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  • Thumbnail for Painted Padmapani Bodhisattva
    Painted Padmapani Bodhisattva

    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.

  • Thumbnail for Empress Dowager Cixi
    Empress Dowager Cixi

    Portrait of the Empress Dowager Cixi, wife of Qing Emperor Xianfeng; she died in 1908.

  • Thumbnail for Crane scroll, part 3
    Crane scroll, part 3 by Koetsu, Hon'ami , Sotatsu, Tawaraya

    See Crane scroll, part 1 (soc000277)

  • 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 Sakuma Shogen
    Sakuma Shogen

    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.

  • Thumbnail for Horses
    Horses by Hideyori, Kano (d. ca 1576/7)

    A dappled white horse (ema) bucks, head restrained by a bridle tied to steaks in the ground. One half of a set.

  • Thumbnail for Jataka of the Deer King
    Jataka of the Deer King

    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.

  • Thumbnail for Sumo match
    Sumo match

    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.

  • Thumbnail for Zhao Tomb
    Zhao Tomb

    Wall painting from tomb at Anping in Hebei province, China.

  • 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 Teapot with landscape image - front
    Teapot with landscape image - front

    Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.

  • Thumbnail for Teapot with landscape image - side view
    Teapot with landscape image - side view

    This image shows how the artist carried the landscape scene around the pot, rather than simply create one on each side.

  • 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 Lotus, full view
    Lotus, full view by Wu Shouxian

    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.

  • 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 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 Zhang Daqian, 1899-1983

    Painted as a "gift painting" for Charles Chu in New Haven, Connecticut.

  • 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 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 Six-fold Screen, Bird and Flower
    Six-fold Screen, Bird and Flower by Kanô Yoshinobu II (1774-1826)

    67 ¾†x 12’. the Union College Yoshinobu II Screen are a particularly interesting way to understand the differences between Kanô School painting and Ukiyo-e because while the two differed in the late Tokugawa Period (1615-1868), they originally started out much more similar.

  • 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 Landscape in the style of Ni Zan from an Album of Eight Miniature Landscapes
    Landscape in the style of Ni Zan from an Album of Eight Miniature Landscapes by Zhang Peidun (1772-1846)

    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.

  • Thumbnail for Landscape in the style of Mi Fu from Album of Eight Minature Landscapes
    Landscape in the style of Mi Fu from Album of Eight Minature Landscapes by Zhang Peidun (1772-1846)

    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.

  • Thumbnail for Portrait of a Boxer Supporter (detail)
    Portrait of a Boxer Supporter (detail)

    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.