showing 100 of 9816 results matching `country:"Japan"`. (load 200 more)

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

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

G220

Parinirvana of Sakyamuni, the Historical Buddha, Unknown Japanese — Parinirvana of Sakyamuni, the Historical Buddha, 14th century
Unknown Japanese

Not on View

Portrait Sculpture of Priest Gyōki, Unknown Japanese — Portrait Sculpture of Priest Gyōki, early 17th century
Unknown Japanese

G220

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

G222

Replica of the Saan Teahouse at Daitokuji Gyokurin-in, Kyoto, Yasuimoku Komuten Company Ltd. — Replica of the Saan Teahouse at Daitokuji Gyokurin-in, Kyoto, 2001 (constructed)
Yasuimoku Komuten Company Ltd.

G225

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
Unknown Japanese

G220

unsigned; left of a pair of six-panel folding screens; many scenes against gold leaf background; edge of building on left panel with snow; building at top across panels three to six the many seated figures wearing black with a few wearing red and blue; procession in LR of panels five and six with figures in black carrying covered dias and pulling two green carriages behind — Autumn and Winter [left of the pair Scenes from the Tale of Genji in the Four Seasons], mid 17th century
Unknown Japanese

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

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
Unknown Japanese

G219

Untitled [Demonstrators and Helmeted Authorities], Hamaya Hiroshi — Untitled [Demonstrators and Helmeted Authorities], c. 1962
Hamaya Hiroshi

Not on View

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
Unknown Japanese

G224

damaged wristwatch without a band against light-colored fabric background — Atomic Bomb Damage: Wristwatch Stopped at 11:02, August 9, 1945, Nagasaki, 1961 (printed 1980)
Shomei Tomatsu

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
Unknown Japanese

Not on View

figure slightly smaller than life size, seated cross-legged with hands one of top the other in lap; eyes closed; mottled green glaze with silver liquid-appearing beads and drips overall — Reduction I, 2013
Kondō Takahiro

G200

standing wavelike form with pointed, outturned corners; horizontal waving bands in matte dark blue, with gold flecks, matte black, and shiny black; small cutout near center; one of pair — Look, 1994
Sasai Fumie

Not on View

three levels: bottom section is round base topped by football-shaped body with some squared-off corners at sides, top rounded rectangular opening, with outward-flaring top; glazed brown with some light brown drips/splotches inside mouth; orange-red and green splotchy glaze elements on exterior — Vase, c. 1960
Kawai Kanjirō

G223

black and gold helmet in the form of a dragonfly, with its tail extending upward; two large gold eyes; two removable dull gold pairs of wings; thick braided purple silk cord tie at neck — Helmet in dragonfly shape, 17th century
Unknown Japanese

G219

flat, wide, outward-flaring rim; protruding triangular band around thick neck; shallow grooved line drawn into edge of rim; two black spots on body, one on rim; tan patina; small flat foot — Wide-Mouthed Jar, 1st century BCE- 1st century CE
Unknown Japanese

G205

round bronze disk mounted to wood; raised figure seated on lotus at center, with PR hand resting in lap, and PL hand at heart clutching delicate metal flowers; elaborate golden filigree behind figure; tall urns with delicate wire and bounded metal lotus leaves on either side of figure; thin metal "awning" above figure with lotus detail and hanging charms; lion head with claws on either side of top; border with round studs — Kakebotoke, 14th century
Unknown Japanese

G220

bald headed, friendly-appearing figure at left holding a bag open between his hands, which extends toward left; two bold text characters on bag and three thinner characters; two red seals at left center at bottom of bag; blue and brown mount — Budai Opening His Sack, mid 18th century
Hakuin Ekaku

G222

People of Many Nations, 1649

Unknown Japanese

Not on View

octagonal stepped base with lotus flower at top of base; clear glass globe at top with three vertical metal "flames" around it; glass globe filled with multicolored pebbles — Buddhist Reliquary in the Shape of a Wish-Granting Jewel, 16th-17th century
Unknown Japanese

G220

mounted fan painting: man in white robe holding a calligraphy brush up to the side of a small cliff or rock formation covered with foliage; shorter man behind him leans over a rock, looking on; ivory roller ends — Hanshan and Shide, mid 16th century
attributed to Kano Yukinobu

Not on View

unsigned; image of two black lacquer kimono stands with different types of gold patterning, hung with various patterned kimono; koto (zither) in LRQ; tubular case with pink flowered brocade, pink tassels and gold bells hanging from right top corner of kimono stand at right — Whose Sleeves?, early 17th century
Unknown Japanese

