showing 100 of 8691 results matching `country:"Japan"`. (load 200 more)

figure with six heads, arms, and legs astride crouched bull on wood base; metal bands around wrists, some biceps, and most ankles; halo with flames attached at back; two hands of two arms together in praying position, other arms bent and flare outwards. Upper left arm holds long staff, lower one holds implement with "curly q"-shaped end. Upper right arm holds a trident. Lower right arm fingersshaped like it was holding something in hand. Three bottom heads have crystal inlay eyes. Three smaller heads on top considerably smaller. — Daiitoku Myōō, the Wisdom King of Awe-Inspiring Power, second half 13th century
Japan

G220

suit includes helmet with praying mantis maedate (forecrest), menpo (face mask), torso covering, pair of front shoulder medallions that attach to torso covering, pair of large upper arm guards, pair of small shoulder coverings (each with a pin for attachment), pair of gauntlets with arm and hand guards, apron, pair of tsutsu suneate (leg guards), and pair of kote (boot coverings); see Components for descriptions of each piece — Red-and-blue-laced Suit of Armor from the Kii Tokugawa Family, mid 17th century
Suit by Unknown Japanese; Artist: Helmet by Saotome Iechika

Not on View

Naraen Kongo, standing figure with arms down, mouth closed. Made of Hinoki wood in yosegi technique of multiple block construction with traces of gesso and polychrome. — Vajra Warrior (one of a pair), mid 14th century
Japan

G205

Gesso, color, kirikane on wood, metal — Jizō, the Bodhisattva of the Earth Matrix, early 13th century
Unknown Japanese

G220

white dog standing on all four paws; upright short tail; round red nose — Your Dog, 2002
Yoshitomo Nara

Not on View

Amida, the Buddha of Infinite Light, Japan — Amida, the Buddha of Infinite Light, 12th century
Japan

G200

Egrets in Willow [left of the pair Egrets in Plum and Willow], Sesson Shūkei — Egrets in Willow [left of the pair Egrets in Plum and Willow], second half 16th century
Sesson Shūkei

Not on View

Fine Wind, Clear Weather, Katsushika Hokusai; Publisher: Nishimuraya Yohachi — Fine Wind, Clear Weather, 1830-1833
Katsushika Hokusai; Publisher: Nishimuraya Yohachi

Not on View

unsigned; from the Saga Palace, Kyoto; figures inside a building, mountains in background — Rice Farming in the Four Seasons, Winter [left], 1620s
Kano Sanraku

Not on View

Misshaku Kongo, standing figure with one arm raised, mouth open. Note Nio means Benevolent Kings. Made of Hinoki wood in yosegi technique of multiple block construction with traces of gesso and polychrome — Vajra Warrior (one of a pair), mid 14th century
Japan

G205

abstract image in red-orange, blues, yellow, dark red, green; dots of various sizes overall with looped openwork designs with other colors showing through — Untitled, 1967
Kusama Yayoi

G251

Portrait Sculpture of Priest Gyōki, Japan — Portrait Sculpture of Priest Gyōki, early 17th century
Japan

G220

Teahouse, Yasuimoku Komuten Company Ltd. — Teahouse, 2001 (constructed)
Yasuimoku Komuten Company Ltd.

G225

Egrets in Plum [right of the pair Egrets in Plum and Willow], Sesson Shūkei — Egrets in Plum [right of the pair Egrets in Plum and Willow], second half 16th century
Sesson Shūkei

Not on View

Actor Ichikawa Ebizō as Takemura Sadanoshin, Sharaku; Publisher: Tsutaya Jūzaburō — Actor Ichikawa Ebizō as Takemura Sadanoshin, 1794, 5th lunar month
Sharaku; Publisher: Tsutaya Jūzaburō

Not on View

flat gold bridge at right; stylized brown waves on water; water wheel at left; weeping willows at ULC and LRC — Willow Bridge and Water Wheel (Uji Bridge) [left of a pair], second half 16th century
Japan

Not on View

Prostitute Hanaōgi of the Ōgiya House, Kitagawa Utamaro; Publisher: Tsutaya Jūzaburō — Prostitute Hanaōgi of the Ōgiya House, 1793-1794
Kitagawa Utamaro; Publisher: Tsutaya Jūzaburō

Not on View

unsigned; right of a pair of six-panel folding screens; many scenes on gold leaf: attendants with carriages at Land center among pine trees and clouds; interior scenes at top: male figure in red inside open walled room; court women at top center with pulled screens; trees; interior scene at R with court women in large robes admiring art on scrolls; group of robed men among blossoming cherry trees at UR — Spring and Summer [right of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Japan

Not on View

Formal Audience Hall, Yasuimoku Komuten Company Ltd. — Formal Audience Hall, constructed 2001
Yasuimoku Komuten Company Ltd.

