showing 100 of 144 results matching creditline:"Gift of the Clark Center for Japanese Art & Culture; formerly given to the Center by Audrey Seo and Stephen Addiss". (load 44 more)

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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

two loopy characters; loopy signature at L; mauve mount

Hazy Mooring, mid 19th century

Kameda Ryōrai

G253

ten lines on white paper with silver and gold flecks; lines alternate between four and two characters; red relief stamp URC; square relief stamp LLC; mounted on cobalt blue

Poem, late 19th - early 20th century

Ichikawa Tokuan

Not on View
two lines; five large characters; grouping of smaller, loopy writing at LLC with two stamps; square, borderless stamp URC

Calligraphy, 1878

Hirano Gogaku

Not on View
four lines of calligraphy; fifth line of smaller characters at L, with larger characters forming signature at LL; bold rectangular red seal at URC; red seal LLC

Poem on Peach Blossoms, 1880

Kikuchi Sankei

Not on View
ten total lines; six full lines of scribbled cursive beginning at R; seventh line is shorter and indented; two shorter lines at L; closest line to L edge is written in very small script

Letter, late 18th - early 19th century

Kan Chazan

Not on View
ten lines of calligraphy, on a fan, alternating between three characters and one character; signature at far L; rectangular relief stamp at URC; two square intaglio stamps LLC; mounted on cobalt blue board

Poetic Quatrain, mid 19th century

Hirose Tansō

Not on View
eight lines of neatly written calligraphy; first two lines are only a few characters; last line is also short; oval relief stamp URC; large square intaglio stamp at L edge; large square relief stamp at L edge

Eight-Line Poem, late 18th century

Uno Genshō

Not on View
pink rock surrounded by wisps of graceful grasses and foliage; blossoming grey flowers at L and R sides of rock

Orchid and Rock, late 18th - early 19th century

Totoki Baigai

Not on View
fourteen lines of calligraphy on a fan; mostly alternating between four characters and one character; signature is very last (far L) line; previous two lines of two characters; one intaglio and one relief stamp LLC; mounted on white board with gold trim

Spring Rain, late 18th - early 19th century

Takemoto Tōtoan

Not on View
six total lines; four full lines of expressive, bold, angular calligraphy; the two lines near the L are shorter; small rectangular relief stamp URC; two square stamps, one intaglio, one relief, at LLC; ink stain on R edge LRC

Quatrain in cursive Script, second half 19th century

Ōnuma Chinzan

Not on View
three full lines of cursive with a very short line inserted between the first and second lines from the R; written on tall, rectangular tan paper within a thin black border; relief stamp at URC, and another at LLC

Poem, first half 19th century

Ōkubo Shibutsu

Not on View
collection of poems written with different styles of penmanship; with corrections; first sections have small corrections made in black ink within margins, including correction to characters, tic marks, and circles at bottom of lines; remaining sections have corrections made in red ink, including correction to characters, penmanship, notes, tic marks, and circles; last section is of different kind of slightly greenish paper

Poems with Corrections by Rai San'yō, 19th century

Takayama Shō-e

Not on View
fourteen lines of calligraphy; first six lines are written with slightly larger characters; remaining eight lines are smaller, and more closely spaced; signature at far L, overlapping large square intaglio seal; smaller rectangular intaglio seal at R center edge

Calligraphy in Running Script, mid 19th century

Murase Tōjō

Not on View
four full lines of calligraphy with two shorter lines at L; brown mount

Quatrain on the Green Mountains, mid 19th century

Satō Issai

Not on View
one very large character at far R; two lines of graceful calligraphy at center; two smaller lines at far L with inscription and signature; rectangular intaglio stamp URC; circular relief stamp with waves at LLC

Blessings, 1865

Sesshū

Not on View
seven lines of very angular, confident calligraphy; rectangular intaglio stamp URC; two square intaglio stamps LLC, signature is seventh line; mounted to large sheet of tan paper

