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Browsing 1,374 results for facet Topic with value of Arts.
  • Thumbnail for Ceremonial Axe
    Ceremonial Axe

    Bronze axe with man and beast motif. May have been a token of rank and an instrument in conducting human sacrifices. "The innocent face, flanked by a pair of animals, usually identified as tigers, seems blissfully unaware of any unhappy outcome, and the tigers, most ferocious of beasts, are surprisingly benign." [as quoted from Robert Thorpe]

  • Thumbnail for Bronze Censer and Jug with Gold and Silver Inlay
    Bronze Censer and Jug with Gold and Silver Inlay

    Bronze censer and jug featuring gold and silver inlays and reign mark of Xuande (reign 1426-35 AD), but copying earlier styles from the Chinese bronze age.

  • Thumbnail for Minamoto Yoritomo
    Minamoto Yoritomo

    One of the earliest extant examples of formal secular portraiture. The sitter is traditionally identified as Minamoto Yoritomo (1147-1199), the first shogun of Japan. After the death of the retired emperor Go-Shirakawa in 1192, Yoritomo received from the court the coveted title of Seiitaishogun (Great General Who Quells the Barbarians).

  • Thumbnail for Geisha, 2
    Geisha, 2

    Andy Bernard, St Olaf student, takes some time out from shopping to get his picture taken with a geisha.

  • Thumbnail for President Jiang Zemin
    President Jiang Zemin

    Cover photo of "The Nineties" magazine, Hong Kong, takes 'a sly poke' at China's former leader with a close-up of Jiang Zemin, who looks as if he is fixing his hair.

  • 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 Shrimp
    Shrimp by Qi Baishi, 1863-1957

    This artist has been called the "Picasso of China." Known for his simple compositions, economy of brush strokes, and bold contrasting colors.

  • Thumbnail for Geese on a Pond [A]
    Geese on a Pond [A] by Ren Zun, 1835-1893

    This pair of paintings was painted by an artist of the "Shanghai School" at that time a derogatory term applied by the traditionalists. He was a member of a family of professional artists. The inscription: Painted in the summer of 1872 in the reign of Emperor Tangzhi by Fuchang, Ren Zun, in Wumen.

  • Thumbnail for Eagle on Plum
    Eagle on Plum by Chang Xuchi, 1899-1956

    This powerful image of an eagle on a branch was painted in Boston as a demonstration piece in 1943 during the artist's American tour.

  • Thumbnail for Mother and children
    Mother and children by Qiu Chu (Tuling Neishi), Miss Qiu, mid 16th century

    Artist was the elder daughter of famous professional painter Chiu Ying (Qiu Ying) who taught her how to paint. She often painted women and children of aristicratic families.

  • Thumbnail for Deep porcelain bowl - side view
    Deep porcelain bowl - side view

    This blue and white decorated porcelain bowl is an example of the popular bird and flower decorative motif of the early Qing Dynasty. Made at the Imperial porcelain factories at Jingtezhen in Jiangxi Provence, this bowl is inscribed with the reign mark of the Emperor Kangxi. These porcelain factories flourished during the Ming Dynasty but their output declined in quantity and quality immediately after the Manchu invasion. Under Kangxi’s patronage porcelain manufacture once again flourished and for the next 130 years some of the most exquisite porcelains were created to the delight of three successive Emperors. 8 1/2 inches in diameter.

  • Thumbnail for Porcelain saucer dish - detail of bottom
    Porcelain saucer dish - detail of bottom

    This doucai enameled shallow dish is decorated on the interior with a central lappet roundel within double circle borders; the exterior depicts three cranes, emblematic of longevity amongst cloud scrolls and fungus. The base is inscribed with a Yongzheng (1723-1735) reign mark and is of the period, however the quality of the enameling and porcelain suggest that it was not intended for the Imperial household.

  • Thumbnail for Buffalo Shepherd
    Buffalo Shepherd by Li Keran, 1907-1989

    Artist is known as the ""Buffalo artist."" Painted for Prof. and Mrs. Fang-yu Wang.

  • Thumbnail for Deep porcelaneous bowl - detail of bottom
    Deep porcelaneous bowl - detail of bottom

    This celadon bowl with a carved landscape decoration and cloud scroll border is a southern type called longquan ware, with its typically grayish body and burnt reddish-brown where exposed in the firing. The thick, pale olive green glaze darkens in the recessed carved design to highlight the subject of the decoration.

