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The right side of a pair of six-panel folding screens, ink, color, gold, and silver on paper. -
In the scene of snow and distant mountains, in which empty space adds as much atmosphere as the pictorial elements, the poet is a diminutive element in the face of the vastness of the winter landscape. -
Tan’yū headed the Kajibashi branch of the Kanō School in Edo and painted in many castles, including the Imperial Palace. He used a less bold but extremely elegant style, which tended to become stiff and academic in the hands of less talented imitators -
Kiyohara Yukinobu was known in the early Edo period as a “woman highly accomplished in the arts,” or keishū. -
A pair of two-fold screens, color, and gold leaf on paper. -
Bunjinga paintings most often depicted traditional Chinese subjects. Artists focused almost exclusively on landscapes, birds, and flowers. -
This Japanese scroll calligraphy of Bodhidharma reads: “Zen points directly to the human heart, see into your nature and become Buddha.” A man’s face is drawn under the calligraphy.
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Jakuchū employed a wide range of styles, from delicate renderings in color to bold, forceful works in monochrome ink -
Medium: Triptych of polychrome woodblock prints; ink and color on paper -
This left-hand sheet from a print triptych recasts the episode of Genji’s exile in Suma with stylish ladies in Edo-period clothing in place of the male companions who accompanied the protagonist in the tale.
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A trio of rats crawls upon and under a scholar’s low red-lacquer table, with piles of stitch-bound books scattered over its surface and beneath. -
A geisha walks with an umbrella in a snowstorm, accompanied by a male attendant carrying a lantern and a lacquered black box containing her musical instrument, a shamisen. It is a dreamlike scene.
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The first screen portrays a flock of magpies resting in dried trees in late autumn, while the second shows a heron taking flight from luxuriant willows on the banks of a river in late spring. -
Tani Bunchō (1763–1841) was a Japanese literati painter and poet
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Kameda Bôsai (1752–1826) was a well-known Japanese literati painter.
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Hokusai’s most famous print, the first in the series Thirty-six Views of Mount Fuji: Although it is often used in tsunami literature, there is no reason to suspect that Hokusai intended it to be interpreted in that way. The waves in this work are sometimes mistakenly referred to as tsunami (津), but they are more accurately called okinami (沖), great offshore waves. -
This print shows travelers and porters crossing a steep pass in the mountains at the Hakone station on the Tōkaidō Road