Poem at Age 72, 1849

Tōjō Ichidō

Not on View
three figures in white robes; older figure with large white beard at L standing somewhat hunched forward; younger figure at R leaning forward towards L with arms outstretched; shorter, balding figure in back holding rolled scrolls in PL arm

Scholars Meet to Look at Paintings, late 18th - early 19th century

Ki Baitei

Not on View
four big, bold characters, one in each quadrant; rectangular intaglio stamp URC

Set of Three Poem Cards (shikishi), one of three, second half 19th century

Doi Gōga

Not on View
assortment of red seals in different sizes and shapes

Assortment of seals, second half 19th century

Murase Taiitsu

Not on View
three lines of very neatly written, evenly spaced calligraphy; rectangular intaglio stamp URC; square relief stamp LLC

Mountain Cherries, mid 19th century

Kikuchi Gozan

Not on View
three large characters, written horizontally across a rectangular page; signature with two characters arranged vertically at far L; red-orange rectangular intaglio stamp URC; square relief stamp at far L

The Way Compels Frugality, 19th century

Nangan Seisui

Not on View
cracked pomegranate revealing seeds at top center, growing out of vertical foliage; smaller pomegranate blossoms at UR; inscription at UL; mounted on cobalt blue

Pomegranate, 1833

Urakami Shunkin

Not on View
willows growing from rock formation at UR; two smaller willows at LL on a low bank; hints of river between the two formations; light color wash

Willow Bank, late 18th century

Niwa Kagen

Not on View
two short lines at top followed by two longer lines of delicate yet jagged and angular calligraphy on paper infused with varying gradients of blue and blue-grey fibers (or pigment?); paper is plain at center, darker blue gradient waves at top, lighter blue/grey at bottom; a few gold flecks throughout

Green Trees, mid 19th century

Ōkura Ryūzan

Not on View
fourteen lines of cursive calligraphy, small characters; fifteenth line composed of one character; two shorter lines just left of center with signature; writing occupies right 2/3 of sheet

Letter, mid 19th century

Shinozaki Shōchiku

Not on View
two lines of calligraphy; brown mount

Voice of the Rain, early 19th century

Nakai Tōdō

Not on View
two rubbings mounted one on top of the other; top image: portrait of man with head turned 3/4 toward PR; man has large nose and ear, wears kimono with round designs and holds paintbrush in PR hand; bottom image: large lotus blossom with large leaves; brown mount; ceramic roller ends with blue floral designs

Self-Portrait and Lotus, first half 19th century

Sugai Baikan

Not on View
thirty five lines plus a grouping of five smaller lines, written in smaller size, at L; mounted to tan sheet with gold flecks

Letter to Shinozaki Shōchiku, second half 19th century

Miyahara Ekian (Senso)

Not on View
twelve lines of angular, evenly spaced calligraphy; long sheet folded into three segments; one square intaglio stamp and one square relief stamp at LL

Colophon on five leaves (page two of two), 1851

Shinozaki Shōchiku

Not on View
fan with ten lines of characters, mostly alternating between approx. 4 characters and 2 characters; rectangular relief stamp URC; two plain square relief stamps LL; mounted on burgundy colored board

Poem, second half 18th century

Kan Tenjū

Not on View
rubbing: ten full lines of tightly spaced characters in top 3/4; shorter line at L; three other shorter inscriptions written in different styles, in small text at bottom

Poem by Gyokuzan, early 19th century

Rai San'yō

Not on View
four lines of carefully spaced, elegantly penned calligraphy; two-part oval relief stamp at LLC; mounted on a much larger sheet of paper

Poetic Couplet, late 18th - early 19th century

Gotō Shikkoku

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

Not on View
three large characters written horizontally across sheet; four smaller, vertical characters (signature) at far L; horizontal relief stamp URC; square intaglio stamp full of characters at LLC; square relief stamp with relatively wide border LLC

