🔎 department:"Japanese and Korean Art" | Mia

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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, mid 17th century
Suit by Unknown Japanese; Artist: Helmet by Saotome Iechika

G219

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

Gesso, color, kirikane on wood, metal — Jizō, the Bodhisattva of the Earth Matrix, early 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
Not on View

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

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

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

G200

South Wind, Clear Weather, Katsushika Hokusai; Publisher: Nishimuraya Yohachi — South Wind, Clear Weather, 1830-1833
Katsushika Hokusai; Publisher: Nishimuraya Yohachi

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
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

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

Not on View

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

G220

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

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

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
Unknown Japanese

Not on View

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

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

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, 17th century
Korea

G206

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

G206

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

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

G222

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

Not on View

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, around 1600
attributed to Kano Naganobu

Not on View

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

grey accordion bound album with silver painted detail; label with gold flecks and Japanese inscription center of front cover; contains colorful woodblock prints — Things from Many Worlds, Vol. 3, January 1910
Kamisaka Sekka

G238

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

G200

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

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

G224

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

rectangular sake container with two gold ducks swimming away from a sprig of reeds on either side; small, graceful willow with lotus leaves on shore on both short ends; grass design on top with spout top center — Sake container with design of ducks, 17th-18th century
Japan

G221

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

G220

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

G225

white heron about to alight on a shore near a jagged branch, with wings spread and legs splayed; smaller heron near LL wading in grasses along shore; against gray background — Herons, 17th century
Japan

G221

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

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

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

tall vessel with graceful widening near top; fluted into six sections; short, thin neck with high mouth; two concentric inscribed circles below neck; horizontal inscribed markings around center — Lobed maebyeong, 13th century
Korea

G206

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

G220

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

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

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

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

standing female figure holding a jewel in extended PL hand; holds PR hand open and down in blessing greeting; long robes with long, rippled sleeves; stands on red base — Shri-mahadevi (Kichijōten), first half 14th century
Japan

G220

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

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
Japan

G220

underglaze cobalt blue design of reserved panels of flowers and birds separated by scrollwork with birds and flowers; vertical band of triangles and more scrollwork on lid — Apothecary bottle with mynas and peonies, c. 1660-1680
Japan

G222

pitcher with very narrow neck with decorative disk within neck, and narrower, needle-like mouth; short, squat, segmented spout with loose cap; thin incised lines around soft shoulder; green patina — Water vessel (Kundika), 918-1392
Korea

G206

landscape scene with dark blue water and puffy gold clouds, brown rice fields, trees, mountains; a few huts amid fields; small temple complex on a peninsula; people on boats — A View of Ama no Hashidate, early 17th century
Japan

G219

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

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

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

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

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

10 panel screen with mounted colorful images of children playing in gardens, climbing trees, swimming, playing games — One Hundred Children at Play, late 19th 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

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

Not on View

longbow with reddish colored lacquered wrapping forming spiral pattern around bow; dark grip; dark reed bands at grip, top, and bottom — Longbow, 19th century
Japan

G219

black bow with repeating thin bands of wrapped reeds; each band has gold outline; small decorative swirly knot on face below grip — Longbow, 19th century
Japan

G219

orange lacquered bow with dark woodgrain pattern; leather and wide reed grips — Longbow, 19th century
Japan

G219

black lacquer longbow with decorative reed bands; reed bands at top and bottom have decorative knotting on outside face — Longbow, 19th century
Japan

G219

thin, reddish longbow with groupings of narrow reed bands; reed grip — Longbow, 19th century
Japan

G219

longbow burnished with silver, with red coloring peeking through; marbled pattern of red, black, and gold at top and bottom ends of bow; wide reed upper grip, with leather strip lower grip — Longbow, 19th century
Japan

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
Japan

G205

from Ōho Chozaemon tradition; rather flat ring foot; rather flat bottom; slightly outward-flaring vertical sides; brown glaze; incised linear dot pattern on exterior — Ōhi tea bowl, 1991
Ōhi Toshio

G224

two black and orange birds perched in the lower limbs of a tree branch; wispy, willowy branches interspersed with pink and purple flowers — Swallow's Song in Spring Breeze, 1852, 3rd lunar month
Tsubaki Chinzan

G223

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

Not on View

black lacquered box with stylized thatched-roof house with peaked gray roof and low eaves; gold fence at R; gold tree at L with round mother-of-pearl blossoms — Small box with country house, 1920s
Kamisaka Sekka

G238

two-paneled screen with silver background; each panel has two gold fans; R panel: moss-covered tree with white blossoms; red chrysanthemums with blue flowers; L panel: tree with arced limbs and bushy clumps of foliage; blue wave cresting in front of red sun — Screen with four fans, 1920s-1930s
Kamisaka Sekka

G238

round box with black lid painted with a cluster of silver and gold violets; wood grain sides; black lacquered feet — Sweets box with violets, 1920s
Kamisaka Sekka

