriptions on other portraits of the emperor. The translation by Watanabe Akiyoshi is as follows: "Painful, this/withered tree fence hidden/ in the deep mountain;/ would that at least my heart's/ flowers were fragrantly abloom./ My life being thus,/ in this world that I will never revisit/ the thought of leaving a trace/ of my calligraphy for a moment-/ even that is sad." The artist Gen'yo, a Zen Buddhist nun, was Go-Mizunoo's granddaughter.

  • Thumbnail for Noh Mask: Koomote
    Noh Mask: Koomote

    One of the earliest Noh masks to be developed, Koomote represents the countenance of a calm young woman, her neatly arranged hair parted in the middle, with three loose, but not overlapping, strands on either side. Ko (small), the first Japaanese character of the two that form the word koomote, suggests the youth, freshness and charm embodied in this mask. Reflecting the standard of beauty from the Heian period on, the oval face is full, with eyebrows shaved and repainted high on the wide forehead. The teeth are blackened (ohaguro), with a paste made of powdered iron filings and gall nuts steeped in vinegar or tea; this was a cosmetic fashion adopted by young women on coming of age. Although Koomote represents a general character type, subtle differences among masks are apparent. Some emphasize youthful freshness, some refinement, some a delicately erotic charm. - Matshushima Ken

  • Thumbnail for Chujo mask
    Chujo mask

    The Chujo mask represents a young aristocrat of early times, with light complexion, high painted eyebrows, and teeth blackened (ohaguro). Traditionally, this mask type is said to have been modeled after Ariwa no Narihira, the famous poet of the Heian period whose court rank was chujo, middle captain, in the headquarters of the Inner Palace Guards. The Chujo mask is used for the role of Prince Genji in the Tale of Genji, and for other courtiers. While Chujo is typically carved with a melancholic exprssion and knitted brows, these ualities are especially formalized and given emphasis in this mask. It was owned by the Konparu family, one of the four main groups of Noh actors. - Matsushima Ken

  • Thumbnail for Teahouse Floor Plan
    Teahouse Floor Plan

    A floor-plan for a typical tea-house.

  • Thumbnail for Karaori or Noh Robe
    Karaori or Noh Robe

    A silk outer robe for female roles in the Noh performance.,

  • Thumbnail for Morning mist at Mishima Station
    Morning mist at Mishima Station by Utagawa Hiroshige

    From the Fifty-three Stations of the first Tokaido series in the Hoeido Tokaido edition and one of the most well-known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture. As the busiest highway in the 18th and early 19th centuries, the Tokaido offered numerous chances to experience a variety of social classes and day-to-day activities. Numerous images of this highway were created during the Edo period, some in singular views and others in series, the most famous of which are Hiroshige’s numerous editions. The images depicted the commercial activity along the road and famous views seen on the journey. Hiroshige, in particular, also chose many of the views based on varying times of year and the weather conditions that offered an ever-changing impression of the landscape. Greatly influenced by his teacher Utagawa Toyoharu, Hiroshige often employed perspective views rather than the more traditional stacked and flattened views of the landscape found in the Kano school of painting. This slightly more western view helps to explain his popularity among 19th century artists in Europe. One of Hiroshige’s most famous images “Morning Mist at Mishima Station†shows the artist’s interest in the ever-changing effects of light, dark and atmosphere. This was station number eleven.

  • Thumbnail for A mother seated and reading a letter while her daughter combs her hair
    A mother seated and reading a letter while her daughter combs her hair by Utamaro Kitagawa

    The dominant ukiyo-e artist of the late 18th century, Utamaro is as famous for his legendary life as for his unsurpassed images of courtesans and famous beauties of his day. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After restrictive censorship laws were passed in the 1840s, many artists turned to generalized pictures of the latest fashions and more domestic settings for their images of beauties. Even in domestic settings many of Utamaro’s prints have a strong element of the erotic.

  • Thumbnail for Ukiyo-e print of a beautiful woman
  • Thumbnail for Incense burner (detail)
    Incense burner (detail)

    The object is made of either solid silver or pewter due to its heavy weight. Its function could be as a paperweight, an incense burner, or both. The motifs (turtle, cranes, and pine trees) have common auspicious associations with longevity, and became favored by the samurai classes after the 16th century in Japan.

  • Thumbnail for Plate with Chinese motif of woman in a garden
    Plate with Chinese motif of woman in a garden

    9 3/4" X 9 3/4" X 1 1/2" Most likely made in Japan in the Arita manner. Depicts woman looking over a veranda railing at garden stone, flower, and butterfly.

  • Thumbnail for 53 stations of the Tokaido: Yoshida - Station 35
    53 stations of the Tokaido: Yoshida - Station 35 by Ando Hiroshige (1797 - 1858)

    Color woodblock, 7 X 9 1/4 inches, ink and color on paper. People passing over a bridge with heavy loads and one woman on a horse. Large section of water with boats in front of the city of Yoshida, high rising buildings in the distance.

  • Thumbnail for 53 Stations of the Tokaido: Akasaka, Station 37
    53 Stations of the Tokaido: Akasaka, Station 37 by Ando Hiroshige (1797 - 1858)

    Color woodblock, 7 X 9 1/4 inches, ink and color on paper. Pilgrim with horse in foreground between green hillsides, wandering the street of the village at sundown.

  • Thumbnail for Gold Lacquer Inro with Ivory Netsuke - bottom view
    Gold Lacquer Inro with Ivory Netsuke - bottom view

    H: 6 cm W: 5 cm L: 1.8 cm D: of netsuke 4.2 cm. Gold lacquer inro with overlay design in mother of pearl and shakudo. Design: flying cranes. Ivory netsuke: turtle and toad; signed inside. Cover: Korin.

