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Browsing 526 results for facet Topic with value of Arts-Painting.
  • Thumbnail for Painted Bodhisattva on pillar, close-up
    Painted Bodhisattva on pillar, close-up

    The pillars inside this cave display many figures of Buddhist monks as bodhisattvas and buddhas. These monks wear the traditional monastic robe covering one shoulder. The bodhisattva holds the lotus, symbol of enlightenment.

  • Thumbnail for Kailash Cave Temple, painted Shiva Nataraj
    Kailash Cave Temple, painted Shiva Nataraj

    A brightly painted image on an inside pillar in the area outside the inner sanctum presents a lively image of the dancing Shiva Nataraj. In some parts of the temple, the ancient pigments seem to have been preserved, probably due to their placement in areas protected from the elements.

  • Thumbnail for Crane Scroll, Part 1
    Crane Scroll, Part 1 by Sotatsu, Tawaraya , Koetsu, Hon'ami

    The scroll, almost fifteen meters long, was designed to be viewed section by section. Delicate silver cranes dance across a golden shore, gliding through clouds of gold, sometimes in graceful formation, other times frolicking. The lavish gold and silver under painting, attributed to Tawaraya Sotatsu, captures the eye first, however it was not intended to be viewed as a self-sustaining composition, but rather as a background to highlight the darlky inked strokes created by the calligrapher's brush. Boldly inscribed by Hon'ami Koetsu in his distinctive calligraphic style, the texts include famous court verses, one by each of the Thirty-six Immortal Poets 0 famous poets of ancient Japan. - from text by John Carpenter.

  • Thumbnail for Benten

    Benten sits on a rock, playing her Biwa as waves lap her perch.

  • Thumbnail for Ashikaga Yoshimasa
    Ashikaga Yoshimasa

    This portrait done with ink and color and gold leaf on silk is believed to be of the eighth Ashikaga shogun, Yoshimasa.

  • Thumbnail for Fan Painting of a Jesuit Church
    Fan Painting of a Jesuit Church by Shoshu, Kano (1551-1601)

    Although there is no consensus on which church is represented in this fan painting, most believe it to be the one on Shijobomon, due to its unusual three-story construction. This painting was among a series of sixty-one fans painted by Kano Shoshu, mounted in an album showing famous sites in and around Kyoto, of which only twenty-four paintings are thought to survive. - abridged from catalogue entry by Christine Guth.

  • Thumbnail for Maple Tree and Autumn Plants, Left half
    Maple Tree and Autumn Plants, Left half

    The ambiance in the maple composition is elegantly theatrical with its profusion of colors and diversity of flora, but with the distinctive admixture and reflection evoked by autumn. The flowers below, fragrant olive, cockscomb, bush clover, and chrysanthemum, complement the coloristic array of high autumn created by the individual maple leaves, some still green, some already a rich crimson, and some a desiccated yellow. The screen, with its massive trunk (85 cm across) and gnarled branches, set against a shimmering background of gold, clearly reveals Eitoku's influence in its preoccupation with dramatic visual impact and assertive brushwork. See also the right half.

  • Thumbnail for Brahma and swan
    Brahma and swan

    Miniature of Brahma riding on his sacred vehicle, the swan.

  • Thumbnail for Fourth hall of hell
    Fourth hall of hell

    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.

  • Thumbnail for Tangkha

    Two four-armed figures display "the divine embrace" of wisdom and compassion. Possibly a representation of the wrathful diety Yamantaka and his consort, although lacking in the attribute of dead being trampled.Said to be from the Tibetan region of China.

  • Thumbnail for Ancestor (female)
    Ancestor (female) by anonymous

    Anonymous female ancestor portrait.

  • Thumbnail for Landscape
    Landscape by Wu Tao, 1840-1895

    This painting reflects a strong traditional influence. The inscription: Spring breezes blow over the Peach Blossom Brook, and a touch of green circles the gray land.

  • Thumbnail for Bamboo
    Bamboo by Wang Qiyuan, 1895-1975

    The artist was born into the family of a Confucian scholar. He departed from traditional painting by using oils in the Western style as well as ink and watercolors. In 1941 he left China for the United States founding a school of Chinese brushwork in New York.

  • Thumbnail for Landscape
    Landscape by Chang Ting, 1917-

    The artist studied abroad in Italy and France in 1954 but during the Cultural Revolution he was restricted to the countryside without any painting supplies. His paintings often incorporate elements of Chinese folk art.

  • Thumbnail for Tang Yin portrait, close-up of figure
    Tang Yin portrait, close-up of figure 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. 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 Yin’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 Tang’s paintings. Another possibility is that the inscription of this painting was done by Tang Yin and the figure was done by Zhou Chen.

  • Thumbnail for Orchids and Rocks, full view
    Orchids and Rocks, full view by Wu Shouxian

    Chinese hanging scroll with vertically-oriented painting; black ink and tan on paper; image area 31 cm x 132.8 cm; brocade frame, flush roller with brocade ends; orchids adorn rock face; calligraphy, three seals.