Not on View

unsigned; musicians and actors on stage at L with audience outdoors, looking on and talking to one another; fence and banners erected behind audience; building at R with men standing and talking behind walls, and others outside sitting and chatting — Okuni Kabuki, first quarter 17th century
Unknown Japanese

Not on View

The details of the figure are made up of calligraphic allusions to the deity's attributes and qualities. — Tenjin on His Way to China, mid 18th century
Hakuin Ekaku

G222

seated male figure holding a court noble's scepter, with face and hairstyle of a Bosatsu; mounted to plaque on back; legs folded in lotus position — Shinto God, 12th-13th century
Unknown Japanese

G220

female figure seated with arms clasped toward chest; wearing court dress, with long, pleated hair; small crown on head; mounted to wooden screen on back — Shinto Goddess, 12th-13th century
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

G205

short, round bottle with narrow neck; beige glaze with paulownia leaves and blossoms in black and blue — Sake bottle with paulownia, 17th century
Unknown Japanese

G221

tall, narrow caddy with short, outward-curving mouth and incised line around the middle of the body; dark-brown glaze applied over a brown underglaze; bottommost portion unglazed; tiny ivory lid with concentric, incised lines — Tea caddy, after 1657
Nonomura Ninsei

G224

white gourd-shaped flask with grapevine design painted in underglaze iron oxide — Gourd-shaped flask with grapevines, early 17th century
Unknown Japanese

G221

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
Unknown Japanese

G225

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
Unknown Japanese

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
Unknown Japanese

Not on View

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

G220

long-necked ewer with motif of dragons on handle and lid; bulbous body, gently curving spout with scalloped design around base — Ewer, 15th-16th century
Rihei

G220

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

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
Unknown Japanese

G220

flower vase with squat, round body, high neck, and high foot; ornately decorated with figures in relief; figure of a sage and a crane on each side of neck; two handles — Vase with Rin Nasei (Ch. Lin Hejing) and crane, 18th-19th century
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

G225

many small children playing with and climbing on a white elephant that is lying down — Chinese Children Playing with an Elephant [right of a pair], late 18th-mid 19th century
Style of Nagasawa Rosetsu

Not on View

white falcon at UR in twisting dive after large white goose at center; goose is lunging downward with legs splayed and mouth wide open; large clumps of fluffy snow fill scene; snow-covered foliage at bottom — Gyrfalcon Hunting a Goose in Snow, 1928
Fukuda Suikō

Not on View

horizontally oriented finlike form; rectangular form rising slightly at center — Moment II, 2003
Fukami Sueharu

Not on View

in center, 3 headed 8 armed figure with head of fire motions; figure entangled in flames, waves, snakes; two warriors stand guard in LL and LR corners; top center, Buddha in a bubble with blessing gesture — Daigensui Myōō, 1868
Kano Hōgai

Not on View

blurry image of group of shadowy figures wearing helmets at right on wet, shining pavement — Protest 2, Tokyo, 1969 (printed 1974)
Shomei Tomatsu

Not on View

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
Unknown Japanese

G225

oval bottle with very narrow foot and cap; vertical bands of colored enamel with overlapping decorations of butterflies, flowers, and vine designs; separate cap with bright floral motifs against black enamel — Covered bottle with butterflies, flowers, and vine designs, around 1900
Namikawa Yasuyuki

G239

black lacquer table; scalloped cutouts on sides between base and rim; curved, scrolling, upturned feet — Black altar table, 15th-16th century
Unknown Japanese

G221

unsigned; pair of cranes left of center; pine tree at left; swimming duck and pair of smaller birds at right; blooming white and red chrysanthemums; unsigned — Cranes under Pine Trees, 16th century
Unknown Japanese

G221

ink drawing of skinny elderly man in straw hat running toward L, carrying a long pole that he aims at a dangling object in a tree at UL; inscription at R — Bird Catcher, 18th century
Hakuin Ekaku

G222

seven lines of text; two square red seals, LLC; light rectangular red seal, URC — Du Fu's Eight Immortals of the Wine Cup, second half 17th century
Kitajima Setsuzan

G252

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

G252

six richly painted scenes: couple sitting close at R with approaching figure; male and female sitting across from one another in small structures; female figure in stylized rickshaw with male figure nearby; two male figures fighting; male figure at end with sword and open fan — Six No and Kyogen Pieces, 17th century
Unknown Japanese

