This particular bit of advertising was for a nightclub where several of the employees would dress up as a traditional Chinese dragon or dogs. They would run up to people on the street and dance for them.
Primarily along the shores of Korea, there are rows upon rows of various stands selling all assortments of seafood. Each customer and can handpick which fish they want to take home to eat.
These kinds of food stands are located all over the streets of Seoul. They sell a variety of Korean food and are made on the spot. Unless you have adjusted to the food in Korea, wait a little before trying these items, but they are worth trying.
Chinatown in Singapore. This was taken a few days before the Chinese New Year in February.
The Wet Market is like a Farmer's Market. There are fish and fresh produce. Located in Chinatown, Singapore.
Painted ink on paper image of the Pure Land Buddha Amida. May also be a representation of Amitayus, "The Buddha of Long Life" based on the iconography of the 'long life' symbol on the deity's robe. Purchased in the early 1980's in Taiwan.
Looking inside the front door of the Hundu Temple.
Partaially glazed earthenware teapot.
Keisai 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. As a result of the success of Hiroshigeâ€™s â€œFifty-three Stations of the Tokaido, publishers commissioned many artists to do series in similar veins. Eisen both collaborated with Hiroshige and executed his own series of images from the Kisokaido (Great Western Highway).
Cast in the form of a recumbent unicorn or qilin supporting a crescent shaped base for a mirror, this mythical beast carries its head turned to its left and has its legs folded beneath the equine body. In traditional Chinese mythology the predominant characteristic of the qilin is that of benevolence and kindness, offering an evocative addition to a court dressing table. The mirror, of a much earlier date, is cast with typical grape vine and lion decoration on the reverse, a subject frequently seen in Tang mirrors; the reflecting surface is now degraded.The stand is 17th or18th century and the mirror is earlier Tang Dynasty, 7th thru 9th century.
Example of a seal made of horn with companion red ink paste holder - viewed from the side. Most likely used for travelling purposes.
This image shows the continuation, or perhaps end, of the landscape image. The borders on the top and bottom are meant to evoke a sense of brocade, with the image then appearing like a ceramic version of a handscroll.
Series of images showing the US involvement in Asia over the first half of the 20th century. In this final section, the US portrayed as Uncle Sam is defeated by the rising sun of Mao Zedong.
This image shows a variety of golden or gilt hair ornaments in forms popular with women of the elite class in the Qing dynasty. Floral imagery and images of phoenixes are common. Other materials present include coral and kingfisher feathers.
Apron worn on the front of a woman's robe. Not an 'apron' in the Western cooking sense, but rather a final garment piece that is worn like an apron. Symbols represented are the eight auspicious symbols.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
Traditional Chinese woman's wear. Embroidered silk with side closures.
Bottom of bowl showing metalwork rim as well as "bottom" of the lotus image.
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. This prints was most likely commissioned by the official named in its title or done to court the favor of said official. The long title and large size of the print were meant to denote the officialâ€™s importance.
From the Seiro Meikun Zoroi (A Set of Famous Courtesans from Green Houses) series. Though he studied with his father, many consider Kikugawa Eizan to be the best of the late followers of Utamaro. Known for his highly elegant (furyu) bijin-ga the artist continued a stylish elegance that many of his contemporaries eschewed for a more earthy realism. Curiously, he all but ceased ukiyo-e printmaking in the 1820s, a full forty years before his death. 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.
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).
The dominant ukiyo-e artist of the late 18th century, Utamaro is as famous for his legendary life as for his unsurpassed images of courtesans and famous beauties of his day. 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.
This rectangular tapering vessel is an example of the everyday, utilitarian objects that were fashioned in mold cast bronze in the 18th century. The decoration, which incorporates neatly finished human figures in genre scenes along with typical decorative border embellishments, no doubt was fashioned for use in an important household, rather than for use in a less grand setting. 3 3/4in. high, 5 1/2in wide.