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incense burner in the shape of an antique Chinese bronze basin with three legs, tall slotted handles and lid; lions in relief over a tao-tieh design on front and back and larger lion with ball on the top on a cloud design of the lid; perhaps originally coated with black lacquer — Incense burner with Chinese lions, 16th century
Unknown Japanese

G220

long central panel of script flanked on left by newer text, smaller in scale, and on the right by a single line of horizontal larger scale text — Three Ancient Poems in Cursive Script, c. 1535
Chen Chun

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octagonal dish with central design of two Chinese children by a fence in a garden; border with circles pierced with wave-like design in alternating squares with geometric and foliage designs in blue, gold, red, and white — Dish with Chinese boys in a garden, 19th century
Unknown Japanese

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four lines of calligraphy of varying sizes on silver paper with ivy leaves in gold — Poem from the Collection of Japanese Poems of Ancient and Modern Times (Kokin wakashū), early 1610s
Hon'ami Kōetsu; Artist: Underpainting by Tawaraya Sōtatsu

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ishizuri-e(middle), harimaze — Daikoku God and Chinese Performers with Calligraphy, early 19th century
Katsushika Taito II et al.; Publisher: Izumiya Ichibei

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Gorgeous Effigy, 2009

Yoshikawa Masamichi

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Gorgeous Effigy, 2009

Yoshikawa Masamichi

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Chinese scholar-official viewing a hanging scroll with a painting of bamboo held by a young servant boy. — Scholar Viewing a Painting [center of a triptych of Scholar with Heron and Myna], mid 17th century
Kusumi Morikage

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bombé form with elephant head handles; stand with five trefoil-shaped feet joined by a circular stretcher; olive brown surface splashed with gilding — Censer with Stand, Xuande period (1426-1435)
China

G214

Outer Coat of black satin with seven applied medallions embroidered in satin stitch with the Twelve Ancient ornaments in shades of blue, lavender, pink, brown, red, green, tan and yellow. All around a border of gold and bright blue brocade in cloud pattern. Coat slit at sides and lined with thin blue silk. Mrs. Harris notes This coat especially made for Yuan Shi Kai, first President of the Chinese Republic, who had ambitions of becoming Emperor. He was prevented only by leaders of the Chinese Republic. — Outer Coat, 20th century
China

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Green jade with light ochre spots. Termed a 'Chang' or ritual jade. — Chang Scepter, 12th-11th century BCE
China

G215

Two pages from a manuscript of the 'Shah Nama' (Book of Kings) written by the poet Firdawsi around 1010; illustrations of King Bahram Chubina enthroned (right) and a shah receiving an embassy (left) — Rustam before Kay Kavous, 1341
Hasan ibn Muhammad ibn `Ali ibn Husaini (known as al-Mausili)

G243

grey unglazed pottery figure of a kneeling woman looking straight ahead, wearing a robe; arms bent at elbows, straight ahead; hair pulled into low ponytail — Kneeling Female "Long Sleeve" Dancer, 2nd century
China

G215

two phoenixes at center, perched on a gnarled tree branch; waves at L; greens, blues, pink and white; seal and inscription, LRC — Phoenixes and Paulownia [right of a pair], early 18th century
Kano Tanshin

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Banshan Burial Jar, earthenware with painted and burnished decor — Funerary Storage Jar, c. 2300 BCE
Majiayao

G204

black-brown stone; square bottom plate with indented corners, carved in low relief on top with bats and geometric symbol (Chinese character?); three dimensional Fo dog on top, looking toward PL — Stone weight (or child's tether?), 19th century
China

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6 panels, each with 4 columns of loopy calligraphy — Chang'an [left of a pair], 1818
Kameda Bōsai

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6 panels, each with four columns of loopy calligraphy — Chang'an [right of a pair], 1818
Kameda Bōsai

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The small gui with large handles issuing from animal masks, the rounded sides with raised bosses and geometric design, the stone of dull color, carved. — Vessel in the shape of a bronze gui, 19th century
China

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Carved from pale yellowish-green stone in the form of a Li Tripod, with vertical fluting in the raised flanges, the stone with natural flaws covered with brown coloration. A wood stand and cover had apparently been made for this object but are not with it. — Jades for the Scholar’s Table, 18th-19th century
China

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Bowl, carved, and pierced design on white ground under transparent glaze. — Bowl, 11th-12th century
Iran

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The plain globular body carved with two projecting dragon-head handles at the shoulder supporting large loose rings and raised on three short supports issuing from two fu-lion masks, the domed cover with two fu lions for the finial. — Covered Incense Burner, 1736-1795
China

G103

Ruyi Scepter, China — Ruyi Scepter, late 17th-early 18th century
China

G217

rounded 4-sided pear shape with a short foot; 2 small hollow tubelike vertical handles; blue-green crackle glaze — Celadon Vase, one of a pair, 10th-13th century
China

