🔎 department:"Japanese and Korean Art" | Mia

Visit Japanese and Korean Art

The collection of Japanese and Korean art includes over 7,000 works ranging from ancient to contemporary and is amongst the top five collections in the United States. The permanent display space for Japanese art is the largest in the Western world with 15 galleries and over 10,000 square feet (930 sqm). The collection itself includes Buddhist sculpture, woodblock prints, paintings, lacquer, works of bamboo, and ceramics, and it is particularly rich in works from the Edo period (1610–1868).

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

G220

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

G219

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

G205

Gourd-shaped with lid; spade-shaped protrusion with opening on top of ewer handle; top of curl on lid handle is gilded; has lidded wooden box — Ewer in the shape of a gourd, 12th century
Korea

G206

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

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

G200

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

Not on View

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

G205

new frame and border; central seated male with two children next to him, surrounded by people in a garden; scattered groups of people within nearby buildings and out of doors engaged in activities — General Guo Ziyi's Banquet, mid 19th century
Korea

Not on View

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

Not on View

Fine Wind, Clear Weather, Katsushika Hokusai; Publisher: Nishimuraya Yohachi — Fine Wind, Clear Weather, c. 1830-1831
Katsushika Hokusai; Publisher: Nishimuraya Yohachi

Not on View

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

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

G220

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

G225

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

Not on View

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

Not on View

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

Not on View

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

Not on View

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

Not on View

jar, stoneware with underglaze iron-brown dragon motif — Jar with Dragon and Clouds, 18th century
Korea

G206

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

G223

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

G219

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

G222

polychrome wood statue of a Confucian scholar standing, holding a book (?) downward at waist toward the viewer, wearing a long flowing blue robe, red waisted skirt with black belt and a black hat — Attendant to a King of Hell, 19th century
Korea

G206

depicting a composition of objects associated with the scholar's study — Books and Scholar’s Objects (Chaekgeori), 19th century
Korea

G206

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

G205

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

G275

unsigned; scene with figures in foregreound: group of attendants on L with man in white facing woman in white; landscape with water in background on R; interior on L; gold leaf background — Emperor Ming Huang and Yang Guifei with Attendants [left of a pair of Chinese Subjects], around 1600
attributed to Kano Naganobu

Not on View

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

G276

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

Not on View

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

G220

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
Japan

G220

unglazed stoneware, blackish with touches of white around rim and in crevices; beak on rim with two holes and touch of red pigment inside it; one-third of rim decoration is broken off; incised linear and swirling motif around shoulder; textured surface on underside and below shoulder design — Jar with broken rim, 11th-5th century BCE
Japan

G205

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

G205

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

G205

squat tea container with short, upright neck; dark brown glaze with areas of tan and yellowish tinting; incised horizontal line; small ivory cover with small knob — Tea caddy, 18th-19th century
Japan

G224

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

G224

tea pot with raised neck and wide handle; black-brown design against beige background; cherry blossom motif on one side, willow branches on opposite side; tendril-like designs on spout and neck; spots around neck; petal-like lines and spots on lid — Ewer with willow and plum blossoms, early 17th century
Japan

G219

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

G225

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

G224

large, brown ceramic jar with short, reddish-brown neck and lip; area of dripping, dark glaze down one side+ — Storage jar, 15th century
Japan

G223

square box with rounded corners; black lacquer with gold flecks; stylized peacock with outstretched wings and erect tail on cover; peacock feather designs in gold inside — Incense box with peacock, 16th century
Japan

G224

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

G220

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

G220

stoneware jar with brownish ash glaze evenly distributed, mostly on the upper shoulder; wide, low shape with wide mouth and short, straight lip; foot pierced in five places with small rectangular openings; five band design around upper shoulder with alternating motifs of concentric circles and triangles with cross-hatching; bands separated by incised lines — Small Jar with Perforated Foot and Stamped and Incised Designs, late 6th - early 7th century
Korea

G206

black stoneware decorated with close, thin vertical incised lines around body; squat shape with flat shoulder, short neck, flat, flared mouth — Oil bottle, 9th century
Korea

G206

pitcher shaped like a melon; short, curved spout; handle rises above spout height at top; small cover with tiny loop on top, resembling a melon vine — Ewer in the shape of a melon, first half 12th century
Korea

G206

small, light gray-blue lidded container with inlaid design of stylized chrysanthemums and dark, arabesque stems; organic design around outer border — Covered box with chrysanthemums, 13th century
Korea

G206

white bottle with looping floral decoration on body; incised lines around base of neck and body; narrow neck, wide body, narrow foot slightly flaring mouth — Bottle with floral design, late 15th century
Korea

G206

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

G225

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

G225

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

G225

inverted pear-shape; short neck; round mouth is wider than neck; light green glaze with darker green foliage and flower motif; lid is bell-shaped with darker grayish glaze and darker vine design — Maebyeong with chrysanthemums, 11th-12th century
Korea