G222

small standing highly stylized figure with very large coffee bean-type eyes; PR lower arm missing; openings at top of head and at bottom; upturned pig-like nostrils; textured body covered with scrolling designs; looping scrolls around stomach/navel and between breasts; small, widely spaced breasts with pronounced nipples; repeating incised zigzags with textured areas on back of head/hair; dark/black patina — Figurine of a Female, 1000-800 BCE
Japan

G205

squared form, with high walls; small ring foot; milky translucent glaze; stylized depictions of bridges and water, in brown — Serving dish with bridge and water, 17th century
Japan

G225

round metal silver sputnik bank on a blue pedestal with a white dog wearing a space helmet, looking out the window of the capsule; "Sputnik" is printed on the base in red with pictures of stars and planets — "Sputnik Bank" still bank, c. 1957
Japan

G110

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

leaf shaped dish; pale green with brown rim; inside of dish dark green starburst bottom center; curved dark green shape left of starburst; curved dark blue shape above starburst — Set of leaf-shaped food dishes (mukōzuke), 1660’s
Japan

G225

A Show of Horsemanship, Japan — A Show of Horsemanship, second half 17th century
Japan

G219

cup with three lobes; beige in color with underglaze design of diving birds in darker color; darker glaze around lip; incised line below lobes where cup rounds out to bottom — Ash container with three birds, late 16th century
Japan

G225

globular jar with short neck and slot for handle; wide mouth; broad, flat base; dark, almost black glaze with patch of ochre coloring on side — Wide-mouthed Oil Jar (kayatsubo), c. 1750
Japan

G223

male figure with flames behind back; holds sword up in PR hand and beads out in PL hand; face is grimacing, with one fang pointing up on one side of his mouth, and down on the opposite; red male figure at his L foot looking down holding a staff; female figure at his PL foot — The Immovable Wisdom King (Fudō Myōō) with Two Attendants, 14th century
Japan

G220

vest-like garment; green wool; horizontal tab with button closure on chest; black frogs with white button holds down vertical front flaps at upper chest; front flaps are metallic gold and tan brocade; yellow wool elements on shoulders embellished with blue crisscross stitching; white wool applique on upper back of three leaves inside a circle; off-white lining fabric woven with white-on-white diamond patterns — Campaign coat (jinbaori), 19th century
Japan

G219

vest-like garment; body made thickly-twisted rust colored paper fibers; front vertical flaps and lining of printed fabric--green printed with orange butterflies and foliage; yellow wool shoulder decorations embellished with light blue crisscrosses; medallion on upper back of white wool in the form of a bird with outstretched wings — Campaign coat (jinbaori), 19th century
Japan

G219

figure seated with one knee up; six arms; of PL arms: one pointing up, one placed on "floor", one outstretched in mudra; of PR arms: one placed next to cheek, one down and holding bracelet, one outstretched holding sphere — Nyoirin Kannon, the Bodhisattva of Compassion with the Wish-granting Jewel, 13th - early 14th century
Japan

G220

dark gray pitcher with bulb-like body, short neck, and dramatically flared mouth; mouth flare is actually wider than body; hole in side of body; rounded bottom — Jar with flared mouth, 5th century
Japan

G205

jar with three incised lines around widest part; high neck, slightly flaring mouth with incised lines around outside; remnants of tan ash glaze — Jar, 3rd-7th century
Japan

G205

flat bottom; bulbous, slightly flattened bottom section; vertical wide neck with ribs; pair of irregular blocky handles; thick inverted mouth ring; entire piece intentionally asymmetrical/misshapen/slightly collapsed, with broken incised wavy line on bottom section and inherent cracking; green, light brown and tan glaze; brown lacquer cover with faceted top knob — "Burst bag" Freshwater Jar, late 16th - early 17th century
Japan

G224

underglaze cobalt blue design of reserved panels of flowers and birds separated by scrollwork with birds and flowers; vertical band of triangles and more scrollwork on lid — Apothecary bottle with mynas and peonies, c. 1660-1680
Japan

G222

rectangular bottle decorated in underglaze blue, each side bearing a panel depicting a Dutchman, two with a dog, two smoking pipes — Sake Bottle with Dutchmen, 18th century
Japan

