🔎 country:"Japan" | Mia

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right sheet of a diptych — Women by an Iris Pond, c. 1785
Torii Kiyonaga; Publisher: Kōzuya Isuke

G266-G274

Landscape, attributed to Okada Hankō — Landscape, 18th-19th century
attributed to Okada Hankō

G225

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

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

G220

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

G200

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
Unknown Japanese

G205

Shinto priest's robe (kariginu), Unknown Japanese — Shinto priest's robe (kariginu), 19th century
Unknown Japanese

G220

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

G239

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
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

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
Unknown Japanese

G225

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
Unknown Japanese

G205

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

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
Unknown Japanese

G205

Buddha seated with legs folded and feet over knees; PR hand held in loose fist; PL hand open, gently cradling round object; fragments of white and green pigment; sits on flat base with pigment fragments — Hachiman in the Guise of a Buddhist Monk, 12th century
Unknown Japanese

G220

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

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
Unknown Japanese

G224

unsigned; thick field of barley painted against a gold leaf background — Barley Field, early 17th century
Unknown Japanese

G223

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

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

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
Unknown Japanese

G205

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

G220

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

One of the twelve generals of Yakushi Buddha, with strong remains of original pigments. Original wood stand — Divine General, late 12th century-early 13th century
Joga

G200

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

handled tray with short sides; light grey glaze with blue, green and gold leaves, vines and gourds; cutout gourd shapes — Tobacco tray, 18th century
Unknown Japanese

G225

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
Unknown Japanese

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

heavy-set man seated inside a large sack; smiling man has light beard and wears dark garment, open at the chest; has storage box — Hotei Within his Sack, 1800
Kōgan Gengei

G222

three characters written horizontally across white sheet; reddish-orange rectangular intaglio stamp URC; four vertical, smaller characters at L; two large square stamps at far L: top stamp contains four squares, three of which are intaglio, the fourth is relief; bottom square with thick outline is relief — Laziness is Truth, late 19th-mid 20th century
Kawamura Keikō

G252

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

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

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

G252

giant black character with sharp angles and splatters — Emptiness, 1986
Suda Kokuta

G253

large white and red peonies on branches with leaves blowing in the wind; white peony to center left, with bud immediately above; red peony at right edge slightly above center — Peonies in the Wind, early 19th century
Sakai Hōitsu

G223

6 panel screen with alternating panels of calligraphy, and panels of bamboo stalks with delicate foliage and small inscriptions — Bamboo and Chinese Poems [right of a pair], 1865
Doi Gōga

G252

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

very pale blue/white; rounded body; wide ring foot; short neck; low relief/incised decoration on one side of wheat — Vase, 2002
Inoue Manji

G223

two loopy characters; loopy signature at L; mauve mount — Hazy Mooring, mid 19th century
Kameda Ryōrai

G253

four lines of calligraphy; fifth smaller line LL edge; fourth line ends with long line from last character; pale blue and ivory mount — Poem Dated 1821, 1821
Noro Kaiseki

G253

snowy scene: snow-covered hut with male figure kneeling at center looking outside over PR shoulder; older figure with white hair sitting behind window clutching rosary; crooked, snow-covered tree at L; mounds of snow at front — Noh Play Hachinoki, two of three, second half 19th century
Shibata Zeshin

G219

two lines of calligraphy, line at L is shorter; small signature at LL; on pink mount — No Amida in the South, second half 18th century
Kan Tenjū

G251

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

winter scene: horse in small snow-covered stable; stable is under three bent snow-covered pine trees; women with snow-covered hat and cape walks through snow, bringing bucket to horse; snow-covered fence at LL — Noh Play Hachinoki, one of three, second half 19th century
Shibata Zeshin

G219

nine lines of calligraphy, delicately written; a number of characters accompanied by small black circles; light grey and beige mount — Draft in Regular Script, c. 1817-1835
Tanomura Chikuden

G251

three black birds fly at R edge against a neutral background; curving line with grey background ULQ — Noh Play Hachinoki, three of three, second half 19th century
Shibata Zeshin

G219

ten bold characters in black on white; some dry brush areas; dark blue, gold and yellow mount — Stone Shadows, early 19th century
Matsumoto Koryū

G252

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

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

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

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

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

G219

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

serpentine row of fifteen figures wearing half circle-shaped hats, in sketchy style; front and back figures carry walking sticks; ink and wash — Begging Monks Leaving {right of a pair}, 20th century
Deiryū Kutsu

G222

fifteen sketchy figures in a serpentine row, with smiling faces; front figure carries a walking stick; ink and wash — Begging Monks Returning {left of a pair}, 20th century
Deiryū Kutsu

G222

brown body; top band of butterflies and flower scroll, bordered by blue band and rows of black circles; lappets below alternate colorful birds and dragons; green interior; enamels in lappets suffused with copper shavings ("goldstone" technique) — Vase, late 19th century
Unknown Japanese

