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.
Tomb painting of a red dancer.
Mounted warrior, detail showing closeup of Ashikaga Takauji (1305-1358).
A depiction of a high-ranking warrior on a horse, his sword unsheathed for battle. This image has traditionally been identified as Ashikaga Takauji, head of his clan and founder of the Muromachi shogunate who lived most of his life on the battlefield.
Also sometimes called the "Wheel of Transmigration". Ink and color on cloth painting depicting the six possible paths of Buddhist rebirth. Rippling of image shows effects of keeping scrolls rolled up over long periods of time. Said to be from the Tibetan region of China.
Gold and color on cloth painting of repeated Buddha images within concentric circles fashioned as open lotus leaves. Most likely cropped from a larger composition and re-mounted.
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.
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.
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.
A finely detailed Chinese painting of an aged traveler and child which is part of a set of four related paintings. Ren Xun was the younger brother of Ren Xiong (1820-1864) and his family members were successful commercial painters in Shanghai and nearby regions and skilled in many subjects, including portraiture.
This image precedes a very long handscroll that includes an additional series of colophons as well as a title frontispiece. It is historically quite interesting since the artist of the handscroll, Huang Daozhou, was a notable Ming patriot and martyr. His biography is included beside the portrait, which precede the ink bamboo and pine. The authors of the other colophons praise Huang. 103 x 15 1/2 inches.
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.
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.
12 cm x 9 cm. Polychrome painting of unidentified seated female, medallion from larger painting in opaque watercolors on cotton (thanka paubha in Nepalese script at bottom left) red ground, badly abraded figure, segment of circular border at right, mounted on mat board.
Possibly an ancestor portrait of a Qing-type figure. Male has graying beard, wears traditional Qing cap.Bright blue, fur-lined robe decorated with cranes on phoenixes. Undergarment has 4-clawed dragons, flaming pearl, over stylized rocks and waves. Very cursive character faintly visible here. Further inscription on base of throne is written sideways.
Watercolor on paper. Label attached on lower left says in English and Chinese "My Dear Miss Dickshaw, Jang Yun Fang". Large flowers in pink and white with green leaves and brown limbs are peering up from large dark gray/black rocks while white flowers and green plants are grouped at the left hand side and bottom of the rocks; Japanese characters are on the top right hand side along with a red seal with another seal present under the inscription on the bottom left hand side.
49 x 39 inches. The Womb Mandala (J.: Taizokai Mandara) is paired with the Diamond Mandala [J: Kongokai Mandara]. Together the two are known as the Mandalas of the Two Worlds [J: Ryokai Mandara], referring in Esoteric Buddhism of the Shingon Sect to the phenomenal [J: Taizokai] and the transcentdental [J: Kongokai] manifestations of the Cosmic, Universal Buddha[J: Dainichi Nyorai] that is encountered in Esoteric Buddhism. The Cosmic Buddha, Dainichi Nyorai, occupies the center of a red lotus blossom at the heart of the mandala; Buddhas of the four directions and four bodhisattvas associated with each one radiate from him on each of 8 petals. Wrathful manifestations [J: myoo] are below the lotus, and around it are arranged the hundreds of other figures.
67 inches H. x 142 inches W. (6 panels) The type originated in the Momoyama period, when they were presented to visiting warlords, to take home as a memento of their visit to Kyoto. This particular example is relatively late for the type, but a good example. The iconography for this particular type of screen pairs is set, and the example follows the program for the right hand screen of the original pair, depicting the colorful floats of the Gion Matsuri (Kyoto's "signature" festival) in LR, and various Kyoto landmarks, like the Kiyomizudera (a temple with a veranda supported on high pilings) in the upper right.
Watercolor on paper with gold border on top and bottom of scroll, depicting drawing of parts of samurai's armor including helmet.
Hanging scroll; ink and color on paper. Dimensions: 31 1/4 x 21 in. Condition is excellent with rollers missing on scroll.