G204

carved rhinoceros horn libation cup; modeled and carved after an old Chow bronze form; large side handle with design of dragon coiled around it; body decorated in designs of geometrical key patterns and dragons; carved wood base — Libation Cup with Base, 19th century
China

G217

small male figure with red sleeves riding on a dark horse with open mouth; man's upper body and horse's tail detach — Horse and Rider, c. 180 BCE
China

G215

Heron perched on a rocky ledge with briars behind. Heron looks down to left. Signature and seal at lower right. — Heron on a Rock [right of a triptych of Scholar with Heron and Myna], mid 17th century
Kusumi Morikage

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Myna perched on a scraggly branch turning to the left, away from central scroll. vines dangle from the branch — Myna on a Branch [left of a triptych of Scholar with Heron and Myna], mid 17th century
Kusumi Morikage

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Head of Serpent, Zodiacal figure; polychromed terra cotta. This, representing God of the Constellation I, grey earthenware with white ground, painted with flesh-coloured pigments. — Snake from Set of Zodiac Figures, 618-907
China

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ovoid body, tapering at top with outward-flaring top section; relief design with teardrop shapes, swirls and zigzags; greenish patina — Ceremonial Bell, 3rd-2nd century BCE
Dong Son

G213

Manchu Woman's Semiformal Court Robe (jifu), 18th-19th century

China

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Vase, large, covered, white jade. Band of archaic animal design in relief on body. On the shoulders four archaic monster masks form ring handles from which are suspended loose rings; on the neck, above each handle, archaic birds in high relief. The cover, carved with a band of archaic animal design, is surmounted by a heavy lotus finial. On the low flaring base four shallowly incised flanges insipired by the .. Former Classification: Jade — Covered vase, 18th century
China

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woman in richly decorated red kimono loosely embracing a large white crane with her PL arm; vertical rock with blossoms at R; horizontal blossoming branch extending just above her head — Parody of a Beautiful Woman as Rin Nasei (Ch. Lin Hejing) with Crane, mid 18th century
Kawamata Tsunemasa

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hollow cross-shaped element with human head mask at center, with long nose, small eyes and protruding ears; 4 curvilinear designs at each open end on front; black wire mount — Cross-tube with Human Head Mask, 10th-9th century BCE
China

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long narrow form; constructed out of a single piece of wood with rectangular hole cut in the underside serving as the sound box; top is slightly convex; sides flat; neck slightly raised; tiger's face with large eyes, flaring nostrils, flattened ears, wide curved mouth carved at one end; tiger's head is pierced with large square opening, designed to hold the single string anchor, and five small holes for pegs; covered overall with black lacquer; painted with a fine red cross-hatched design on top and sides; sides decorated with frieze of 5 black dragons with elongated arched bodies, long tails, thin legs and gold wings; another dragon on top of neck; narrow bands of black diamonds on a solid red ground at edges; fingerboard painted with 4 groups of symmetrically confronting double-headed dragons with snakelike bodies between human-faced dragon figures and either end — Zither (Qin), 5th century BCE
China

G215

With the exception of its cylindrical base, which is shorter and broader than that of the pole top shown with it (Karlgren Plate 95), this example closely resembles its companion (50.46.28). It too, has a pellet in its body. Patina blue-green. — Chariot Finials with Bird, 11th century BCE
China

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white with underglaze blue decor; Qianlong four-character seal mark and period two mushroom rim caps, loop handle and three flaring tall legs painted with band of flying cranes below rim and repeated around well of base; molded with three peaks at center to support Jue on short four-footed stand — Vessel in the shape of an archaic jue, 1736-1795
China

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tall, cone shaped mountains in middle and background; small rooftop and pagoda center L; pine grove with three buildings at LL; pavilion with waterfall and small water formation at bottom; thick, dotted brushstrokes — Landscape after Mi Fu; Summer, from a set of "Landscapes of the Four Seasons", Autumn 1929
Fukuda Kodōjin

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The globular body raised on a splayed foot with projecting animal mask and loose ring handles on either side of the rim, the globular body and domed cover pierced and carved with chrysanthemum and other floral scroll, the finial in the form of a coiled dragon surrounded by three reclining rams, the stone with brown rivering. Former Classification: Jade — Covered Incense Burner, 19th century
China

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album of eight leaves featuring images of rocky landscapes; covered in gold brocade, housed in blue case — Album of Landscapes, mid 18th century
Kō Fuyō

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open fan-shaped basket with open weave; basket slopes downward toward curved edge; gathered ripples at upper center of "fan"; raised lip at bottom with closed, decorative weave — Fan-shaped fruit basket, 1957
Suemura Shōbun

