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€.
Gilt bronze. H: 3 1/2"
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.
image size: 11.75" x 5.25". Woodblock print in ink and colors on paper. Condition is very faded; framed behind glass. Vertical hosoban size. This print comes from a group of six prints of similar style and size, all acquired from T.Z. Shiota in San Francisco between 1961 and 1966. They all portray famous Kabuki actors in roles from Kabuki plays. This print is distinguished from the others because impressed on its surface is a round red seal reading "Hayashi Tada," which is the seal of one of the earliest Japanese Ukiyo-e print dealers to sell prints in Paris, Hayashi Tadamasa (1853-1906).
Tentatively identified as made by Tibetan Buddhist artists for the Imperial palaces of the Ming and Qing dynasties in China. Previously identified as the Buddha Amitabha surrounded by Bodhisattvas. Ink and colors on cloth. image: 27.5â€ x 21.5â€ brocade fabric mounting: 48â€ x 32.5â€
Standing figure of buff ceramic body with blue and purple alkaline glazes; hands and face left unglazed. 8 1/2â€ high.
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.
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".
Arita ware porcelain with overglaze enamels, underglaze blue, and gold. Diameter: 12 1/2". Porcelains made in Arita are known by various names according to their dating and decorative schemes. Those ornamented exclusively with underglaze cobalt blue, the first porcelains made in Japan, are generally known as Imari, the name for the port city from which some of them were exported to Europe. Those with brightly colored overglaze enamel colors are generally known as Arita wares. Their production required special technical knowledge garnered from China. This fine bowl is adorned with brightly-colored chrysanthemum flowers and graceful, scrolling leaf vines articulated in kinrande (gold brocade decoration). This bowl was created during the 18th century, when Japanese artisans had refined and naturalized Chinese decorative schemes.
Carved, draped seated figure leaning on balustrade above turbulent water populated with dragon and carp with two immortals on base covered with much deteriorated red and gold lacquer. 10 X 4 1/2 X 3 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.
Ground mineral pigment on cotton, silk, 49 (L) x 27-3/4 (W) inches.. White Tara is the goddess of long life. A small image of Amitabha Buddha is in her crown. Her right hand is in the gift-giving gesture (varada mudra) while her left holds up a peony. In front of her are offerings flanked by Amitayus and Vijaya. Executed in the Kham style.
Ground mineral pigment on cotton, silk brocade backing, 50-1/2 (L) x 30-1/2 (W). Damarupa wears a five -skull crown and holds a conch in his left hand and a drum in his right. Above him are Paden chogyo, Chok Lang, Marme Dzay, Chokyi Drakpa and Yonten O. In front are Yawa Huti, and an ascetic and the scholar Gaya Bhara. In the lower foreground are Mahakala, a monk and Lhamo. Painted in Central Tibetan style.
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.
Paint on ivory, 5-1/2 (L) x 3-3/8 (W) inches. Full-lenth firgure of a Mughal prince with turban, holding a rose in his left hand; sheathed sword in his right hand; polychrome and gilding, painted on ivory. The prince is wearing a outer garment of brown with pink, green and white flowers over long white garment with stripped red and orange trousers and brown shoes with red designs; behind him is a floral dark blue floor, white geometric/ floral window and outside of the window are tall long green trees.
Woodblock print, 27.5 x 21.25 inches, by Toshi Yoshida. At the center of this abstract print is a fascinating large red shape, with black markings on it, placed against a brown moire background. It is totally ambiguous. Could it be a standing figure, like a primeval beast or raging humanoid, or is it more like an emblem or pendant? Or is it simply a visual representation of the mental state, intention? Along with realistic prints, Toshi made many abstract prints with shapes like this in various sizes and colors.
Paint on ivory, 4-3/4 (L) x 3 (W) inches. Portrait of a prince wearing an elaborate turban of blue, brown, red and green with a floral design and white plum in front; brown fur is wrapped around his neck and hanging down on his cranberry garment which is covered with jewelry; four corners of the ivory have a floral motif while the portrait is enclosed in a oval wavy grey background.
Ink and pencil drawing of an arrangement of lotuses signifying the structure of ideal Tibetan government, 23-5/8 (L) x 18 (W) inches. This is the same theme as 2004.2.3 and 2004.2.4, but here the various functions are symbolized by a hierarchy of lotuses rather than buildings. The Dalai Lama is again located at the top center, connected by lines to the heavens above. This is rendered with some skill by an artist with prior training.
Woodblock print, 19.5 x 26 inches. It shows Chinese workers harvesting fruit that fill the trees in an orchard. A red flag, signifying the Cultural Revolution, 1966-1976, waves over heavily laden carts. This is an example of peasant art used as state propaganda. This and images like this originated as gouache paintings done by Chinese peasants. The exhibition of the paintings in France was so successful that the government directed woodblock artists to make exact copies for sale.