Love of Living in Tranquility, second half 19th century

Saitō Nansai

Not on View
five large characters written across top of fan; vertical line of looping characters at far L; small rectangular relief stamp at URC; rectangular relief stamp at far L center

Five-word Phrase, second half 19th century

Maki Ryōtan

Not on View
rubbing: three lines of calligraphy

Autumn Poem in Cursive Script, early 19th century

Rai San'yō

Not on View
eight total lines; five full lines of calligraphy; three shorter lines at L with smaller characters; oval intaglio stamp URC; square intaglio stamp LLC, square relief stamp LLC

Poem in Chinese Style, first half 19th century

Urakami Shunkin

Not on View
twelve lines of cursive characters plus shorter line cut and pasted to LL edge of letter; unmounted

Letter of the Eighth Month, first half 18th century

Yamada Zeigan

Not on View
seven lines of sinuous, elegant, cursive calligraphy

Waka Poetry, second half 18th century

Ryū Kōbi

Not on View
black and grey image of a gnarled, twisting pine tree; fan-like foliage with thin brown outline

Twisting Pine, first half 19th century

Yamamoto Baiitsu

Not on View
album with heavily worn dark blue cover; images of flowers, landscapes, and a few calligraphic poems inside

Album with Paintings and Calligraphy, second half 19th century

Urakami Shunkin; Artist: Kikuchi Gozan; Artist: Aone Kyūkō; Artist: Ueno Setsugaku; Artist: Ikeda Unshō; Artist: Yamamoto Chikuun; Artist: Taigadō Teiryo; Artist: Tomitori Hōsai; Artist: Tanomura Chokunyū

Not on View
horizontally oriented painting of two blossoming pink roses; foliage begins LLC, extends upward with a bud near top center, and horizontally towards LR with the two blossoming roses; black and blue butterfly at top rose; three lines of calligraphy at ULC with two part rectangular seal with rounded edges

Flowers and Butterfly, 1838

Yamamoto Baioku

Not on View
fourteen total lines (last line signature); lines proceed: four characters, one character, one character; four, one, one, etc.; very small rectangular intaglio stamp URC; two small square intaglio stamps under signature at LL; mounted to burgundy board

Misty Rain, second half 19th century

Tamate Kikushū

Not on View
15 lines of calligraphy; thin, precise lines; tan, brown and green mount

On the Calligraphy of Emperor Saga, 1783, 3rd lunar month

Ryū Kōbi

Not on View
three lines of text; last half of third (L) line contains smaller writing; two intaglio stamps LLC; one relief stamp URC

Villages East and West, second half 19th century

Ono Kozan

Not on View
six lines of bold calligraphy; signature at ULC; narrow red seal at URC; two small red relief seals at L edge near bottom

Poem in Running Script, late 18th - early 19th century

Murase Kōtei

Not on View
billowing mountains through left half of fan; three small buildings including a short pagoda nestled in the mountain crevasses through the center; trees and pine trees, represented by short, horizontal brushstrokes line the mountains; large stump with a tall tree at center in foreground; four line inscription at R with signature and rectangular relief stamp; short signature with two small square stamps at ULC; greenish-gold border at top and bottom; mounted to black board

Landscape, second half 19th century

Yanagawa Kōran

Not on View
rubbing: rectangular stone with long inscription; teal mount

Grave Inscription, 1881

Pupils of Murase Taiitsu

Not on View
five small animals arranged in a V at center with pointed faces, black legs, and grey bodies with wispy lines coming off ends; crabs with large claws and black legs at LR; short inscription along R edge with two part oval relief stamp at LR; gold border, mounted on white board

Crabs and Tortoises, late 18th century

Sō Shizan

Not on View
abstracted pine tree extending diagonally up the scroll from LL with bristly, pointed, downturned branches and bristles along trunk; red sun in upper center; hints of pale pink clouds in background

Pine Tree and Rising Sun, Ca. 1942

Fukuda Kodōjin

Not on View
three lines of bold, blocky calligraphy; two square intaglio stamps at L edge