  • Thumbnail for Kozuka
    Kozuka

    Sheath for challenge knife (kozuka). Blackened steel and gold. Very fine workmanship and in excellent condition. This metal sheath is one of 16 in a two-layered lacquer box. Making sword fittings (menuki) has been an Art in Japan since the time of the machishu, the 17th c. Kyoto, Osaka, Sakai predecessors of the chonin of Edo (now Tokyo), the latter being the creators of Ukiyo-e. This sheath is of extremely high quality, something true of others in its group. Any are fit for a museum, but I chose this one because its decoration was so amusing. In Japan, the horse is a standard gift to a temple. When a horse is too expensive, a painting of a horse (ema) can be substituted. This knife sheath bears an image of an ema on one side. The square frame of the ema is shown and within it, a monkey holding a long line. The line goes outside the ema over to the other side of the sheath. There, the tethered horse gallops away.

  • Thumbnail for Scene from the series: Story of Loyal, Prominent, and Faithful Samurai, act 4 (Ch?y? gishi roku dai yon)
    Scene from the series: Story of Loyal, Prominent, and Faithful Samurai, act 4 (Ch?y? gishi roku dai yon) by Utagawa Kunisada (1786-1864)

    Woodblock print; ink and colors on paper. Signed: Ichisai Toyokuni Hitsu. Two round censor seals at the top of the picture used between18471848. Right: Yoshimura Gentaro; left: Muramatsu Yoshimura. This print is nice because its border has not been trimmed and the round censor seals are still intact above the top margin of the picture. The series portrays the most famous vendetta of samurai retainers in the Edo period, the Chushingura, or the tale of the 47 masterless samurai (ronin). On the snowy night of January 30, 1703, in an incident known as the Ako vendetta, forty-six samurai who had sworn an oath to revenge their master's needless death burst into the mansion of the man responsible for the death of their former master, Asano Naganori, the lord of Ako. They were led by Oishi Kuranosuke, Asano's chief advisor. Their intended victim, Kira Yoshinaka, was a powerful noble and an important retainer of the imperial household. After refusing the opportunity to die by his own hand, Kira was killed with the same dagger Asano had used to commit seppuku, and then beheaded. At dawn on the following morning the samurai surrendered themselves to the priests of a Buddhist temple to await their punishment. The vendetta served as the basis for what is without doubt the most famous and popular work of the Japanese Kabuki theater, Kanadehon Chushingura (The Treasury of Loyal Retainers: A Model for Emulation). During the Tokugawa era (1600-1868) there was a ban on the depiction in art or the dramatization on stage of current historical events using the actual names of the nobility involved. Therefore, the theatrical version of the Ako vendetta was set in the days of the fourteenth-century shogun Takauiji; Asano, Kira, and Oishi became Enya, Moronao, and Oboshi, and the setting of the play was changed from Edo to Kamakura. Act IV, depicted here, consists entirely of Enya's seppuku, the punishment ordered by the shogun for his attempt on Moronao's life. This scene, filled with quiet, yet terrible, passion, is one of the classical moments of kabuki theater. As the preparations for his suppuku are completed, Enya swears to "return to life again and again until my vengeance is accomplished." From an adjoining room Enya's retainers beg through the closed door to be allowed one last look at their master. In silence Enya, dressed in white, the traditional color of death, waits for Yuranosuke while he continues his preparations. A thick, white tatami mat is laid with branches of ceremonial herbs in each corner. Enya slides his outer-garment off on his shoulders and tucks the long ends firmly under his knees so that the tension of the fabric will cause him to fall face down. At a silent signal Rikiya enters bringing a short sword on a wooden stand. Finally, there is nothing else left to do; Enya gathers his composure, and in a swift motion takes up the sword and drives it into his stomach. Just then Yuranosuke enters and speaks in calm, almost fatherly tones, bidding Enya to die bravely. Gazing steadily into his chamberlain's face, Enya tells Yuranosuke that he must avenge his death using this very same sword, and with a last effort completes the act of ritual suicide.

  • Thumbnail for Page from an Unidentified Woodblock Book
    Page from an Unidentified Woodblock Book by Illustration in the style of Katsushika Hokusai (1760-1849)

    Double page woodblock printed book illustration; ink and color on paper. Depicts a courtier and attendant kneeling before a priest, who is unrolling a handscroll. Although aesthetically pleasing, the condition of this print is somewhat problematic (paper soiled). It is a good example of the type of illustrated books that were so popular in the 18th and early 19th centuries in Japan.

  • Thumbnail for Plum-Blossom Viewing at Kameido Gardens
    Plum-Blossom Viewing at Kameido Gardens by Utagawa Hiroshige (1797-1855)

    One of a series of views of Tokyo famous places (Edo in feudal times). Hiroshige signature is at left. In upper right is series cartouche, Edo Meisho, which identifies the print as coming from one of several series of prints by Hiroshige that were published with this title; one such series of 45 prints was published in 1853. Titles say, beginning at left :Edo Famous Places (Edo Meisho), Kameido, Plum View Tea House, Hiroshige. (Yamanka). Image depicts a multitude of people in various acts outside:walking, talking, sitting on large benches and carrying trays. Image size 8-1/8 (L) x 13-1/8 (W).

  • Thumbnail for Handscroll: Treatise on Samurai Armor - section eight
    Handscroll: Treatise on Samurai Armor - section eight

    Watercolor on paper with gold border on top and bottom of scroll, depicting drawing of parts of samurai's armor including helmet.

  • Thumbnail for Bunraku, Head of a Demon
    Bunraku, Head of a Demon

    Wood, long hair, paint, inlaid eyes and handler's stick. This mask type is often used for the role of a beautiful woman driven mad by tragic events or, more often, by jealousy. 6-1/2 (L) x 3-1/2 (W) x 15-1/4 (H)