G333

bowl with rounded square shape with rounded corners; three small square feet; blue-grey with white slip design of twining flowers; arc-shaped trellis (?) at one side; lines and scrolls around border; deep swirl at bottom center — Plate with grapevines, trellis, and geometric design, late 16th century
Japan

G225

tea caddy, large, katatsuki shape, irregular surface; dark brown glaze, slightly flared shoulder, short neck; tapers subtly at base; ivory cover with tiny finial and incised concentric lines around finial — Tea caddy, late 16th century
Japan

G224

picnic set with four stacking bowls decorated with bands of flowers and foliage from each of the four seasons; sake flask created from bamboo, with bamboo leaf motif and crested flying birds; sides of caddy are decorated with wisteria; lid for stacking bowls features phoenix with chrysanthemum design; silver handle — Picnic set with plants from the four seasons, 18th century
Japan

Not on View

drum core in shape of two adjoined chalices; black lacquer with gold flecked grape vines, leaves, and squirrels — Large hand-drum core with grapevines and squirrels, late 16th century
Japan

Not on View

lacquered writing box with heavily decorated cover and sides; zigzag down center divides pine tree with plum blossoms against a black background, from motif of chrysanthemums and leaves against reddish background; motifs continue on sides; ink stone and two empty boxes inside — Writing box with pines, plum, chrysanthemums, and paulownia, 16th century
Japan

Not on View

unembellished cup with lid and saucer; small finial on top of lid — Container for rubbing incense, 14th century
Japan

G220

bronze ritual bell with handle in the shape of a five-pronged vajra, handle stem and bell shoulder decorated with lotus petal design; probably intended for use in Esoteric Buddhist rites — Ritual bell with handle in the shape of the vajra, 18th century
Japan

G220

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

tan teabowl with irregular mouth pushed in at sides above dark green plant motif flanked by joined spiral lines; small circular foot; has own storage box — Tea bowl (chawan), 1996
Suzuki Gorō

G224

dense landscape containing trees and an empty hut in the foreground; scholar seated in a multilevel pavillion built into the side of a mountain at middle and a towering twisted mountain peak with waterfall emerging from the left in the distance — Autumn Thoughts on a Garden Landscape, 1844
Nukina Kaioku

Not on View

unsigned; white deer wearing bells and an ornate saddle with a wisteria vine growing from it; golden circle within wisteria with three figures sitting cross-legged, and sitting with hands folded in front of chest, clasping small tablets, four of the figures are in white, and center figure is in red; mountains at top with colorful mounds, water below, and golden moon near top — Deer Mandala of the Kasuga Shrine, first half 15th century
Japan

Not on View

Tea Bowl roughly made; red glaze; man on a raft and seal in yellow paint on sides — Red tea bowl with fisherman, 18th century
Japan

G224

Vase, large, gourd handles — Large vase with gourd handles, late 19th century
Echigo-no-Kami

G239

Set of four sliding door panels with decoration of Chinese Immortals — Daoist Immortals, 1646
Kano Sansetsu

Not on View

man on horseback with attendant; Mt. Fuji in the background — Narihira Riding Below Fuji, c. 1820
Sakai Hōitsu

Not on View

One of two jars Japan’s first ceramic culture, the Jōmon, produced strongly tactile pottery over 3,500 years ago. This lavishly decorated bowl was probably used during religious ceremonies. Its flamboyant rim, a typical feature of the middle period of Jōmon pottery, is known as the “fire-flame” type, because the coils of clay resemble leaping flames. The word jōmon, after which the historical period is named, means “cord markings” and derives from the distinctive patterns produced by rolling a rope-wrapped stick across the surface of the clay. The lower portion of this vessel bears these markings, together with whimsical designs carved into the surface of the clay. — Deep Bowl with Four Projections, 2500-1500 BCE
Japan

G205

(One of a) Pair of War Stirrups, iron with silver inlay. Inscribed with maker's name. Kuniyuki, maker, sho worked in Knangawa. Wisteria and wave design in silver inlay. — (War Stirrup, one of a pair), 17th century
Japan

G219

Dragon [right of the pair Dragon and Tiger], Yamada Dōan — Dragon [right of the pair Dragon and Tiger], mid 16th century
Yamada Dōan

Not on View

small irregularly gourd-shaped ceramic vessel; goma splash glaze; concave bottom; brown glaze with rust and gold areas; ivory lid lined with gold leaf; has storage box — Tea caddy, late 16th century
Japan