Set of Three Poem Cards (shikishi), one of three, second half 19th century

Doi Gōga

Not on View
five lines of very neatly written calligraphy; signature at LL; line at far L of smaller, more tightly spaced characters; written on powder blue silk; rectangular relief seal URC; rectangular relief seal LLC, and square intaglio seal LLC

Poem, mid 19th century

Umetsuji Kiretsu

Not on View
four total lines of calligraphy: two full lines; third line is shorter; fourth line is broken, containing signature at lower left; red seal URC; two seals, one inverted, at LLC

Quatrain in Running Script, mid 19th century

Umetsuji Kiretsu

Not on View
fan painting: delicate blossoming branch with L-shaped form

Plum Blossom, 1841

Kita Busei

Not on View
mountain landscape with three small huts at bottom rendered in short, quick brushstrokes; rolling mountain in background; hilly landscape with row of pines in middle ground; and three huts at bottom center with denser foliage at LR; four lines of calligraphy at ULQ with small square relief stamp

Small Ink Landscape, mid 19th century

Miura Gomon

Not on View
six full lines of bold, neat characters, evenly spaced; seventh line is half the length; three more lines (middle line is shorter) with smaller characters at L; gold colored outline around text; barrel shaped seal at URC; two seals at LLC

Album Leaf Poem, 1817

Hata Seichi

Not on View
ten total lines, on every other panel section; last two lines written much smaller; dark border at top and bottom edges; fully mounted to jet black board; two small square relief stamps LLC; small rectangular relief stamp URC

Things Seen at a River Village, late 18th - early 19th century

Ichikawa Kansai

Not on View
large vase with chrysanthemums at center; small, irregularly shaped rock at lower R; standing vessel with two objects at R

Chrysanthemums and Scholar's Rock, early 20th century

attributed to Okuhara Seiko

Not on View
six lines of bold, expressive calligraphy on yellowish/tan paper; paper is decorated with impressed and highlighted image of a young woman standing next to a tall, gnarled tree, foliage and stones on ground, inscription at L; rectangular intaglio stamp LLC

Calligraphy, second half 19th century

Murakami Butsuzan

Not on View
forty lines of very small, compactly written and spaced calligraphy; last few lines have even smaller characters; rectangular relief stamp URC; two square intaglio stamps at L edge; mounted on jet black board

Poem, 1843

Shinozaki Shōchiku

Not on View
four lines of calligraphy, closely spaced with signature line near L edge; sprigs of bamboo drawn in ink in LRQ; light grey ink line across URC, and horizontal grey line to L of bamboo; red relief seal URC; two red relief seals in LLQ

Bamboo and Poem, late 18th - early 19th century

Murase Kōtei

Not on View
thick branch with black nodules coming from L; thin vertical ranch covered with blossoms rises at R; inscription L center

Plum Blossoms and Poem, 1923

Narita Gin'u

Not on View
accordion folded album with calligraphy; light brown cover with gold-flecked label

Calligraphy Album, second half 18th century

Seki Ki'nei

Not on View
at bottom: male figure in flat boat, gazing upward toward a wispy willow tree at L; reeds at bottom and rectangular intaglio stamp LRC; at center, three small birds flying; at top, mountains in the distance; four line inscription at top with square relief stamp at L; gilt edges

Boating, 1936

Hirai Sōin

Not on View
rubbing of a mound-shaped monument with carved Japanese characters down center

Memorial for Buddhist Writings, 1880

Murase Taiitsu

Not on View
rubbing: negative image of a stalk of bamboo growing from LRC; stalk is broken off near top; cluster of bamboo leaves in LRQ; graceful, narrow branch with a few leaves grows from near broken top; inscription at R (in white against black background)

Bamboo, second half 18th century

Sō Shiseki

Not on View
letter in two different styles; first portion at R written in closely spaced cursive, with some lines running at a very slight angle; the last few lines are written in very neat, carefully spaced Chinese characters, with the last two lines becoming more expressive and curvilinear; mounted on light yellow/tan with gold flecks