G219

three long lines of text; shorter (horizontal?) line of text, LLQ; two tusk-shaped elements with radiating spirals at top and bottom; scalloped lines at top and bottom; cream paper fading at top and bottom to pink tone; seal, LLQ — How Amazing, late 18th - early 19th century
Sakai Hōitsu

G252

small panda figure with PR arm raised; stands on PR foot on square base covered in strips of mother-of-pearl; bear is covered in mother-of-pearl chips with black lacquered face and inner ears; eyes, nose, and cheeks painted in gold — Bear: Glittering, 2010
Sano Akira

Not on View

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

G252

snow-covered rocks at L with wilted, snow-covered reeds; hazy snowy mountain in background; patches of light gold wash; inscription at R — “River and Sky in Evening Snow,” from the Eight Views of the Xiao and Xiang Rivers, c. 1602-1603
Kaihō Yūshō; Author: Inscribed by Saishō Jōtai

Not on View

six figures set against a silver ground; from L to R: standing man with parasol; standing man with gold hand fan; two seated musicians facing two seated figures, one of whom is an elder — Scenes from Kyōgen Theater [left of a pair], mid 19th century
Fukushima Chikaharu

G219

male figure in gray and white striped kimono grabs the wrist of a young female attendant who was handing him a red dish; other young women and geisha serve tea, play instruments, and dance around the man; small feast in front of man on ground, including large red snapper; scene takes place on a green dock over water — Summer Party on the Bank of the Kamo River, around 1800
Utagawa Toyohiro

Not on View

mask of a slightly smiling female face; lips slightly parted with black teeth; eyes looking straight forward; painted eyebrows near top of forehead; painted black hair framing face; ivory pigment with gray shading — Noh mask of a woman, 18th-19th century
Unknown Japanese

G219

golden fan painted with morning glories in blossom supported by wooden posts; calligraphy throughout image — Morning Glories, 17th century
Unknown Japanese

G225

two lines of fat, bold calligraphy — The Carp in the Valley, 1972 (?)
Kaneko Tohta

G251

slightly concave bottom; waisted vessel--widest point at waist; wide ring mouth; browns with four tan, light brown and green designs below mouth of floral form inside circle — Vase, 20th century
Hamada Shōji

G223

three full lines and one partial line of bold text; two short lines of smaller text below partial line of text at left edge; two square red seals, LLQ — Mount Fuji, late 18th century
Shibano Ritsuzan

G252

two larger characters in horizontal format; two small characters with two red seals at left; one red seal, URC — Window Snow, late 17th - early 18th century
Kō Gentai

G253

male figures on a white-curtained balcony; one man is standing, aiming a longbow toward a cloud carrying grotesque figures brandishing weapons — Fragment from Tengu zōshi emaki, around 1500
Unknown Japanese

G221

standing wooden figure with shallowly carved draping robes with small tie at waist; peaceful expression on face; long earlobes and squared hat; figure is missing entire PR arm; PL arm is missing below the elbow, but it is apparent arm is bent forward at elbow — Bonten, the Creator, late 10th century
Unknown Japanese

G220

four large, bold characters arranged vertically; large square intaglio stamp LL edge; large rectangular intaglio stamp LL edge — God of Heaven, Spirits of the Earth, 1980s
Suda Kokuta

G251

loose connected characters, both saturated and dry brush marks — Li Bai's Preface for a Spring Evening Banquet with Cousins in a Peach Plum Garden, first half 17th century
Shōjō Shōkadō

G252

mask of male face with large nose, round eyes with carved out eyeholes; narrow grin with top teeth visible; wrinkles in forehead; holes drilled into eyebrows, moustache, and chin possibly once for hair — Noh Mask of a Man, 16th century
Unknown Japanese

G219

seated Buddha; PL hand in lap with open palm, index and thumb loosely touching; PR hand up, with index finger and thumb touching; two-tiered knobby hair, long earlobes; traces of red pigment on robes; seated on wide, stylized lotus on round base — Amida, the Buddha of Infinite Light, early 12th century
Unknown Japanese

G220

three figures set against a silver background in various poses; from L to R, a smiling man in a tall blue hat and red kimono dances with a fan; a kneeling figure in black and another in green gesture toward him with right arms extended up and back and left arms extended down, their hands grasping fans; a lone pine frond decorates the second panel from the L — Scenes from Kyōgen Theater [right of a pair], mid 19th century
Fukushima Chikaharu