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Suidō Bridge and Surugadai, Utagawa Hiroshige; Publisher: Sakanaya Eikichi — Suidō Bridge and Surugadai, 1857, intercalary 5th month
Utagawa Hiroshige; Publisher: Sakanaya Eikichi

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right; close-up view of a dramatic landscape formed by a lava flow; sweeping lines, jagged cliffs in greens and browns; leafy foliage along lower R; shrubs with small blue and gold leaves LR; gnarled tree at L near more leafy foliage, ferns, and another blue and gold plant — Volcanic Landscape [right of a pair], 1916
Irie Shikai

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cracked pomegranate revealing seeds at top center, growing out of vertical foliage; smaller pomegranate blossoms at UR; inscription at UL; mounted on cobalt blue — Pomegranate, 1833
Urakami Shunkin

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left; close-up view of a jagged, rugged landscape sculpted by lava flow; sweeping downward plane at C with dramatically intersecting cliffs at L and R; greens and moss punctuate the cliffs; cluster of red and gold foliage at L; gnarled and broken tree trunks along bottom; inscription ULQ — Volcanic Landscape [left of a pair], 1916
Irie Shikai

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round, gilt, with legendary figures and fantastic animals in relief. with images of the Taoist immortals Tung Wang Fu and Hsi Wang Mu — Mirror, 2nd century
China

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two men playing a board game while four others watch; the game is being played outdoors in a rock garden under the pine trees; two distinctive stools and various other decorative objects scattered about scene — Scholars Playing "Go" Under Pine Trees, 14th century
China

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white and blue phoenix perched on a gnarled tree branch at center; waterfall and tree trunk at L; waves and pink flowers at R; seal and inscription, LLC — Phoenixes and Paulownia [left of a pair], early 18th century
Kano Tanshin

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walking bird with wings and tail-feathers outstretched; large claws; pierced with round, crescent and tri-lobed holes; mounted on black cloth-covered board — Phoenix Plaque, 2nd century
China

G215

three men, one with a knotty cane, stand under a tree near a rock conversing and gesturing — Three Laughers of Tiger Ravine, second half 18th century
Yosa Buson

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wood tube with screw-on lid; lid has carved seated Fo-dog; body inlaid with silver wire with a poem and gold inlaid seal — StorageTube, either 1670 or 1730
Tsun-chiang

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playing surface of one piece of huang huali; framed with 5/8 in. border of zitan; corners of brass; inlay forms playing surface — Game Board, 17th century
China

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ceramic, celadon glaze, reed construction; openwork sides of interlocking circular designs; top and bottom have impressed organic designs — Garden stool, one of a pair, 17th century
China

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grove of sparse pine trees, rocks, and a low, small hut with bamboo sprigs in background; small rock formation at far L, a few sparse pine trees at bottom; hint of a waterscape at R with boulders, pines, and a rocky shore at R; inscription ULQ; rectangular stamp with rounded edges, gourd-shape inside; mounted to maroon colored mat — Landscape in the Manner of Ni Zan, 1836
Yamamoto Baiitsu

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second of two albums; tan silk covered cardboard covers; inside of front cover has abstracted foliage imagery with gold leaf; double-sided pages of calligraphy with primarily four characters per page; primarily bold characters; some characters are very pointed; two pages of thin, closely-spaced, freeform characters; two pages of very looping, organic characters — Model Book of the "Thousand Character Classic", pt. 2, second half 17th century
Sasaki Shizuma

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Washing Hands as a Mitare of Gongsun Sheng, Utagawa Kuniyoshi — Washing Hands as a Mitare of Gongsun Sheng, c. 1828
Utagawa Kuniyoshi

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%C2%A9 Minol Araki%2C licensed by David Frank and Kazukuni Sugiyama

Flying Dragons Roam the Heavens, 1989

Minol Araki

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blossoming grey orchids with black and grey foliage at center of fan; lines of text at L and R; rectangular relief stamp URC; rectangular intaglio stamp with rounded edges L center — Orchids, 1870
Okuhara Seiko

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two lines of calligraphy with signature at L; brown mount — Temporary Palace at Yoshino, second half 19th century
Murase Taiitsu

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dark brown stone with tan streaks near top and on back; slightly narrower at top with swirling cloud design at top and bottom; undecorated box — Ink Stone with Cloud Design, 1686
Cha Sheng

G217

first of two albums; tan silk covered cardboard covers; inside of front cover has abstracted foliage imagery with gold leaf; double-sided pages of calligraphy with four characters per page; primarily bold characters; four pages near front of scroll with characters made of very thin lines — Model Book of the "Thousand Character Classic", pt. 1, second half 17th century
Sasaki Shizuma

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vertical rock with linear striations of red and brown; wood stand attached — Scholar's Rock, 19th century
China