Letter to Takeshita sensei, mid 19th century

Kōno Tettō

Not on View
four full lies of calligraphy on greyish colored paper; many of the characters have feathered edges from bleeding; two characters at URC; two characters at far L

Small Calligraphy, early 18th century

Miyake Sekian

Not on View
six irregular lines of looping calligraphy on dark beige paper; very faded, almost bleached-looking hints of flowers in background

Waka on Decorated Paper, mid 19th century

Hiraga Motoyoshi

Not on View
oval shaped rock listing to R with a few sprigs of thin foliage; two smaller boulders to L

Rock, early 19th century

Nagamachi Chikuseki; Artist: Ishikawa Gengaku

Not on View
two large, bold characters at R; smaller characters, including signature, at L center; very faint impressed tan outline of a kimono-clad woman in background; faint tan characters at LL; rectangular red intaglio stamp at UR; square red intaglio stamp at LLC

Spring Blessings, 19th century

Ōchikuan (Wang Chu-an)

Not on View
four large characters on a small sheet of paper, one in each quadrant; signature at far L; red rectangular relief seal URC; and square intaglio seal LLC

Clerical Script Calligraphy, 19th century

Yamamoto Tōkai

Not on View
two outlines of circular sword guard vertically arranged; top circle has upside-down image of waves at the top, and a flying crane's legs and tail feathers; lower image with white crane with wings spread, looking at viewer in profile at top; pine branches at bottom; crane's wings extend outside the circular outline; background of both images is a rusty orange-brown with brown and tan; when folded together, the two images form the top and bottom design for a sword guard; on very thin paper, mounted to paper backing

Crane Design for Sword-Guard, first half 19th century

Yamamoto Baiitsu

Not on View
eight lines of expressive calligraphy written with a relatively thin brush; rectangular intaglio seal URC; circular relief stamp at L center

Poem Leaf, mid 19th century

Kōno Tettō

Not on View
cluster of thin bamboo branches with leaves at L with a few delicate blossoming branches hanging from top; inscription at R

Bamboo and Plum Blossoms, mid 19th century

Fujimoto Tesseki

Not on View
five total lines: three full lines of calligraphy, fourth shorter line with signature; fifth longer line; red intaglio stamp URC; red relief stamp LLC

Snow Swirling in the Winter Wind, 1855

Miyahara Ekian (Senso)

Not on View
fifteen lines of scrawling cursive, first and sixth lines are bolder; far L line is much bigger, bolder, and written with more distinct characters; mounted on thicker paper freckled with gold leaf flecks

Letter, late 18th - early 19th century

Rai Shunsui

Not on View
one long line of writing, with a couple of connecting characters and long lines; two bands of gold flecks, one at top and one near bottom; signature at LRC

Spirit Festival, first half 20th century

Fukuda Kodōjin

Not on View
small human figure at center with red shirt and pointed hat riding a horse at center; leafless willow trees at ULC and along bottom half; small building at LLC; low hills in background; small boat (?) URC; inscription across top

Spring Landscape, second half 19th century

Taniguchi Aizan

Not on View
gnarled pine tree with dense foliage and roots to L of square-shaped rocks

Pine Tree and Rock, late 18th century

Signature of Yosa Buson

Not on View
seven lines of cursive script beginning just R of center of page; fold at R side with writing on back edge; mounted to white cardboard

Letter, mid 19th century

Kikuchi Gozan

Not on View
covered bowl with three feet; image of pine boughs on cover highlighted in light blue, green, and orange-yellow watercolor; bottom part of bowl has images of pine boughs, green, rocky landscape, and winding blue stream; also highlighted in blue, green, and orange-yellow

Design for Covered Bowl, first half 19th century

Yamamoto Baiitsu

Not on View
three long lines of calligraphy, some angular and connecting; short line with signature at far L; oval relief stamp URC; square relief stamp at LL edge; mounted to thicker paper with gold flecks