  • Thumbnail for Ken Tenju hanging scroll, view of brocade
    Ken Tenju hanging scroll, view of brocade by Tenju, Ken

    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.

  • Thumbnail for Sumi-e (ink painting) and gold-leaf landscape
    Sumi-e (ink painting) and gold-leaf landscape by Insho Domoto (1891-1975)

    2’6â€x 2’9,†framed. Signed “Insho†and sealed.

  • Thumbnail for Bamboo in Dew, Pine in Wind
    Bamboo in Dew, Pine in Wind by Huang Daozhou, Jiao Bingzhen

    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.

  • Thumbnail for Painting of One Hundred Boys
    Painting of One Hundred Boys by Gu Luo (1763-?)

    Gu Luo employs the same pastel, bright palette for depicting an auspicious subject of 100 boys playing. This theme would have been functional as a gift for a newlywed couple. The image is delightful and humorous. 11 15/16 x 88 15/16 inches. Ink and colors on silk.

  • Thumbnail for Landscapes with Cranes - detail of inscription
    Landscapes with Cranes - detail of inscription by Lu Zhi (1496-1576) (attributed)

    This seventh album leaf is the text attributing the album to Lu Zhi. The attribution is spurious. The landscapes are fairly well done, but at times, the cranes are awkwardly rendered. The subject is an auspicious one, and the album would have made a nice birthday present, wishing the recipient a long life. The images are pleasant, probably dates to the Qing dynasty.10 1/2 x 12 inches. For one image from the album, click on related record below.

  • Thumbnail for Portrait of a Boxer Supporter
    Portrait of a Boxer Supporter

    28 1/8" x 18 15/16 inches, ink and colors on paper. Formal family portrait of a supporter of the Boxer rebellion. Signed 'Charles F. Gammon 1900'.

  • Thumbnail for Monkey Clinging to Hillock from an Album of 11 Miniature Sketches)
    Monkey Clinging to Hillock from an Album of 11 Miniature Sketches) by Jin Xiaqi

    These sketches depict animals in landscapes 1) crane by pine and waterfall 2) two horses by stream 3) ox-herder and two oxen crossing a stone bridge 4) dragon cavorting above a frothy sea 5) a pair of peacocks on a riverbank 6) a group of horses in a pasture 7) mandarin ducks in a pond 8) monkey clinging to a hillock 9) white goats on a hillside 10) a pair of white cranes near bamboo 11) three spotted deer, plantain, and rock. Each album leaf is 5 1 /16 x 3 1/2 inches. Ink and colors on silk. To view another image from this album, click on related record below.

  • Thumbnail for Ink Plum
    Ink Plum by Dai Xi (1801-1860)

    A good example of the long-standing genre of ink plum. 19 1/4 x 10 7/8 inches. Ink on silk.

  • Thumbnail for Evening Sight of Shrine Entrance
    Evening Sight of Shrine Entrance by D. Mori

    Signed D. Mori, 12 x 19†watercolor painting, no date, excellent condition. The style of this painting would seem to place it in the Meiji Period, but with an attribution of this importance, more research is clearly needed. A Meiji date is indicated by the overall soft tone of the painting and the way in which forms blend into one another. The painting is thus reminiscent of the work of famous Insho Domoto (1891-1975), an example of whose work is in Union College. The softness of the lines in the painting in Berea College is a feature that a number of American Art educators found of interest in Japanese painting of the Meiji period. One such was Arthur Wesley Dow (1857-1922) author of Composition, Understanding Line: Notan and Color. The term notan is Japanese and refers to a design concept in which softening the line equates negative and positive compositional space. Dr. Foster, Professor History at Berea College, informs me that Dow is connected to Berea College. In addition, Justice Oliver Wendell Holmes, William Howard Taft, and Woodrow Wilson are among the notable donors listed on the Berea College website. One does not normally think of these people as particularly involved with Japan, but all of them owned Ukiyo-e woodblock prints, these now in the collection of the Library of Congress. In addition, Francis S. Hutchins was President of Berea College from 1937 to 1967. Robert Hutchins (1899-1997) was President of the University of Chicago from 1929-1945 and Chancellor from 1945-1951. Robert Hutchins worked closely with programs such as “Great Ideas†originally created by William Rainey Harper I (1856-1906), who founded the school. Harper’s grandson Paul V. Harper (1915-2005) was Professor of Surgery and Radiology at the University of Chicago and taught Judo there. Indeed, Paul Harper’s wife, Phyllis, is recognized as one of the founders of women’s judo in this country. Thus, as Christine Guth has shown, there are sometimes surprising links between American intellectuals and Japan in the decades before WWI (see her: Longfellow’s Tattoos: Tourism, Collecting and Japan, University of Washington Press, 2004 and “Charles Longfellow and Okakura Kakuzo: Cultural Cross-Dressing in the Colonial Context,â€(Positions: East Asia Cultures Critique,Volume 8, Number 3, Winter 2000, pp. 605-636).