showing 100 of 9740 results matching `country:"Japan"`. (load 200 more)

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

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

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

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

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

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

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

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

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

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

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

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

People of Many Nations, 1649

Unknown Japanese

Not on View

one long line of calligraphy (14 characters); signature center L edge; light mauve mount — Sound of waves, early - mid 19th century
Kikuchi Gozan

G252

15 lines of calligraphy; thin, precise lines; tan, brown and green mount — On the Calligraphy of Emperor Saga, 1783, 3rd lunar month
Ryū Kōbi

G251

two and one half lines of soft, looping calligraphy; oval relief seal URC; large square relief seal LL; smaller square intaglio seal LL — Amid the Mountains, second half 19th century
Yamanaka Shinten'ō

G253

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

two full lines of calligraphy plus third shorter line in sharp, cursive text — Threads of Gold, mid 19th century
Kōno Tettō

G253

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

letter with many lines of thin script in black on white; two sheets-narrow sheet with three characters at L — Letter with Haiku to Mr. Yanagi, 18th-19th century
Sakai Hōitsu

G253

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

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

boat with two passengers on calm, blue-grey water; dense trees on riverbanks; mountain peak in background at R; full moon or sun in sky, partially covered by clouds — Mount Gabi, 18th-19th century
Ganku

G223

female figure in elaborate head dress, PL hand in gesture near chest, riding on a fox; fox is flying on green cloud with legs extended; snakes wrapped around fox's legs; two smaller figures kneeling in foreground — Dakiniten, the Buddhist Manifestation of the Shinto Deity Inari, late 14th century
Unknown Japanese

G220

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

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 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

six lines, seal LLC; mounted to sheet with gold flecks, brocade border, and gold background — Two Poems by Yan Xiufu, late 18th - early 19th century
Kameda Bōsai

G251

two lines of precisely written characters against brown paper with black flecks — Wine and Tea, c. 1870
Tomioka Tessai

G251

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

two large characters arranged vertically; gray and blue mount — Pines and Vines, second half 18th century
Chō Tōsai

G252

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

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

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

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

several irregular lines of cursive characters; two larger, bold characters at R — Long Life, 1823
Kameda Bōsai

G253

four lines of calligraphy with smaller, shorter fifth line at L; brown mount with blue brocade — Confucian Exhortation, second half 18th century
Chō Tōsai

G252

horizontal wedge-shaped form with flaring sides, narrows at top; mounts to wooden block base — Distant Seascape VI, 2004 (model from 1990)
Fukami Sueharu

G222

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

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

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

Not on View

long line of expressive calligraphy, shorter signature line at L; light grey-green mount — Single Line from Zhuangzi, second half 19th century
Doi Gōga

G253

assortment of red seals in different sizes and shapes — Assortment of seals, second half 19th century
Murase Taiitsu

G251

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

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

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

three horizontal rectangles, each with colorful U-shaped form and circle inside; top form has green shape with yellow circle; center rectangle has orange shape with white circle; bottom rectangle has black and blue shape with green circle — From Gauge (Phase) C, 1969
Amano Kazumi

G237

figure 8 shape at center with emobssing; red, orange, and grey curving forms in outline; inner outline of 8 in green — Inside and Outside (Mold), 1968
Amano Kazumi

G237

red, blue, and green abstracted image; red and green earshaped obects at the center of image with each obect repeat off the side in different colors — From Gauge (Return), 1969
Amano Kazumi

G237

colorful abstract image; black and white penguin-like form; swooshing bands of yellow, orange, red, green emanating from form; green form swirls from UC — From Gauge (Rise), 1969
Amano Kazumi

G237

overlapping pipe-like shapes, bars, and blocks with cutouts in blues, green, charcoal, and burgundy against neutral background — Join, June 1962
Amano Kazumi

G226

large rectangular abstract form made up by various shapes and colors; colors conist of dark blue, teal, black, and uninked area; — Layers, 1962
Amano Kazumi

G226

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

five lines of very small calligraphy on a tiny sheet of paper, mounted inside a circle with green and beige outer mount — Ninth Month, first half 18th century
Gion Nankai