G218

This is one of the important group of hunting-scene Hu flasks which can with certainty be dated pre-Han, since many of them have decor elements that belong to the Huai style and did not survive into Han time. The Hu has the ordinary shape of this class and two small handles witha movable ring suspended from the mouth of a small t'ao-t'eih mask. (One of the movable handles is missing.) The foot has a narrow belt with a band of volutes and triangles, the volutes here turned into birds' heads. On the vessel proper there are six narrow bands in low relief with swastika-like figures which are merely a corruption of the well-known whorl circle. The decor of the five principal belts has been impressed by dies, sometimes with curious results. The two lower belts depict scenes in which beasts of the bovine type are pursued by men in feathered (?) headdresses who attack with swords and arrows. In the third belt, archers with one knee bent and bodies thrust violently backward shoot at birds. The shoulder belt, disposed in one panel for every two in the lower belts, depicts a vivid hunting scene. A man attacks with his sword a tiger that has an arrow through its shoulder. To the left is a two-wheeled carriage drawn by four horses. As the driver rushes forward his companion aims at a bird above and to the rear. The neck belt is filled with birds which swallow snakes. For a detailed description of the decor, see Karlgren Number 53 (50.46.9)/ Patina Green. The Hunting-scene hu vessels mark a revolutionary departure in the Chinese bronze art. In earlier vessels there were no real scenes, only figures placed with strict regard for symmetry. Here, for the first time, are freely disposed scenes of action. The shoulder panel is especially remarkable in this respect the ancient rule of symmetical arrangement is completely abandoned, and the artist has depicted a wide-ranging scene of vivid action. That this emancipation was due to foreign influence, the Northern Nomad art style ('Ordos'), seems clear. For comment on this point, see B — Hu wine vessel, 5th century BCE
China

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2 oval-shaped discs with flat sides; slightly wider at bottom; brown stone with dark and light streaks — Pair of Slit Disc Earrings, c. 6th-2nd century BCE
Thailand

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The Red Cliff, Qian Du — The Red Cliff, 1813
Qian Du

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rubbing: eight lines of tightly spaced characters; last three lines are slightly smaller; dark brown paper mount — Poem of 1849, 1849
Fujita Tōko

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The Illustrated Text of Three-Character Verse (Hui-tu San-tz'u Ching), 1573-1620

China

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woman seated at a table with another woman behind her, arranging the seated woman's hair; third woman making a bed at right — Lady at Dressing Table, 1657
Wang Qiao

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mountainous landscape with extremely tall trees in foreground; two figures in a building near bottom center; inscriptions in URC and ULC — Landscape after Wang Meng's "Noble Reclusion Among Pines and Streams", c. 1730
Xie Songzhou

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Illustration from a Bhagavata Purana Series; divided in two horizontal bands depicting groups of gopis walking through the forest, asking the plants and trees for the whereabouts of Krishna — Cowherd women seek the God Krishna in the forest, 1520-1540
India

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image of a red and white prunus in flower, text fields placed within branch openings, nine separate grouping of text within image; separate text field at end contained in four separate inscriptions — White and Red Plum Blossom, 1546
Wang Guxiang

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ink line drawing of seven standing men, all wearing robes; three men wear hats; bald man at center has long beard — The Seven Sages of the Bamboo Grove, c. 1840
Su Renshan

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dark wood covers with gold and black label on front; twelve miniature paintings, three with text on opposite pages; six landscapes in color-six in black and white; two seals in margin of first page, three seals in margin on page opposite last painting — Double Album of Miniature Landscape Paintings, 1723
Fang Shishu

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Dragon Robe, Tao Kuang period, 1821-1850

China

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Manchu Prince's Semiformal Twelve-Symbol Court Robe, 1736-1795

China

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Manchu Female Semiformal Twelve-Symbol Court Robe, Tao Kuang period, 1821-1850

China

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Calligraphy in Seal Script, c. 1725

Wang Shu

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Gazetteer of Wu-i Mountain (Wu-i shan ch'ih), 1872

China

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Carved Horn Libation Cup, 17th-18th century

China

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seven figures in LLQ blowing horns, playing gongs, cymbals and drums and lighting firecrackers; 3 figures inside a building at R; bare trees and grey sky; wood rollers — Greeting the New Year, 1734
Wang Rusheng

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Fusang Tree, 1st-2nd century

China

G215

ovoid shape, with two handle-like protrusions on long sides; rust-red and brown; rim and handles painted with running geometric designs — Wine Cup, 2nd century BCE
China

G215

Pilgrim's Bottle, 1987

Michelle T. Holzapfel

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Fan with Clerical Script Calligraphy, c. 1780

Gui Fu

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Scholarly Pleasures in a Garden Retreat, late 13th century

China

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The Pictorial Travelogue of Lin Ch'ing, 1847

China

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The Floodplain at Lu-liang (painting) Song of the Floodplain at Lu-liang (calligraphy), 1550

Wen Zhengming

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