G219

male figure seated on raised chair with shoes on ground; holds metal object in PR hand and an open black object in PL; spotted white robe with black grid pattern, and green sashes; figure is bald and has large earlobes — Portrait of Rigen Daishi, 16th century
Unknown Japanese

G220

five large, bold characters; two red seals at left edge above bottom character — Peaceful Words, second half 17th century
Kitajima Setsuzan

G252

large stepped mountains with boulders, pines, and waterfall at back; small open pavilion on flat topped rock just below waterfall; pathway ascending lower stepped rock formation at center; a few houses on stilts in water at L center, surrounded by pines; two figures cross bridge at LL — Landscape in the Manner of Dong Yuan, mid 19th century
Nakabayashi Chikutō

G223

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

G375

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

Not on View

standing figure with a conical hat with ear flaps, long skirt and cloak draped over the left shoulder; figure is standing on rock formation with palms up and crossed at the wrist across the chest; base — Zaō Gongen, Manifestation of Mount Kinpu, 12th century
Unknown Japanese

G220

twelve masks with cords attached to ears; each mask represents a vastly different character: Buddhist figures, demon, elderly man and woman, and various emotions — Noh and Kyogen Masks, early 20th century
Ueda Tekkō

G219

one vertical line of eight characters; two red seals LC with line of smaller characters above — A Confucian principle, 1771
Itsuzan

G251

suit of armor in crouching position seated on box; head lowered, arms spread with hands on thighs; blue and gold motif on pads; breastplate in gold with raised gold crest of three leaves — Suit of Armor, 1830s
Mihata Jōryū

G219

horned figure with red skin seated, kicking legs up into air; white, bulbous glass eyes; broad, open smile revealing small, pointed teeth; carries drum stick in PR hand; oval "halo" of drums behind figure; black sash with floral decorations loosely wrapped behind figure; base — God of Thunder, 17th - 19th century
Unknown Japanese

G222

blue jacket with two symbols on front chest and three across back; open front with two beige ties hanging down front; each beige symbol is a pair of interlocking diamond shapes in a circle — Long-sleeved jacket for kyōgen theater [from a set], early 20th century
Unknown Japanese

G219

prominent cluster of trees in foreground surrounding a small hut; tranquil body of water on LR with smaller, wallless hut on R banks; main landscape in background; towering, columnar mountain with trees, a series of waterfalls, and a small collection of buildings on L edge; poem at URC — Landscape with Houses in a Ravine, 1853
Yamamoto Baiitsu

G223

short columns of bold calligraphy; four lines of smaller text at end — Du Fu's Eight Immortals of the Wine Cup, late 17th - early 18th century
Terai Yōsetsu

G252

black and white image; group of three musicians rendered in geometric style — Untitled [musicians performing Owara-bushi], late 1950s
Amano Kazumi

G226

abstract; circle made of various forms in predominately red — Inside and Outside (Round) A, 1968
Amano Kazumi

G237

black and white image; blocky clouds in sky; mountains in center; groups of shrubs and buildings in in LLC — Untitled [mountain scape with river], late 1950s
Amano Kazumi

G226

abstract; backwards maroon C at top center; blue lever- or arm-like elements — Inner Motion (Embrace), 1963
Amano Kazumi

G226

abstract; stepped form in black and white with circle and geometric lines; blues, green, brown, and black lines and circle — Moral (Intention), 1964
Amano Kazumi

G227

abstract image; yellow form with geometric rays; grey paper — Assemblage (Yellow), October 1962
Amano Kazumi

G226

mountains; village in middle ground; boater at bottom center — Untitled [mountains, village, and boater], late 1950s
Amano Kazumi

G226

concentric light gray squares upper half within blue frame with interlocking circles and angles; concentric light gray circles lower, within similar red frame — Moral (Endurance), 1963
Amano Kazumi

G227

Rectangular abstract shape; with half thick red outlineand half blue thin outline; black and grey shape fill in the left side of rectangle; right of retangle is inkless; — Self-figure (Surround) A, 1966
Amano Kazumi

G227

colorful abstract; blue and green upside-down "P" shape at ULC with yellow and orange circle at its center; curved green and blue shape and curved blue and black shape, both on diagonal, with orange and yellow outlines near C; gray circle URQ; framed by black border at L and top, and orange border at R and bottom — Disjoint, 1969
Amano Kazumi

G237

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