G239

unsigned; from the Saga Palace, Kyoto; three figures working in rice field, ULC; two figures in another field, LRC — Spring [center left from the set Rice Farming in the Four Seasons], 1620s
Attributed to Kano Sanraku

G221

unsigned; from the Saga Palace, Kyoto; two people in a fully-grown field at top — Spring [center right from the set Rice Farming in the Four Seasons], 1620s
Attributed to Kano Sanraku

G221

growling lion/demon face with gold and red skin, very wide nose and gold teeth; large red tongue; upper palate, irises, nostrils and ear canals cut out — Noh Mask of Shishiguchi, 2004
Yamaguchi Bidou

G219

unsigned; from the Saga Palace, Kyoto; mountain in foreground, LLC; three figures in a field at right — Spring [left from the set Rice Farming in the Four Seasons], 1620s
Attributed to Kano Sanraku

G221

human face mask with smiling mouth with red lips and top teeth visible; wisps of hair at sides of face and small fringe of bangs; mouth, irises and nostrils cut out — Noh Mask of Kasshiki, 2004
Yamaguchi Bidou

G219

unsigned; from the Saga Palace, Kyoto; tree at right; figure overlooking fields — Spring [right from the set Rice Farming in the Four Seasons], 1620s
Attributed to Kano Sanraku

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

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

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

unsigned; small, round basket with crisscrossing closed weave; handle made of twisted, gnarled branch that comes to a point near center — Basket with wood handle, late 19th-early 20th century
Unknown Japanese

G222

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

monk in white robe riding a donkey towards L — Yushanzhu Riding a Donkey [right of a pair of Zhenghuangniu and Yushanzhu], 17th century
Kano Dōun

G221

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

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

G220

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

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

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

G221

figurine of a boy riding side saddle on a water buffalo; boy is holding a shield with a swirl pattern in PR hand while holding PL hand up to his own ear; water buffalo holds its head slightly down in walking pose — Incense burner in the shape of a Chinese boy on a water buffalo, 19th century
Unknown Japanese

G225

four character inscription, one character in each quadrant; two shorter inscribed lines ULQ — Strange Sights Within the Sea, 1832
Ōkubo Shibutsu

G251

two panel screen; black bull with head turned to PL; blue rope around bull's neck and horns and through nose, trailing through hind legs — Black Bull, second half 19th century
Mochizuki Gyokusen

G239

6 panels, alternating between large calligraphy, and images of bamboo with rocks, and smaller inscriptions — Bamboo and Chinese Poems [left of a pair], 1865
Doi Gōga

G252

a: round iron vessel with semi-circular handles hanging on each side; bird in open circle below one handle and standing creature with shovel (?) in open circle below other handle; openings cut out in organic shaped designs on body; L-shaped hooks attached to each side to hold open doors; wing-shaped doors below that lift upwards, attached with two hinges; incised decoration on each door; solid bottom inside that is raised from very bottom with openwork around base in oval forms with points at top of each; b: brass insert with wing-shaped opening on each side; c, d: open brass handles — Hanging lantern, 8th century
Unknown Japanese

G220

green gourds growing from vine descending from UR; long, green fruits with big leaves, many with brown parts and round, brown insect holes; critters climbing on plant, including snail, mantis, caterpillar, grasshopper, and frog; butterfly approaching from L — Mantis and Butterfly on Sponge Gourd, 1857
Nakabayashi Chikkei

G223

block of four lines of regularly-spaced characters at left; one long line of text at right with two short lines between block at left and line at right — Facing the Moon, first half 17th century
Hayashi Razan

G251

smiling comical mask face near lower right side with exaggerated features; approx 2/3 of the image area is blank — Comical Demon Mask, late 18th - early 19th century
Matsumura Goshun

G219

four full lines delicate calligrahpy, plus two broken lines at L — Taiga-style Calligraphy, 1839
Fūgai Honkō

G253

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

two images on mount: top image has five lines of calligraphy; lower image has a gnarled and bent pine tree with two mushrooms growing from LL of trunk, and inscription at R — Pine and Poem Gifts, second half 19th century
Yamanaka Shinten'ō

G251

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
Unknown Japanese

G239

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Unknown Japanese; Manufacturer: Shreve & Company

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

虎 Tora — Tiger, 1964
Morita Shiryū

G253

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Unknown Japanese; Manufacturer: Shreve & Company

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

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

floral and butterfly; Shreve and Co. sterling silver bases and handles — Dessert stand [one of four], c. 1900
Unknown Japanese; Manufacturer: Shreve & Company

G239

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, 1870s
Takeuchi Kyūichi

G239

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

Hill # R-20 — Flowers of the Season, 19th century
Unknown Japanese

G223

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
Unknown Japanese; Artist: Tsuba by Ōmori Terumasa

G219

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

G239

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

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