In Cave 1, a well-preserved painted mural features this image of Padmapani Bodhisattva, carrying the lotus (padma) in his right hand and viewing the suffering of the world.
Portrait of the Empress Dowager Cixi, wife of Qing Emperor Xianfeng; she died in 1908.
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).
Depiction of Sakuma Shogen Sanekatsu (1570-1642) sitting in front of a bamboo screen facing his boy attendant. A warrior who first served Toyotomi Hideyoshi (1537-1598), Sakuma then seved three successive generations of Tokugawa shoguns: Ieyasu, Hidetada, and Iemitsu.
This mural is based on the Sutra of the Nine-Colored Deer King. Nine scenes are depicted. From the left end, the drowning man cries for help, a deer passes by the river, and saves the drowning man; the man thanking the deer, and the deer is then shown sleeping. On the other end, the queen tells of her dream and the king issues an order to reward the person who helps capture the deer; the drowning man betrays the deer; the man leads the king in a hunt for the deer, and the nine-colored deer denounces the man's lack of gratitude before the king. Cave 257, Mogao Grottoes, Dunhuang.
After the establishment of the first Shogunate in Kamakura from 1185 to 1392, Sumo came to be practiced by the warrior class. Minamoto no Yoritomo, the most famous Shogun of the era, was a huge Sumo fan. Oda Nobunga (1534-82) was particularly fond of Sumo. In February of 1578, he assembled 1,500 wrestlers from across Japan for a tournament held at his castle. Until then, there were no boundaries to the area in which Sumo matches were held. The space was previously designated by the people waiting for their turn to compete. Nobunga was the first person to draw circular boundaries on the ground for the first time. In the Edo period (1603-1867) several Daimyo (Feudal Lords) began sponsoring the strongest wrestlers. Those sponsored by the Daimyo got a big paycheck and Samurai status.
Wall painting from tomb at Anping in Hebei province, China.
One of a series of ten hell scrolls. Shows the King of the Five Offices and his henchman as well as several of the hells under his control. Commonly seen in Taiwanese temples. Purchased in the early 1980's in Taiwan.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
This image shows how the artist carried the landscape scene around the pot, rather than simply create one on each side.
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 artistâ€™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. His artistic reputation is reflected in many writings, including novels and dramas in later eras and his love of women is depicted in the performing arts and popular culture. Tang Yin was known as a commercial painter who sold his works and took commissions. Many of the extant works that bear his signature are forgeries. The artist of this painting displays a unique manner in his brushwork, with angular and edgy outlines that reflect the influence of Zhou Chen (still alive in the 1530s), another famous painter of Tang Yinâ€™s era. Tang Yin originally studied painting with Zhou Chen, however Zhou Chen occasionally ghost-painted for Tang Yin due to the huge demand for Tangâ€™s paintings. Another possibility is that the inscription of this painting was done by Tang Yin and the figure was done by Zhou Chen.
Chinese hanging scroll with vertically-oriented painting; black ink and trace of red on paper; image area 31 cm x 132.4 cm; brocade frame, flush roller with brocade ends; lotus represents purity, perfection, summer, and the flower carried by Ho Hsien-Ku, the eighth of the eight immortals revered in Buddhist worship; calligraphy, one seal by the artist.
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 â€œFour Monks of the Mingâ€ 1630 â€“ unknown), and Li Shan (1686-unknown). This painting reflects one of Zhaoâ€™s later interests in zoology and marine creatures, in addition to his whimsical commentary on the ferret chewing the melon.
Japanese Edo period hanging scroll with vertically-oriented painting and a brown brocade mounting. The image area is 28 cm x 187 cm and depicts the landscape of a Nanga school with the scene of a mountain and hut to the left, a river to the right, a bridge in the foreground, and an inscription to the upper right.
67 Â¾â€ x 12â€™. the Union College Yoshinobu II Screen are a particularly interesting way to understand the differences between KanÃ´ School painting and Ukiyo-e because while the two differed in the late Tokugawa Period (1615-1868), they originally started out much more similar.
This very long handscroll includes an additional series of colophons as well as a title frontispiece. It is historically quite interesting as the artist, Huang Daozhou, was a notable Ming patriot and martyr. His biography is included beside the portrait, which precedes the ink bamboo and pine. The authors of the other colophons praise Huang. The painting Bamboo in Dew, Pine in Wind is preceded by a biography of Huang Daozhou, and a portrait of Huang attributed to Jiao Bingzhen. 103 x 15 1/2 inches. Ink on satin for the painting. The portrait can be seen by clicking on the related record below.
This album of landscapes demonstrates Zhang's ability to paint in a number of classic idioms, including the misty "Mi" family style, and the style of Ni Zan. The album could have functioned as an artist's sketchbook of compositions and styles, but it would have had value for collectors. A good representation of the orthodox styles available to artists of the late imperial period. 7 5/8 x 4 7/8 inches. Ink on paper.
This album of landscapes demonstrates Zhang's ability to paint in a number of classic idioms, including the misty "Mi" family style, and the style of Ni Zan. The album could have functioned as an artist's sketchbook of compositions and styles, but it would have had value for collectors. A good representation of the orthodox styles available to artists of the late imperial period. 7 5/8 x 4 7/8 inches. Ink on paper. See related album leaf by clicking on related record below.
28 1/8/" x 18 15/16". Ink and colors on paper. Detail of head of formal family portrait of Boxer supporter. Shows influence of Western photography on Chinese portraiture.