G206

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

G224

abstracted peony motif in shades of brown; narrow base, wider shoulder, short lip — Maebyeong with peonies, 11th-12th century
Korea

G206

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

G225

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
Japan

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
Japan

G205

Bowl on Pierced Foot — Bowl on Perforated Foot, 5th century
Korea

G206

Square Lacquer box (for storing incense?), chrysanthemum design on exterior with butterfly design on interior of lid; black lacquer, maki-e and mother-of-pearl shell inlay, and metal — Box with chrysanthemum design, mid 16th century
Japan

G224

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

Not on View

Six-panel half-height screen (chu-byobu) depicting a group of elegantly dressed women enjoying a maple leaf viewing party. Gold clouds in gold leaf cover the upper 1/5 of the top of the composition, while the lower portion is dominated by a white curtain that creates the space of the party. In the right two panels, a group of male figures, one on horseback, has arrived and seems to be communicating with some of the female figures who emerge from behind the curtain. — Maple Viewing Party, first half 18th century
Miyagawa Chōshun

G219

Kundika (holy water bottle) high shouldered, ovoid body with tall neck and small spout; celadon, olive green glaze — Water Vessel, 14th century
Korea

G206

covered wine ewer melon-shaped with curved spout and handle simulating bamboo; motif of peonies, lotus flowers and vines; grey-green celadon glaze and cream underglaze; porcelaneous ware with incised decor under celadon glaze — Ewer in the Shape of a Melon, 12th century
Korea

G206

gilt-bronze Buddha; one hands holds holy water bottle, other is damaged; meant to be seen from front, back has three open rectangles (gilt chipped at lower half) — Standing Buddha, 8th century
Korea

G206

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

G205

Mishima Bowl; all-over comb motif with five flowers in interior and band of flowers circling sides; pottery with grey glaze, stoneware — Bowl with Stamped Comb Design and Flowers, 15th century
Korea

G206

vase with pale gray-blue glaze and dark stylized leaf pattern on two sides; narrow foot with widening at shoulder; narrow neck; cupped mouth with high vertical lip — Bottle with leaves, 11th century
Korea

G206

round, flat object with scalloped, pointed edges; raised knob at center; rough ship just R of center knob; stylized waves at L; four Korean characters at top center; green with patina — Mirror showing a ship at sea and inscription, 12th century
Korea

G206

round bronze medallion with raised knob at center; five bands inside encircling center knob; each band with different figures inside including four directional guardian animals and twelve zodiac signs in relief — Mirror with Cosmological Design, 12th-13th century
Korea

G206

squat, low bowl with gray-green glaze; diagonal zigzagging lines circle the bowl near lip; domed cover with multiple rings of zigzagging diagonal lines; ring of flowers around widest portion; bowl sits on very low foot — Covered box with wavy lines and chrysanthemums, second half 15th century
Korea

G206

light green and tan bottle with grey recessed areas; pear-shaped; round foot; raised, billowing, floral leaf patterns — Bottle with peony leaves, second half 15th century
Korea

G206

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

G224

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

G224

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

G237

inverted pear-shape; slightly flared bottom; small crane and cloud designs — Maebyeong with flying cranes and clouds, 12th century
Korea

G206

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

G220

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

G205

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

G222

shallow dish with stylized design of green fog revealing blue flowers, ferns, and grasses; blue floral and vine designs on underside; blue vertical bars painted on foot — Plate with autumn grasses, 17th-19th century
Japan

G219

shallow dish on low foot; blue and white design of folded fans in lower half, with ornate brocade background; pale green upper; floral and vine design on underside with overlapping flower petal motif around foot — Plate with folded fans and geometric design, late 17th century
Japan

G219

shallow dish on low foot; design of three blue cylindrical baskets with open weave, filled with robust red cherry blossoms; stylized waves at bottom; blue flowers with vines on underside and vertical painted ridges on foot — Plate with baskets and cherry blossoms, late 17th century-early 18th century
Japan

G219

small earthenware cup with lid; cup has upward hooking handle on side and slightly protruding collar for lid; lid has small knob at top — Small lidded jar with handle, second half of 5th century
Korea

G206

Lozenge-shaped body with short flaring neck and small foot; slightly more rounded on one side; brown glaze with slight tan streaking — Flask, 15th century
Korea

G206

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

G219

Noh costume (nuihaku) with autumn flowers, Japan — Noh costume (nuihaku) with autumn flowers, mid 17th century
Japan

G219

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

G225

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

G225

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

G225

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

G225

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

G225

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

G220

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
Japan

G237

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
Japan

G237

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

G225

small plate with scalloped edges; blue underglaze design of a fully blossoming peony with leaves and buds; thin grass sprays in background; elevated on foot; bar design on foot; stylized leaf design outside — Plate with Peonies, c. 1720
Japan

G219

large bottle with relatively short neck from rounded shoulder; rust colored body with mottled, gritty, raised gray, ochre, cream overglaze — Sake Bottle, 17th century
Japan

G223

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

G223

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

G225

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

G225

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