The last in a series of painted buddhas and bodhisattvas framing the doorway above one of the caves, the royal Maitreya, buddha of a future age, is seated in a lotus position. His right hand may be held in the varada mudra, the gesture of compassion.
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.
On a pillar of the temple is this gray makara, a mythical aquatic beast associated with the Ganges gharial, a species of crocodile. The makara is associated with Kamadeva, god of desire, as well as the goddess Ganga and the Vedic god of the sea, Varuna.
At first glance, the left and right panels
This portrait done with ink and color and gold leaf on silk is believed to be of the eighth Ashikaga shogun, Yoshimasa.
Although the temple painting was created for religious worship, the full cheeks and small red lips of the subject suggest strongly feminine features.
As the number of Christians in Japan in the 16th and 17th centuries grew, so did demand for religous paintings from Europe. Because supply far outstripped demand, it became apparent that native artists would have to be trained. Many times the artists were simply shown how to copy the European paintings directly, but in this screen, commonly thought to be a depiction of the Battle of Lepanto, no pictorial prototype appears to have been available. The composition is actually made up of an arbitrary pastiche of themes copied form various sources. The contending forces are the Turks, to the right, and the Christian battalions, tightly grouped to the left, with their logistical advantage, matchlock guns, clearly depicted.- abridged from catalogue entry by Money Hickman.
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).
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.
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.
Chinese hanging scroll with vertically-oriented painting; black ink and red on paper; image area 31 cm x 132.5 cm; brocade frame, flush roller with brocade ends; red fungus (mushrooms) regarded as the plant of long life or immortality and symbol of the good; calligraphy, three seals.
One of two prints from the Hasegawa series, and in fact represent one of the aspects unique to the woodblock print process. Using exactly the same blocks, but inking them with different sets of colors, the printers were able to produce visions of the same scene at different times of day. Both prints feature a boat setting off with passenger and boatman (or woman, given the hair length) in the foreground, the Ukimido at Katata, on Lake Biwa, in the background, and a pine branch silhouetted above. This print uses deep blues for much of the print, giving an impression of midnight, and with a few stars reserved in the sky.
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 artiistic 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.
Horizontal Chinese painting; ink and colors on paper; 38.8 cm x 24.3 cm; lady and lute on covered barge, only mast and lanterns of another barge are visible, with willow, pine, and blossoming trees. Jiang Yunâ€™s painting was a token of friendship, responding to a friendâ€™s request. The subject is based on the famous Tang era poem, Lyrics of the Pipa (Lute) by Bai Juyi (772-846 C.E.).