G224

studded helmet with short visor at front and four-tiered, wide spreading laced neck guard; curving face protectors with decorated buckskin, studs, and crests; heraldic metal disc with Sanskrit characters for the Buddhist deity Fudo; pair or thin, bladelike metal kuwagatas at front center with heart cutouts; neck guard held together with green ties; ochre colored knots around borders; has wooden stand — Helmet with ornament bearing seed syllable for Fudō Myōō, 17th century
Japan

G219

Dog barking at a monkey trainer, Shibata Zeshin — Dog barking at a monkey trainer, mid to late 19th century
Shibata Zeshin

G237

Sumo Wrestler Attending a Ceremony, Ōhara Donshū — Sumo Wrestler Attending a Ceremony, 1830s - 1840s
Ōhara Donshū

G226

Monkey in a wedding gown, Ōnishi Chinnen — Monkey in a wedding gown, c. 1836
Ōnishi Chinnen

G237

Monkeys hanging on each other in lines, Matsukawa Ryūchin; Author: Umenoya Kakuju — Monkeys hanging on each other in lines, 1841
Matsukawa Ryūchin; Author: Umenoya Kakuju

G237

Three Sumo Wrestlers, Nakajima Raishō — Three Sumo Wrestlers, 1820s - 1850s
Nakajima Raishō

G226

Monkey pyramid, Yoshimi Yutaka — Monkey pyramid, January 1896
Yoshimi Yutaka

G237

frowning man with eyes nearly crossed, wearing black and brown plaid and green striped garments; mounted on a thin sheet of paper which is mounted on a board — Actor Bandō Hikosaburō V as the Sumo Wrestler Onigatake Dōemon, 1861, 10th lunar month
Utagawa Kunisada; Artist: Miyagi Gengyo; Publisher: Kagiya Shōbei

G226

carved figure of a hunter carrying a large monkey on his back with two smaller monkeys at his feet — Hunter carrying a monkey he caught, late 19th century
Kyūichi

G239

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Japan

G239

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Japan

G239

carved figural group of a man with monkey on his shoulder and a boy holding an egg — Monkey trainer with child, late 19th century
Hōgetsu

G239

carved figure of a standing man holding a staff with a monkey standing at his feet and on his head — Monkey trainer with two monkeys, late 19th century
Kōgetsu

G239

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Japan

G239

carved group of father and son in tug-of-war with monkeys on bridge — Tug-of-war between monkeys and farmer with his son, late 19th century
Tsugitoshi

G239

Gold rim with raised designs; spray of large flowers with raised gold outlines and green, brown, and red highlights; butterfly at left; gold dots throughout background — Small plate with decor of flowers and butterfly, 1890s
Japan

G239

Parinirvana of Sakyamuni, the Historical Buddha, Japan — Parinirvana of Sakyamuni, the Historical Buddha, 14th century
Japan

Not on View

La Dame du Parasol, after Cornelis Pronk; salmon cell pattern border; small panels of ladies and bird cartouches — "La Dame au Parasol" plate, c. 1736-1738
Cornelius Pronk

G209

large bowl with slightly sloping lip; light and dark tan textured border; mottled green with brown interior; tan exterior — Platter, c. 1950
Shimaoka Tatsuzō

Not on View

standing female figure with proper left arm bent, hand at side; flat mask like face, adorned by earrings and necklace; ridged dress extends to floor covering legs and feet — Haniwa of a Female Shrine Attendant, 6th century
Japan

G205

One, Nihonbashi, Utagawa Hiroshige; Publisher: Maruya Seijirō — One, Nihonbashi, c. 1850-1851
Utagawa Hiroshige; Publisher: Maruya Seijirō

Not on View

Sumo Wrestler Tagonoura Tsurukichi, Utagawa Kunisada II; Publisher: Kobayashi Tetsujirō — Sumo Wrestler Tagonoura Tsurukichi, 1866, 3rd lunar month
Utagawa Kunisada II; Publisher: Kobayashi Tetsujirō

G226

obverse: roosters in the fall rice harvest; reverse: monkeys in the cherry blossoms and the young monkeys beside the stream with crab and rushes; all heavily and beautifully embroidered lifelike — Rooster and hen in the fall rice harvest [obverse]; Monkeys amidst cherry blossoms [reverse], c. 1910
Nishimura Goun [obverse]; Artist: In the style of Mori Sosen [reverse]