G253

blocky black and white image divided in sections; contorted figure at L with mouth opened, looking up; white tower with black text at R; two figures bottom C holding a pot of metal; stick figures at R stoking a kiln; two figures pulling rope nearby — Colophon (part 1), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; block of text at C shaped like a cauldron with line drawings of buildings in background; at top, a figure is bent over an object with silhouetted figure in doorway at R; three scenes at bottom: people working in front of a kiln, carving a mold, and hammering a vessel — Description (part 2), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; human figure at R holding long object, appears to be yelling; two figures in small building at C, text and workers nearby; laborer at LL hammering a vessel, and one at LR turning an object on a lathe; harvesting scene at top — Second song (part 4), July 1957
Amano Kazumi

G226

blocky black and white image divided in sections; figure holding staff overhead R of C; text and metal vessels to his L; foundry workers opening molds at bottom; large cast bell at LL; figure walking down dark alley at top, with another figure in a darkened building UR — Fourth song (part 6), July 1957
Amano Kazumi

G226

blocky black and white image divided in three parts; abstracted figure at R holding staff; village in center band with figures in front buildings, two of whom are holding a smelting pot; at bottom, figures fill pots, carve, and open molds; at top, a man pulls a cart at R; figures seated in building with vessels UL — First song (part 3), July 1957
Amano Kazumi

G226

multicolored bars with squared off hooks at ends in warm colors at top and bottom and cool colors at left at right, surrounding text — A Piece of Poetry, Drawing, Assemblage, March 1965
Amano Kazumi; Poet: Yoshimura Masatoshi

G227

blocky black and white image divided in sections; figure at R with head tilted; foundry workers at lower portion of image pouring metal and hammering; figures stoking fires at C, and driving poles; text around C; at top, a female figure delivers a box to a seated figure at L — Third song (part 5), July 1957
Amano Kazumi

G226

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

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

pleated blue pants with beige symbols on L and R legs and at front waistband; two long ties attached to either side; open slits down both sides; bottom cuffs and top waistband are sewn shut; — Long trousers (nagabakama) for kyōgen theater [from a set], early 20th century
Unknown Japanese

G219

Toilet box in shape of casket, cover with metal handle, inside decorated around and on top of a fitted tray with flower sprays. Aventurine and gold. Cover mottled gold and black with crescent moons. — (Small Box in the Shape of a Firefly Cage), 19th century
Unknown Japanese

Not on View

Sake pot, gold lacquer, with hinged semi-circular handle, and three short circular, tapering legs. Silver finial on cover. Decoration consists of gold vines, peonies, and arms of Tokugawa family (three asarum leaves within a circle) on bronze ground. Silver lacquer inside. — Ewer (katakuchi), 17th century
Unknown Japanese

G221

Welcoming Descent of the Amida Buddha Triad, Unknown Japanese — Welcoming Descent of the Amida Buddha Triad, 13th century
Unknown Japanese

Not on View

Bronze bell (Dotaku); Dotaku- Bronze Bell with so-called 'crossing bands' (in Japanese Kesadasuki) decoration. Fine natural green patina; no repairs, in excellent condition. Excavated at Chiwa-Yama, Yashu-gun, Ohmi Province (now Shiga Prefecture) in the 14th year of Meiji, or 1881 A.D. This was on the 14 bells found, the largest of which is now in the Tokyo national Museum. with a box authentication of Professor Sueji Umehara. Modern wooden storage box has authentication by Professor Umchara. — Ritual Bell (Dōtaku), 1st century BCE-1st century CE
Unknown Japanese

G205

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

Wheel of the Law, Buddhist (shingon sect.) gilded bronze — Chakra, 13th century
Unknown Japanese

G220

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

Not on View

Amida, the Buddha of Infinite Light, Unknown Japanese — Amida, the Buddha of Infinite Light, 12th century
Unknown Japanese

G200

Hanging scroll — Landscape, 18th century
Unknown Japanese

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
Unknown Japanese

G205

stone of light and dark grey color with white veins and criss-cross markings; a waterfall cuts the stone in the center; right of waterfall is a tunnel through cliff face with a cave in the overhang nearby — (Near-view Mountain Stone with Waterfall; Furuya Stone), mid 18th century
Unknown Japanese

G222

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
Unknown Japanese

Not on View

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
Unknown Japanese

G220

short, squat incense burner on three legs; three separate parts; domed cover with bud-shaped nib; floral stamped and etched patterns on lid — Incense burner, 13th century
Unknown Japanese

G220

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