These are traditional guardians usually found outside or at the entrance of a village. There are various kinds, usually are represented as a man or a woman.
Although there are some chain convenience stores, most of the stores are privately owned and located in all kinds of places. This one is located right underneath a student boarding house and at the center of an intersection, a clever place to sell.
There still remain several remnants of Korea's history and culture. Some of these remnants can even be found in the middle of the busy streets. This is one of the city's former gates.
When evening approaches several stores and clubs will create some extravagant advertising in order to convince people to go to their location.
Two four-armed figures display "the divine embrace" of wisdom and compassion. Possibly a representation of the wrathful diety Yamantaka and his consort, although lacking in the attribute of dead being trampled.Said to be from the Tibetan region of China.
Chinatown in Singapore. This was taken a few days before the Chinese New Year in February.
Monkeys along the roadside at Bukit Timah Nature Reserve in Singapore.
The food stands in the streets of Seoul are open sometimes until the late hours. These stands at night are closed up and then carried by their owner on wheels back home.
This is mild, sticky, cold noodle dish called Namyun. Seoul, South Korea.
Pressed or flattened duck for sale at the Wet Market in Chinatown, Singapore.
From the Famous Places of Edo series and one of the most well-known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. This image was originally a part of architect Frank Lloyd Wrightâ€™s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wrightâ€™s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wrightâ€™s architecture. Though probably most known for his numerous editions of images from the Tokaido, Hiroshige also produced a number of prints and editions of other well-known landscape sites. Among them were Famous Places of the Eastern Capital, Famous Places in the Sixty-Odd Provinces, and Thirty-six Views of Mt. Fuji, among others. These series were a modern interpretation of a much earlier tradition in which Chinese artists and poets would paint and write about important locales. As in his Tokaido prints, however Hiroshige imbued these modern views with a sense of a specific contemporary time and place often employing a more western perspective and showing modern day viewers inhabiting the scene.
This celadon bowl with a carved landscape decoration and cloud scroll border is a southern type called longquan ware, with its typically grayish body and burnt reddish-brown where exposed in the firing. The thick, pale olive green glaze darkens in the recessed carved design to highlight the subject of the decoration. 5 inches high by 8.5 inches wide.
The decoration on this blue and white charger was inspired by Islamic ceramics of the 16th and 17th centuries and influenced the decorative patterns used on 18th century Dutch Delft wares.
Series of images chronicling the US involvement in China during the early part of the 20th century.
This detail shows the haste with which this type of object was made in the swerving double lines at the top and the splashed ink trees on the right.
Detail shows the fine needlework and variation of color utilized to create a sense of depth in the flowers on this garment.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
Image of bottom of ink stone water dropper showing Daoguang reignmark painted under translucent glaze.
Bottom of seal with example of calligraphic seal script, commonly used for seals in China.
The son of a silk dyer, Utagawa Kuniyoshi was apprenticed to the printmaker Utagawa Toyokuni I. whose other pupils included Toyoshige and Kunisada. Unlike his master, who specialized in actor portraits, Kuniyoshi excelled in depicting historical scenes and events along with celebrated warriors. Like many of his contemporaries, the artist experimented widely, producing prints of everything from landscapes to erotica. Kuniyoshiâ€™s first published work was a set of book illustrations released in 1814, although his name remained obscure for several years until his publication of a print series depicting 75 heroes from Japanese lore and legend. When prints of actors and beautiful women (bijin-ga) were banned by the Japanese government in 1842, the Japanese middle class became enthusiastic supporters of Kuniyoshiâ€™s seemingly inoffensive historical prints. In 1843, the artist released a satirical triptych print criticizing the Shogun, launching an official investigation that resulted in the destruction of Kuniyoshiâ€™s woodblocks and unsold prints, as well as an official censure. The print, however, remained popular with the middle class. Bijin-ga (images of beauties) might be of actual contemporary and historic women or of an idealized type of beauty specific to a time and region. Courtesans in particular were usually depicted in the latest and most elaborate fashions of the day. After an increasing number of censorship laws were passed to limit the production of prints of famous courtesans, thought to corrupt the morals of the citizens of Japan, many artists turned to domestic images of mothers and daughters or women with servants and generalized pictures of the latest fashions in order to satisfy the demand for bijin-ga and skirt the laws.
Artist is a native of Jinan in Shantung. He was an art historian, educator and author of books about Chinese art. The inscription: A westerly breeze rises in the mountains, and it ripples the flow of a distant river. The fisherman by the shore is called to pull up the silk bait, and he listens to the woodsman's song. Other text: Returning to Shanghai from north Fuchien in the spring of 1946, I found some old paper at home. It was fun to paint on it. No other paper can match its softness.
Right: Girl Playing with a Battledore in the New Year Center: A Court Lady on an Outing for Picking herbs in the New Year Left: Paper Hina Dolls and a Peach Branch One of the most well known 19th century ukiyo-e artists, famous for his landscape views, particularly his images of the Tokaido. Most famous for his series of views along the Tokaido and of Edo and its surrounds, Hiroshige was also a prolific artist with a variety of subject matters. This sheet of three poem cards would have been cut into three separate prints.
This doucai enameled dish is decorated with maidens in a terrace garden scene within a border of pine, prunus and bamboo, the â€œthree friends of winterâ€. These plants are emblematic of longevity, as each hearty growth survives the cold, harsh winter months. The dish is inscribed on the base with an apocryphal Ming Dynasty Zhenghua (1465-1487) reign mark, but the decoration, enamel technique and subject matter are clearly 18th century. Width 8 inches; height 1 5/8 inches.
In the same tradition as the preceding object, this well cast archaistic revival vessel is decorated with the requisite zoomorphic design employing the use of taotie masks and classical leiwen background pattern. The solidly defined flanges and the three registers of decorative spaces (upper, central and lower) reflect the metal smithâ€™s attention to the strict orthodoxy of ancient bronze decoration.
This pair of paintings was painted by an artist of the "Shanghai School" at that time a derogatory term applied by the traditionalists. He was a member of a family of professional artists. The inscription: Painted in the summer of 1872 in the reign of Emperor Tangzhi by Fuchang, Ren Zun, in Wumen.