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.
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.
This intricate and beautifully detailed applique comprising three overlapping circular dragon discs could have been an adornment on a court or military dress or perhaps an attachment for a horse trapping. 1 inch high by 3 inches wide.
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. College of Wooster records show several Chinese characters are painted on the inside face of flanges. One legible character is "shou", which means longevity. Over these characters are four others in red - the first is "Song" for the dynasty, the fourth means "recorded", and the second may be "liang", meaning good in quality. 16 inches high x 7.75 wide; base of 4.75 inches.
Chinese hanging scroll with vertically-oriented painting and a bronze-colored brocade silk mounting. The image is 33 cm x 120 cm and has dry, lively brush strokes illustrating an autumn scene of flowering chrysanthemum emerging from a deeply worn rock with two birds 'fighting' while a third bird perches above.
Horizontal Chinese painting; ink and colors on paper; 38.8 cm x 24.3 cm; lady and lute on covered barge, only mast and lanterns of another barge are visible, with willow, pine, and blossoming trees. Jiang Yunâ€™s painting was a token of friendship, responding to a friendâ€™s request. The subject is based on the famous Tang era poem, Lyrics of the Pipa (Lute) by Bai Juyi (772-846 C.E.).
Chinese hanging scroll with vertically-oriented painting; black ink and trace of red on paper; image area 31 cm x 132.4 cm; brocade frame, flush roller with brocade ends; lotus represents purity, perfection, summer, and the flower carried by Ho Hsien-Ku, the eighth of the eight immortals revered in Buddhist worship; calligraphy, one seal by the artist.
One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshigeâ€™s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).
Late Shang period to early Western Zhou is often referred to as the 'Period of Brilliance' that marks the high point of Chinese Bronze Age, due to a relatively stability created by central political power. It was the era where the Jue form of ritual wine-drinking vessels was most encountered. The strong sense of spirituality and the feeling of peace of the time are well expressed in this remarkable Jue. Jue is one of the ritual wine-drinking bronze vessels for the elite class, exclusively in sacrifices and rituals. It was used to warm wine for libation. The stiff and compact body carries a sense of refrainment with a flat bottom, supported by three blade-shaped legs. The raised tail and restrained spout transform the Jue to a lively upright bird ready to soar upwards. The short rectangular posts are flat on the outer face and rounded on the inner face; they are uneven because one had been broken and insecurely mended with some white substance. The fractured joints between the body and the post caps indicate that they were casted separately. They stand on opposite sides of the rim, holding conical finials bearing a whirligig pattern carved in sunken incised lines; less visible on one post, due to heavy corrosion. The limited decoration of the vessel focuses on the upper section of the body with a narrow and single register, ornamented with a tiger motif rising from the background of dense spirals lei-wen (or 'thunder pattern'). It is bordered with a small repetitive circle motif and bisected by a flat handle, accentuated by a head of an archaic dragon. As part of the late Shang bronze ornaments, this combination of abstract animal figurative, geometrical form, and the lei-wen, almost always represents the conjuration of a cosmological myth. There are visible flaws on the ornament band and behind the handle. The seams are more visible on the outer faces, especially at the band of decoration. The Jue projects a sense of fierceness and reverent awe, due to the effects of the restrained decoration and the simplicity of the design. Prehistoric bronzes, as in the case of this vessel, were mostly found from large hoards or graves, evidently indicated on the inner and outer surfaces covered with emerald-green patina and traces of earthy incrustation. Its exceptional exquisiteness lies in the sense of austerity in shape and design, the aesthetic sense of technical gaucherie and the rough encrustation of beautiful emerald-green patina on the surface formed during centuries of burial.
In contrast to Kawanishiâ€™s view of the industrial port of Kobe, this print represents the modern-looking traditional side of Japan, with starkly vertical and horizontal lines of shoji screens opened just enough to reveal a stone lantern and garden greenery. This work is a charming example of how sosaku hanga could emphasize the apparent paradox of the inherent modernity of traditional Japan.
Japanese Edo period hanging scroll with vertically-oriented painting and a brown brocade mounting. The image area is 28 cm x 187 cm and depicts the landscape of a Nanga school with the scene of a mountain and hut to the left, a river to the right, a bridge in the foreground, and an inscription to the upper right.