A windy street off of Zhongshan Road in the Western part of Shanghai in winter. People pass on bicycles and in cars. A red flag blows from a telephone pole in the foreground.
Central to Shinto is the belief in divine begins (kami) which traditionally inhabit heaven and earth. Divine status is attached to anything which is striking, elevated and beautiful or possesses outstanding qualities: in brief, anything which awakens a sense of awe. In this way, things of natural beauty, mountains and seas, human beings, plants and animals can become gods. Symbols of every Shinto shrine are the gateways (torii), which in their simplest form are two pillars topped by a cross beam.
Second two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.
Collagraph with etching and aquatint. 19.5" x 16.75". Information found on the internet notes that Fukazawa Yukio was born in Yamanashi Prefecture. In 1948 Fukazawa graduated from the Tokyo Art College. In the 50s and 60s the young artist gained the attention of the Japanese art community and later in the 70s of an International audience. The favorite medium of Yukio Fukazawa are copper engravings. The artist is the head of the Japan Print Association (JPA). Art critics describe his works as lyrical prints. His prints are in the collections of renowned museums like the New York Modern Art Museum and the Tokyo National Museum of Modern Art
Woodblock print in ink and colors on paper. Size: paper: 14.25" x 18.75"; image: 11.75" x 15.5". Image of Chinese woman leaning over a railing inhaling incense smoke. French, active in Japan,Jacoulet came to Japan from his native France with his parents when he was ten. He produced very fine Japanese-style prints and his work is widely appreciated by collectors and scholars of modern Japanese printmaking.
Gilt bronze. H: 3 1/2"
Carved wooden figure of boy with uplifted hands and face mounted on ram standing on double lotus pedestal framed by scrolling acanthus. Surface embellished with red and gilt lacquer. H: 10 1/8â€ W: 8 1/8â€ D: 3 3/4â€.
From South India,teak wood. 26â€ x 3.5â€ x 9.5â€
Twelfth set of two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.
Seventh set of two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.
Sixrth set of two images of women from bound accordion-fold album of 30 woodblock prints with colophon. One half of full series of 50 prints depicting Japanese women of different historical periods highlighting their hairstyles and modes of dress.
Wood, carved ivory and metal, 18-1/2 (L) x 1-1/2 (W) x 2-1/8 (Depth) inches; blade and handle. A pair of symmetrical horses flank the lower back of the handle and above them are a pair of winged apsarases. Lotus and vegetative/floral garlands, along with parallel incisions, cover the rest of the surface.
Porcelain with incised design under glaze, the rim bound with copper (Ding ware). Diameter: 7.5" This is a fine example of Ding ware, one of the earliest types of porcelains made in China
55â€ x 73.5â€
French, active in Japan. Woodblock print in ink and colors on paper. Size: 17.875" x 14.25"; image: 15.5" x 11.875".
Seated figure of singer with hands clapping; covered in yellow glaze except for knees which are covered in turquoise paint; old label on bottom from MIA and VA & T. 6 7/8 x 4 3/4 x 4 1/2".
Vase carved from large, flattened, curving segment of bamboo; showing root ends and engraved and lacquered with designs of orchids; painted on base and interior with brown lacquer. 15 x 6 x 4 1/2".
Hanging scroll; ink and light colors on ink with beautiful brocade mounting. Image size: 38â€ x 13.75â€, scroll mounting: 72" x 18 1/4". Signed by the artist (who indicates he also inscribed the poem) with one red, gourd-shaped seal: Bunzen. Stored in paulownia wood (kiri) box. The artist of this scroll followed in the footsteps of artists associated with the Rinpa school tradition, who, from the 17th century, had borrowed subjects from Japanâ€™s courtly past, but presented them in novel ways. When Japanese viewers see paintings of irises, they inevitably associate them with Japan's most celebrated poetic narrative, The Tales of Ise (Ise monogatari), compiled in the tenth century. This tale consists of 125 episodes that intersperse a biographical narrative of Ariwara no Narihira (825-880), a famous courtier-poet of the previous century, together with examples of his romantic poetry. One of the sections describes how, when a man and his friends go looking for a place to live in the East they come to an eight-planked bridge (yatsuhashi) that crosses a marsh filled with flowering irises. On the spot, they compose poems to their loved ones far away. Although as yet undeciphered, it is likely that the poem Hōitsu inscribed on his painting comes from this section of the Tales of Ise, which was a favorite of his to illustrate.
Probably Canton export ware, 19th century Although the drawing of the design is casual and the glaze pitted, this plate is quite charming.
Indo-Islamic culture; Copper metal alloy, 9.5â€ x 7.5â€
Swat Region of Pakistan, cedar wood;16.5â€ x 37â€
Paint on ivory, 3-1/2 (L) x 1-3/4 (W) inches. Framed, painted on ivory with gildng and polychrome. Mughal prince wearing gilt headdress and robes. Prince is seated with his left arm resting on the chair's arm while his hand is near his long necklaces hanging around his neck; in the background is a gold curtain hanging on his right side with a floral design of multi colors behind him with some white geometric shapes.