Autumn Waters, mid 19th century

Kikuchi Gozan

Not on View
twenty-four lines of angular, sometimes looping writing on long, narrow sheet; red intaglio stamp at LLC over final line

Letter, around 1700

Nangaku Etsuzan

Not on View
ten lines of very neat, evenly spaced calligraphy; second from last line contains a smaller character inserted between lines near top, and four smaller characters at the bottom; very old paper; red intaglio stamp with only two characters and plenty of negative space L edge, and circular relief stamp with spiraling dragon inside LLC

Chinese Poem, spring 1791

Ryū Kōbi

Not on View
robed kannon with large halo sitting on top of waterfall or cascading cloudbank; hands together under long robe sleeves at center; cascading lines forming impression of rocks and foliage; cloudlike or wavelike lines at bottom

Kannon, late 18th century

attributed to Totoki Baigai

Not on View
gnarled, twisting greyish tree trunk at L; mass of foliage growing out of a knot in center of trunk with wispy green leaves and puffy, red and white blossoms; gnarled branches with wrinkled, young green leaves and vibrant pink and white blossoms interspersed with forming fruits; large, swirling mass of light pink clouds at top; grey rocks and foliage at bottom center

Copy of Chinzan’s "Peach Blossoms", 1852

Kokubu Bun’yū

Not on View
23 very short (1-3 characters) lines of calligraphy on white fan with black borders; small, rectangular intaglio stamp at URC, small rectangular intaglio stamp ULQ; mounted on yellow board with gold flecks and tan border

Poem, second half 19th century

Yanagawa Kōran

Not on View
four lines of bold, looping calligraphy; a fifth shorter line at center left; and signature with two square red seals at LLC

Four-Line Poem in Cursive Script, mid 19th century

Hitotsuyanagi Kihō

Not on View
three full columns of calligraphy on square sheet; one character on fourth column; signature at left center; red relief seal at UR; gourd shaped red seal at LL

Autumn Poem, mid 19th century

Ishikawa Godō

Not on View
nine lines of calligraphy written on every other panel; signature at UL; rectangular intaglio stamp URC; square relief stamp UL; dark border at top and bottom of fan; mounted on black mat

Poem, mid 19th century

Kikuchi Gozan

Not on View
eleven full lines of calligraphy; one character at top of twelfth line; two broken lines (including signature) at far left; light tan outline around text; red seal at URC; two red relief seals at LLC

Calligraphy in Running Script, 1817

Kasai Inze

Not on View
nine lines, spaced well apart; first line slants slightly towards L; second to last line lighter, and shorter; last line (signature) indented slightly; two stacked stamps at LLC, top stamp intaglio, bottom stamp relief

Poem While Traveling, second half 18th century

Ryū Kōbi

Not on View
small songbird perched on blossoming branch with pink blossoms; branch extends from URC to LLC; bird is situated near URC; small inscription along R edge in black ink

Bird Among the Flowers, mid 19th century

Aone Kyūkō

Not on View
rubbing: rectangular inner border and eight character vertical inscription

Taiitsu's Grave Inscription, second half 19th century

Miyahara Setsuan

Not on View
two facing figures, rendered in black ink with a very fine brush; musician L is kneeling, wearing flowing robes, with drum on lap; figure on R kneels, also wearing flowing robes, bracelets, holding an object with two hands in front of face; Japanese character at UR

Two Buddhist Musicians, first half 19th century

Yamamoto Baiitsu

Not on View
pine tree growing out of LLC, upward to top center; a cluster of small pinecones near center; inscription at R

Pines and Rocks Never Old, second half 19th century

Nakanishi Kōseki

Not on View
rubbing of three character inscription with heavy wood grain pattern; vertical inscription along L edge

Tanrakuzan, late 18th - early 19th century

Kameda Bōsai

Not on View

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