G239

sword set: metal blade with snake decoration and 3 peg holes in tang that has also a gold lacquer signature; signed tsuba with soft metalwork decoration of dragon amidst waves; grip is wrapped, dragon head on tip, 2 silver menuki in form of a tiger on one side and a lion on the other; lacquer scabbard with horimono (metal decoration) at end in form of dragon wrapped around sword, gold and silver mounts; fabric tie — Blade with engraved snake for a long-sword (koto-katana) and mounting with dragon decoration, 16th century
Japan

G219

man holding pipe, monkey carrying smoking pouch — Monkey trainer, late 19th century
Shioda Toshichika

G239

(One of a) Pair of War Stirrups, iron with silver inlay. Inscribed with maker's name. Kuniyuki, maker, sho worked in Kanagawa. Wisteria and wave design in silver inlay. — (War Stirrup, one of a pair), 17th century
Japan

G219

Two Monkeys in a Pine Tree, Mori Sosen — Two Monkeys in a Pine Tree, early 19th century
Mori Sosen

G237

Grey monkey with tan face and red tail standing on the PL front fin of a vertically placed catfish with a gourd tied around its waist with a red cord — Monkey trying to catch a catfish with a gourd, late 19th century
Japan

G227

tiger to the left of two bamboo; design within a circle, within a square; light blue floral design silk at top and bottom; brown floral design silk, middle; thin strip of dark blue floral design, top and bottom of image; has scroll box — Tiger Emerging from Bamboo, early 18th century
Kano Tsunenobu

Not on View

Incense burner, 13th century

Japan

G220

small, double pointed object with five prongs converging to form each point; center decorated with petal and concentric circle motif — Five-pronged vajra, late 14th century
Japan

G220

irregularly shaped tan jar with bulbous, wasp-nest shaped base, long neck, wide mouth; flecked, dripping brown overglaze, mostly on one side; comes with rattan ring — Recumbent vessel with long neck, 7th century
Japan

G205

large jar with dark brown dripping over glaze and large rocky inclusions; wide shoulder, short neck, rolled lip; gnarled texture — Storage jar, 15th century
Japan

G222

red-brown jar with mottled ochre colored glaze around shoulder and down one side; four bow-like decorations around shoulder; short, vertical neck — Tea leaf storage jar, late 16th century
Japan

G224

jar with narrow base, wide shoulder, narrow neck, and incised lip; concentric incised lines around neck, shoulder, and portion of center; light greenish glaze — Vase in meiping shape, 13th century
Japan

G224

squat, dark brown container with flat shoulder; very short neck, rolled lip; drips down side of darker, iridescent over glaze on sides; ivory cover with incised circle around tiny knob; comes with three cover pouches: purple; light stripes with cloud pattern; beige metallic brocade — Tea caddy, late 16th - early 17th century
Japan

G224

one of four: dish with high walls and deep scalloped cutouts on each edge, creating dramatic, irregular square shape; textured, beige over glaze against dark brown underglaze; beige over glaze on bottom lightly brushed around bowl; subtle blue vine accents on underside at cutouts — Set of food dishes (mukōzuke), early 18th century
Japan

G225

silk kimono and vest; blue and white alternating bands; printed carp design at right angle to bands; yellow lining — (Boy's Kimono), 1868-1912
Japan

Not on View

the Buddhist art of the Kamakura period in Japan (1185-1392) is one of the great religious arts and this thirteenth century painting on silk mounted as a hanging scroll is an elegant and fine example; the Descent of Amida (raigo) is represented; Amida Buddha is one of the leading gods of Buddhism whose cult enjoyed great power from the ninth century; he is usually shown, as here, descending to receive the adorer's soul, for he promises blissful and luxurious life in the next world; in the Mann painting he is accompanied by two divine attendants, the Bodhisattvas Sishi, shown adoring, and Kannon, shown with the Lotus Pedestal; similar but rather inferior figures to these appear in a celebrated early thirteenth century hanging scroll in the Senrin-ji, Kyoto; the Mann scroll is especially splendid not only for the refinement of its draughtsmanship, but for its color; on a muted black background, the figures are gold, the red lines of form being incisions through the gold leaf to the red ground; a light raw ochre halo surrounds Amida's head, the clouds are pale lavender; the use of color is thus austerely restricted, and there are only a few other touches Amida's lips are scarlet, there are pink and white ribbands and some of the precious stones of the jewelry are picked out in dull tints; the richness of the gold, especially against the black, makes for a stunning effect, and the precision of the tense, flowing drawing, incomparably skillful and delicate, can be contemplated with endless pleasure — Welcoming Descent of the Amida Buddha Triad, 13th century
Japan

Not on View

unsigned — Whose Sleeves? [right of a pair], early 17th century
Japan

Not on View

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