A perfect photo of St. Olaf history professor and Interim 2003 advisor Bob Entenmann looking out through a crenellation of the reconstructed Great Wall.
In the upper rectangle: Kinoeneya Restaurant at Mukojima-mazaki. In the main section: Koshiro in the role of Soroku in the play Go-taiheiki Shiroishi-banashi Woodblock print in ink and colors on paper. Vertical ōban size. Signatures: Toyokuni ga, Hiroshige Publisher: Fujiokaya Keijiro These prints have a landscape and still-life by Hiroshige above, and below is an actor in a stage role by Kunisada.
Woodblock print; ink and colors on paper. Vertical ōban size. Signature: Ichiyusai Kuniyoshi ga. Scene: Saimyo-ji â€œTokiakiâ€ (monk) and Shiratae (woman: name of joro). Censor seal: Kinugasa; publisher: Ibaya Sensaburo; carver: chōkō Fusajirō [Matsushima Fusajirō]. The artist of this print was one of the most prolific and popular of the late Edo period Ukiyo-e printmakers active in Edo (Tokyo). He specialized in prints of warriors, historical tales, landscapes, and geisha, often, as in this print from a big series, collaborating with other printmakers.
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.
Shallow, flaring, thin-walled porcelain vessel; bowl divided into 6 lobes; on small ringed foot; covered with creamy, lustrous glaze; 3 small spur marks in bottom of bowl. 2 x 6 1/2".
# 18 from the series: Thirty-two Aspects of Customs and Manners (Fuzoku sanjuniso). Woodblock print in ink and colors on paper. Vertical ōban size. This image is a nice, but not great, later printing. Reference: John Stevenson, Yoshitoshi's Women: The Woodblock Print Series "Fuzoku Sanjuni so." Boulder, CO: Avery Press, 1986; reprinted in 1995 in association with the University of Washington Press.
Small cabinet with paired doors front and back. Inside reveals small cavity sealed in glass containing three small pebbles. Interior of doors painted with lotus blossoms. Gilt, lacquer painted wood, glass, copper, stone; 3â€ x 2â€.
Carved gilt lotus bud on lotus pedestal with cavity in center sealed with glass. Contains a small pedestal and a white pebble. Gilt and lacquered wood, glass, copper, stone; H: 4â€ W: 2 1/2â€.
Swat Region of Pakistan; chipcarved wood; 34.5â€ x 32.25â€ x 22.5â€
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.
Eighth 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.
Cast bronze. Height: 6.5".
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
From the Gandhara region, dated 3rd â€“ 4th century CE. Gray schist, 7.625" x 7.25".
55â€ x 73.5â€
Hanging scroll; ink, gold, and colors on silk. 70" x 26 1/2". Stored in paulownia wood (kiri) box. Prince Shōtoku (Shōtoku Taishi or Imperial Prince of Holy Virtue; 574-622) is regarded by later admirers as Japan's first great imperial statesman, the founding father of Buddhism in Japan, and the human incarnation of assorted Buddhist deities and distinguished monks. Belief in the interrelated nature of these accomplishments assured his leap to the status of mythic hero. This painting is a later version of a very famous, iconic portrait of Prince Shōtoku and his brother and son wearing Chinese-style court robes, dating to the late 7th or early 8th century and owned by the Imperial Household Agency. Paintings such as this and the cult with which they are associated came about in part because of the successful promotion of Prince Shōtoku by those with a vested interest in perpetuating the lineage of the imperial family by portraying its members as national heroes. Ironically, although power struggles within the imperial family shortly after Prince Shōtoku's death wrested authority away from his direct heirs, the usurpers could not undo the mythologizing of the Prince that elevated him to divine status.
Mark of the Qianlong reign (1736-1795), possibly 19th century. Porcelain with overglaze enamels. Diameter 5.5"
Silk embroidered cotton with applied border and metallic threads 42.5â€ x 78
Portion of image created in the Gandhara Region. Gray schist, Height: 7"
Ground mineral pigment on cotton, silk, 64 (L) x 39 (W) inches. This is a common Tibetan theme that represents a dynamic vision of karma and the cycles of rebirth in various forms, both coarse and subtle, earthly, heavenly and hellish. All are driven by the beastly desires symbolized by the snake, bird and pig located at the center of the wheel. The twelve causes of rebirth are shown on the rim while the six conditions of birth are shown inside the wheel. The wheel is held in the grasp of Yama, the lord of death. The message here is that the teachings of the Buddha offer a path to escape from this world of endless change and suffering.