  • Thumbnail for Deep porcelaneous bowl
    Deep porcelaneous bowl

    This celadon bowl with a carved landscape decoration and cloud scroll border is a southern type called longquan ware, with its typically grayish body and burnt reddish-brown where exposed in the firing. The thick, pale olive green glaze darkens in the recessed carved design to highlight the subject of the decoration. 5 inches high by 8.5 inches wide.

  • Thumbnail for At play
    At play by Fu Xiaoshi, 1932-

    Fu Xiaoshi was one of the three children of Fu Baoshi, who also became artists like their father. He chose to become a figure painter. He had a difficult time during the Cultural Revolution.

  • Thumbnail for Bronze mirror - back view
    Bronze mirror - back view

    The mirror is cast with typical grape vine and lion decoration on the reverse, a subject frequently seen in Tang mirrors; the reflecting surface is now degraded. 4 inches in width.

  • Thumbnail for Tang Yin portrait, character inscription
    Tang Yin portrait, character inscription by Signed 'Tang Yin'

    Chinese vertical scroll painting, likely a forgery; colors on silk, brocade frame mounted on paper, flush roller with brocade ends; image area 20.4 cm x 55.8 cm; subject Chang Hsien the archer, patron of child-bearing; birth of male child announced by hanging bow at door or gate, calligraphy, five seals. The subject matter does not match the artist’s inscription. Tang Yin is very well known for his versatility, including calligraphy, figures, and landscapes. He was also known for his literary talents and free-spirited lifestyle.

  • Thumbnail for Portrait, upper view
    Portrait, upper view by Unknown

    19th century portrait depicting a subject seated in a garden by a stream, chrysanthemum in a vase and a pine tree. The chrysanthemum in the vase symbolizes autumn while the pine tree represents longevity. The image area is 67cm x 130.5 cm and was made using Chinese ink and colors on paper in a silk mounting. The subject and artistic style are reminiscent of the famous artist, Ren Xiong (1820-1864). Ren Xiong and his family members were successful commercial painters in Shanghai and nearby regions and skilled in many subjects, including portraiture.

  • Thumbnail for Autumn Leaves and Chrysanthemums, characters
    Autumn Leaves and Chrysanthemums, characters by Jin Dui

    Horizontal Chinese painting; ink and colors on paper; 34.2 cm x 27.3 cm; white chrysanthemums, symbol of 9th month, autumn and fruit blossoms; calligraphy and one seal by artist.

  • Thumbnail for Xu Diao, Ferret and Mellon, view of roller
    Xu Diao, Ferret and Mellon, view of roller by Zhao, Zhiqian

    Chinese hanging scroll with vertically-oriented painting depicting a ferret or porcupine nibbling a melon. The image area is 40 cm x 108 cm and was made with black and grey ink on silk and mounted with a brocade frame on a paper mount with teak roller. Zhao, well-known for his calligraphy and seal carving, is one of the most important Qing painters. His style synthesized the styles of Xu Wei ((1521-1593), shi Tao (or Dao Ji, among the “Four Monks of the Ming†1630 – unknown), and Li Shan (1686-unknown). This painting reflects one of Zhao’s later interests in zoology and marine creatures, in addition to his whimsical commentary on the ferret chewing the melon.

  • Thumbnail for Landscape
    Landscape by Pu Ju

    Vertical landscape done in the blue and green style, with small pavilion on a rocky outcropping above man in small boat below. Four line inscription links the foreground imagery with that of the far distance. Three seals placed at varying points on the painting.

  • Thumbnail for Bronze mirror stand
    Bronze mirror stand

    Cast in the form of a recumbent unicorn or qilin supporting a crescent shaped base for a mirror, this mythical beast carries its head turned to its left and has its legs folded beneath the equine body. In traditional Chinese mythology the predominant characteristic of the qilin is that of benevolence and kindness, offering an evocative addition to a court dressing table. 5.75 inches high x 7 5/16 wide x 4.25 deep.

  • Thumbnail for Bronze pear-shaped vase
    Bronze pear-shaped vase

    The flattened slender vase has a flaring quatrefoil neck and mouth and two lion masks and rings are cast on to the shoulder. The body of the vase is decorated from above the foot to the mid section with loose fruiting flower branches. Floral decoration was an extremely popular motif during the Qing Dynasty and during this period artists freely departed from the strict orthodoxy of early Ming Dynasty floral décor. 10 inches high by 4.75 inches wide.