In order to use the internet for free one can use the computer lab in the New Millennium Hall.
This is mild, sticky, cold noodle dish called Namyun. Seoul, South Korea.
This is a dumpling soup called mandugook. Seoul, South Korea.
Series of images chronicling the US involvement in China during the early part of the 20th century.
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.
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.
This image shows how the artist carried the landscape scene around the pot, rather than simply create one on each side.
Larger teapot with white glaze and painted landscape scenery of mountains in the distance, pavilion in the foreground.
Bottom of Yixing teapot showing impression of seal.
Embroidered shoe worn by a female member of the Manchu ethnicity during the Qing era. As a rule, Manchu women did not bind their feet.
Embroidered purse of about 3 inches square sowing images of butterflies and peonies. Given the subject matter of the images, it was probably used by a woman.
Bottom of seal with example of calligraphic seal script, commonly used for seals in China.
This neatly fashioned rectangular box and openwork cover cleverly becomes a utilitarian incense burner, the pierced cover cast to allow incense to subtly drift upwards through a Buddhist inspired swastika decoration. The taotie handles and the geometric pattern on the ground areas add an archaistic element to the design. The base is inscribed with a dedicatory inscription. The base is inscribed with a dedicatory inscription to the person or persons receiving the gfit. In a panel surrounded by meander squares, there are twenty charcters in seal script. Of these, the character "chen" for "minister or officer" appears twice following characters which must have disignated names, and the character "shi" for "gentleman" follows in the same fashion. 4 1/8in. high, 6in. x 4 5/8 inches wide.
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.
The flattened slender vase has a flaring quatrefoil neck and mouth and two lion masks and rings are cast on to the shoulder. The body of the vase is decorated from above the foot to the mid section with loose fruiting flower branches. Floral decoration was an extremely popular motif during the Qing Dynasty and during this period artists freely departed from the strict orthodoxy of early Ming Dynasty floral dÃ©cor. 10 inches high by 4.75 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.
View of the museum from just inside the gates of the Son My Vestige Area, better known to the world as the site of the 1968 My Lai massacre. Newly remodeled, the museum houses artifacts and photographs related to the US build up in the area, the post-Vietnam War era as well as the massacre itself.
Japanese hanging scroll with vertically-oriented painting and a dark grey-blue mounting. The image area is 27 cm x 87.5 cm and depicts a Nanga school southern Chinese style with a scene of mountains in close proximity. Also known as â€œHaruku Konâ€ and â€œTani Buncho,â€ Nanko studied Chinese painting in Nagasaki, where Chinese artists served as cultural envoys between China and Japan from the 17th century. The Nagasaki school mainly followed the southern school of the Ming and Qing eras and subjects were limited to landscapes. Nanko received commissions to execute paintings for the Imperial Palace. Although considered a Japanese painter, this instance of Nankoâ€™s work is in one variant of the Chinese Nanga style, imitating the mi-dot brush stroke popular during the Sung dynasty.
This print and five following are from a series of 21 night scenes published by Nishinomiya Y?saku of the Hasegawa publishing house between 1910 and 1920. They are fine examples of Shin-hanga â€œNew Printmaking,â€ a movement reviving the studio/workshop methodology of earlier ukiyo-e. All the works are darkly inked, indicating night settings, and feature bokashi techniques to create atmospheric effects. Like most of the others, this print shows a traditional subjectâ€”a woman of the entertainment world walking to an assignmentâ€”with a subtle reference to Hiroshige in the firewatcherâ€™s ladder and bell in the distance.
Horizontal Japanese Ukiyo-e print; two panels from probable triptych; black and polychrome woodblock print on paper; various seals of Kuniyoshi, including â€œIchiyosaiâ€ (a style name of Kuniyoshi). Artist is known for his depictions of heroic episodes in Japanese history. In his later work he tended to have a taste for the bizarre and the ghoulish. His work is influenced by European models, and in this work, the background has some degree of vanishing-point perspective. The works of Kuniyoshi are collected by many museums around the world, including Metropolitan of New York, Boston, San Francisco, Cleveland, The British Museum London, and the Nelson-Atkins in Kansas City.
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.