G238

black bowl with fine grained, gritty texture; hints of red on inside and outside wall — Black Raku Tea Bowl, before 2006
Kitamura Tatsuo

G224

black lacquered, high walled tray with crescent-shaped cutouts on sides near top; simple, silver wavelike pattern painted on each side; celadon glazed cup with vertical incised lines and incised square motif around lip; small bamboo cylinder — Tobacco tray with wave design [one of a pair], 1920s-1930s
Kamisaka Sekka

G238

wooden calligraphy box with two stems of bright blue flowers with green leaves and gold veins; includes brush, silver weight or brush rest, wooden tool rest, two metal and wood tools, green ceramic ink stone, and yellow ceramic water dripper — Calligraphy box decorated with gentians, 1920s
Kamisaka Sekka; Ceramist: Eiraku Zengorō XV; Manufacturer: Ichinose Kohei

G238

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

black lacquered, high walled tray with crescent-shaped cutouts on sides near top; simple, silver wavelike pattern painted on each side; celadon glazed cup with vertical incised lines and incised square motif around lip; small bamboo cylinder — Tobacco tray with wave design [one of a pair], 1920s-1930s
Kamisaka Sekka

G238

funnel-shaped vessel with gentle fluting; three bowed panels join forming folded edges; pale blue color — Clear Daybreak, 1984
Fukami Sueharu

G240

string-bound book of block printed images of birds, landscapes, trees, and foliage; decorated paper cover with blue wavy fibers — Picture Cards, Vol. 2, February 1901
Kamisaka Sekka; Publisher: Tanaka Jihei

G238

collection of colorful, humorous, abstract images and designs secured with metal brad at top; comes in hard cover folio with Japanese title and anthropomorphized kanji character in red circle; English information on back — Humorous Designs, April 1903
Kamisaka Sekka

G238

Boy on a Bull, Ueda Kōchū — Boy on a Bull, late 19th century
Ueda Kōchū

Not on View

wooden tray with tree: wide brown trunk with moss; three puffs of green foliage; silver rim; rounded edges — Tray with old pine tree, 1920s-1930s
Kamisaka Sekka

G238

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

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

Flat, circular body; greenish white glaze; has lidded wood box — Flask, 17th century
Korea

G206

Punch'ong / Buncheong stoneware wine bottle in 'rice bale' shape, painted in underglaze iron brown on brushed slip; flowering plant with two drooping stems — Bottle in the Shape of a Bale of Rice, 15th century
Korea

G206

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

G206

alley/ pedestrian street with vending machine and flowering cherry blossom tree on R; black metal frame on light box — Tokyo Story 7: Nightfall (after Hiroshige), 2011
Emily Allchurch

Not on View

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

G219

round-bodied jar with a small foot; dome lid and dome finial; one applied spiral coil handle; decorated with repeating stamped design — Lidded Jar with Handle, 9th century
Korea

G206

ceramic jar with stand; round body jar with flared rim and two small handles at upper shoulder; stand with flared base and rim, tapered body to rim, open through middle, six band decoration with staggered open rectangles cut out off each band; unglazed. Three Kingdoms Period (Kaya). — Jar with Tall, Perforated Stand, 5th century
Korea

G206

small irregularly gourd-shaped ceramic vessel; goma splash glaze; concave bottom; brown glaze with rust and gold areas; ivory lid lined with gold leaf; has storage box — Tea caddy, late 16th century
Japan

G224

central seated figure (Ksitigarbha) holding a clear sphere between cupped hands, circles about body and head; figure surrounded by people with two smaller figures below. — Ksitigarbha and the Ten Kings of Hell, 18th century
Korea

Not on View

four sided basket with open weave, narrows towards top, round opening; short irregular handle made of twisted strips of bamboo wound over a round piece of bamboo; one twisted strip of bamboo ends in large loop on one side of handle; flower cylinder is reddish-brown lacquered bamboo with ridges, lined with copper — Passing Showers, early 20th century
Wada Waichisai II

G223

two peacocks standing side by side on tree limb URQ; peacock at front faces L, peacock in rear looks out directly at viewer; tails cropped off R edge, returning to frame LRQ; branch trails to LL with white blossoms — Peacocks Standing on a Blooming Magnolia, second half 19th century
Kawada Shōryō

G223

accordian volume with grey cover and silver detail; inside contains colorful woodblock prints — Things from Many Worlds, Vol. 1, May 1909
Kamisaka Sekka

G238

R screen: large tree at R with branches and foliage extending over several panels; cluster of squared rocks at R; lotus blossoms and leaves at R; hawk perched on stone near center; another hawk at UL about to dive downward — Hawks by a Stream [right of a pair], mid 17th century
Soga Nichokuan

G221

large plate in form of a lily pad resting on three cylindrical black feet — Clarity, 2003
Fukami Sueharu

G240

vertical squarish, thin form with vertical ripples near upper corner; triangular cutout at center of bottom edge; mounted to light wooden base — Between the Waves, 1984
Fukami Sueharu

G240

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