Sign in English and Hindi for the Tomb of the last Mughal Emperor, Aurangzeb. Behind this sign is a small sign explaining that anyone who vandalizes this monument will be subject to imprisonment of up to three months, a fine of up to 5000 rupees [more than $100], or both.
Portrait of Qiu Jin, a "spirited radical" woman and supporter of Sun Yat-sen's Revolutionary Alliance.
Portrait of the Empress Dowager Cixi, wife of Qing Emperor Xianfeng; she died in 1908.
Actor Okochi Denjiro playing Tange Sazen, the one-eyed and one-armed killer, made a tremendous hit on movie-going audiences.
This jinbaori, made of wool, is said to have been owned by Date Masamune, daimyo of Sendai. The jinbaori's purpose was originally functional, being worn over armor for protection against cold and rain. Horizontally centered on the back of this jacket of thin wool is the bamboo and sparrow crest ("mon") of the Date family embroidered in gold.
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).
Portrait sculpture of Toyotomi Sutemaru (1589-1591), the first son of Toyotomi Hideyoshi (1537-1598), died when he was just two years old. Hideyoshi built Shounji in eastern Kyoto as the child's memorial temple. This portrait was enshrined there. Made of polychromed wood.
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.
In the three letters mounted together in this handscroll, which opens with an anonymous portrait of Wang Yangming, his calligraphy is sharp and angular, and the characters are vertically elongated. The brushwork appears rapid and agitated. Wang's calligraphy may reflect anxieties expressed in the content of the letters, which were addressed to his nephew Zheng Bangrui and can be dated to between 1523 and 1525. Wang writes of the burden of managing his family's affairs after the death of his father in 1522, the illness of his wife (who died in 1525) and his obligation to arrange the marriage of a niece. Together, these letters in Wang's own hand provide a rare glimpse into the everyday life of the noted philosopher.
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.
Edition: 45/100. Woodblock print; ink on paper.This is a fine, interesting work by this woman artist, indicative of modern Japanese artist-intellectuals' interest in Western philosophers. Born in Tokushima, on the island of Shikoku, Matsubara Naoko grew up mostly in the city of Kyoto. Her father was one of the most senior Shinto priests in Japan, and her mother came from a very old Shinto family. After graduating from the Kyoto Academy of Fine Arts (now Kyoto Fine Arts University), she went to the United States as a Fulbright scholar, spending a year at the Carnegie Institute of Art (now Carnegie Mellon University) in Pittsburgh, where she received her MFA.
1/2 length portrait of kabuki actor Sawamura Tossho in the role of Kino. Color woodblock print; image: 14 1/4â€ x 9 1/2â€ (36.2 cm x 23.7 cm), sheet: 14 7/8â€ x 10â€ (37.8 cm x 25.5 cm).
This image shows another of the floats from the fall festival celebration of the Hachiman Shrine in Morioka. The figure presented on this float may very well be a representation of Yoshitsune, the younger brother of Minamoto no Yoritomo, founder of the Kamakura Shogunate. As described in relation to image ecasia000021, the legendary figures Yoshitsune and his retainer, Benkei, were betrayed and came to their end at Hiraizumi, in southern Iwate Prefecture.
Portrait on postcard of President Sun Wen (later Sun Yat-sen), who in 1921 became president of the provisional government of the Republic of China.
Image taken at the wedding ceremony of Prince Akihito and Shoda Michiko. The prince deviated from previous tradition in marrying a woman of his own choosing.
A photo of Chairman Mao in military uniform greeting Red Guards at the outset of the Great Proletarian Cultural Revolution.
This portrait done with ink and color and gold leaf on silk is believed to be of the eighth Ashikaga shogun, Yoshimasa.
Professor Ernest F. Fenollosa (seated) came to Japan in 1878 to introduce Western art forms, but left Japan with a sincere respect for Japanese painting and sculpting. He is shown here with Okakura Kakuzo.
Shopping for "company" was made easy in Japan. The 1872 ban on prostitution didn't work. It was hastily revoked, and prostitution was only banned again after World War II.
One of the most well known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. Jakuren was a poet and a Buddhist monk was instrumental in compiling the Shinkokinshu (New Collection of Ancient and Modern Waka), around 1205 â€“ 1206, which included thirty-five of his own works. The poem card at the top of this image depicts an image of the poet and his poem which was number eighty-seven in the well-known Ogura Hyakunin Isshu (One Hundred Poems by 100 Artists), a collection of tanka (five line poems of 31 syllables, arranged as 5, 7, 5, 7, 7).
From the Kanadehon Chushingura (Model of the Kana Syllabury: the Forty-seven Loyal Retainers) series. Keisei Eisen was born in Edo, the son of a calligraphy artist. He was apprenticed to Kikugawa Eizan and studied traditional painting before becoming a printmaker. Throughout his career, Eisenâ€™s work was productive and varied. Book illustrations and prints were his first commissioned works. Early on, he achieved lasting fame for his bijin-ga (pictures of beautiful women), and both contributed to and edited the Ukiyo-e ruiko (History of Prints of the Floating World) one of the few surviving sources of information-rich material on printmaking art and artists in Japan. At times, he struck partnerships with other artists of his age, such as his collaboration with Hiroshige, which resulted in a series of landscape prints entitled The Sixty-nine Stations on the Kiso Highway. Eisen also released many surimono (privately issued prints), shunga (erotic prints), and some landscape pieces. In addition to his career as a printmaker, Eisen pursued other sources of income. A self-described hard-drinker who humbly titled his version of Japanese print history Mumeio zhuihitsu (Essays by a Nameless Old Man), Eisen was also the manager and proprietor of a brothel for a time. Today, however he is most famous for his portrayals of the beauties of old Japan. Kana-dehon Chushingura (Model of the Kana Syllabury: the Forty-seven Loyal Retainers) was a popular and frequently performed Kabuki play in the late 18th and early 19th century in Edo. Based on actual historical events from 1701 â€“ 1703, the play tells of forty-seven ronin (samurai without a lord) who seek revenge for the unjust death of their leader Enya-Hangan. Act IV: Enya-hangan commits hara-kiri, while his loyal retainer Yuranosuke vows revenge on Moronao
A mixed media vertical collage featuring Mao standing atop a tower of Coca Cola cans, supported below by PLA soldiers and protected from above by fighter jets. The tower itself also includes images of small babies as well as flowers.
The marker to the right announces that this is the grave of the Toyotomi family (and that it is an historical landmark). The family refers to the descendants of Toyotomi Hideyoshi, the great general who unified Japan after a long civil war just prior to the lengthy peace of the stable Tokugawa (or Edo) Period around 1600.