showing 100 of 8390 results matching `department:"Japanese and Korean Art"`. (load 200 more)

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, Unknown Korean #231

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], Sesson Shūkei #244

Gesso, color, kirikane on wood, metal — Jizō, the Bodhisattva of the Earth Matrix, Unknown Japanese #251

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, Unknown Korean #232

Portrait Sculpture of Priest Gyōki, Unknown Japanese — Portrait Sculpture of Priest Gyōki, Unknown Japanese #252

Teahouse, Yasuimoku Komuten Company Ltd. — Teahouse, Yasuimoku Komuten Company Ltd. #164

Dragon [right of the pair Dragon and Tiger], Yamada Dōan — Dragon [right of the pair Dragon and Tiger], Yamada Dōan #166

Parinirvana of Sakyamuni, the Historical Buddha, Unknown Japanese — Parinirvana of Sakyamuni, the Historical Buddha, Unknown Japanese #241

depicting a composition of objects associated with the scholar's study — Books and Scholar’s Objects (Chaekgeori), Unknown Korean #233

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, Unknown Korean #196

jar, stoneware with underglaze iron-brown dragon motif — Jar with Dragon and Clouds, Unknown Korean #911

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
Unknown Japanese; Artist: Helmet by Saotome Iechika

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

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

G253

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
Unknown Korean

G206

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

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

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

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

G200

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
Unknown Japanese

G253

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

Not on View

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
Unknown Korean

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

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

G220

Manjushri Bodhisattva, early 15th century

Kichizan Minchō

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

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

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

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

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

G225

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

G223

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

Not on View

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

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
Unknown Korean

G206

jar, stoneware with underglaze iron-brown dragon motif — Jar with Dragon and Clouds, 17th century
Unknown Korean

G206

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

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

G206

tiger to the left of two bamboo; design within a circle, within a square; light blue floral design silk at top and bottom; brown floral design silk, middle; thin strip of dark blue floral design, top and bottom of image; has scroll box — Tiger Emerging from Bamboo, early 18th century
Kano Tsunenobu

Not on View

pallette is predominanty beige, grey, white and green; two white birds at bottom of panels 2 and 4; grey bird in tree in panel 3; owl in tree in panel 6 and a few other birds; painting on back of screen also — Birds in Landscape [right of a pair], early 16th century
Shūgetsu Tōkan

G221

oval basket with subtle feet; alternating ridges of open and closed weaving; looping design within inner lip; two curved "teacup" like handles — Flower basket, early 20th century
Tōkōsai

G223

large celadon colored cylinder with "crease" inside; rests on its side between two triangular wooden blocks; cone shaped porcelain tip screws into base of cylinder — Midair V–1, 2003
Fukami Sueharu

G240

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

G222

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

standing flame like form with waving vertical bands in matte red, matte black, glossy black with gold dots, and glossy black with embedded sparkles; small cutout near bottom; one of pair — Look, 1994
Sasai Fumie

G275

large biomorphic red lacquer form; one rounded anatomical end; opposite end resembles samurai helmet with deep fluting that converges to inverted point — Substantial Fruit, 2014
Sasai Fumie

G275

one of six volumes; woodblock printed books with text and diagrams for inside tea rooms, and for tea gardens; tan cover on book; books travel in folding navy blue case — Promulgation of the Contemporary Tea Ceremony, vol. 1, 1694
Endō Genkan

G224

male figure in monk's dress holding a large crustacean by its front feelers; curved staff behind PR shoulder; figure is standing on a shore; rock formation and gnarled tree behind him — The Zen Eccentric Xianzi [left of a pair of Zhutou and Xianzi], late 15th-early 16th century
Yōgetsu

G223

male figure in white monk's robes standing on sloping shoreline; figure holds out an animal head in his extended hands; rock formation in background with a canopy of foliage overhead; small eddy in water at L — The Zen Eccentric Zhutou [right of a pair of Zhutou and Xianzi], late 15th-early 16th century
Yōgetsu

G223

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

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

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

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

numbers three-four of six volumes; woodblock printed books with text and diagrams, with many examples of flower arrangement; tan cover on book; books travel in folding navy blue case — Promulgation of the Contemporary Tea Ceremony, vol. 3–4, 1694
Endō Genkan

G224

number two of six volumes; woodblock printed books with text and diagrams for inside tea rooms, and for tea gardens; tan cover on book; books travel in folding navy blue case — Promulgation of the Contemporary Tea Ceremony, vol. 2, 1694
Endō Genkan

G224

female figure in flowing white robes leaning over a rock, watching waves crash against the rock; waterfall in background; halo around figure — White-Robed Kannon [center of a triptych of White-Robed Kannon and Cranes], 1664
Kano Tan'yū

G223

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

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

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

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

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

G220

one large, bold and brushy calligraphy character at R; smaller two line inscription at L with signature at far L — Nothingness (mu), early 19th century
Kaimon

G224

bold two character inscription — Sophisticated Eloquence (Funju 噴珠), mid-17th century
Seigan Sōi

G224

Hotei leaning drunkenly over a large rock, holding a goblet out in PL hand; inscription at L — Budai, mid 17th century
Seigan Sōi

G224

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

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

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

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

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

crane standing, facing L, head up and beak slightly open; crane is standing on one leg with the other slightly bent; pine boughs at R — Crane with Pine [left of a triptych of White-Robed Kannon and Cranes], 1664
Kano Tan'yū

G223

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

crane standing on one leg with body facing R, and head bent back over wing to L; two stalks of bamboo at L — Crane with Bamboo [right of a triptych of White-Robed Kannon and Cranes], 17th century
Kano Tan'yū

G223

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

different images of Kannon, images of Buddha figures within large halos, with attendants, on lotus pedestals; text, some in Sanskrit — Iconographic drawings of the forms of Kannon, the Bodhisattva of Compassion, 5th month of 1230, fifth month of 1230
Shinken

G220

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

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

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

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

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

Not on View

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

glazed interior; dark olive, brown, and charcoal colored glaze with ochre, orange, and pink accented areas; 3 1/2" mouth diameter with slightly raised, rolled lip; several small bumps near mouth — Vase, 1988
Honoho Tankyū

G223

bald, white-robed monk with mischievous smile in tree with birds near upper left; at lower right, a man wearing dark, sumptuous robe and furrowed brow holds object up to face; followed by young boy carrying another object over PL shoulder; grassy, hilly landscape behind with stream — Zen Encounter: Niaoke Daolin and Bai Juyi, second half 18th century
Soga Shōhaku

G222

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

pallette is predominanty beige, grey, white and green; two white cranes on panel 2 with several other birds and ducks; bamboo on L; painting on back of screen also — Birds in Landscape [left of a pair], early 16th century
Shūgetsu Tōkan

G221

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

organic, gracefully curving wisp of black lacquered wood covered with tiny rectangles of mother-of-pearl; small, downturned point near end attaches to small, delicate pointed base with clear adhesive square — Living Ornamental Hairpin, No. 8, 2008
Murata Yoshihiko

G275

crane standing on one leg with neck turned and head tucked behind back, standing among grass blades, tree branches hanging from above coming from left side — Crane with Autumn Grass, late 19th century
Yang Gihun

Not on View

rectangular panel of blue silk with metallic gold and silver brocade designs of birds, leaves and scrolling vines; six squares of rose-colored silk with gold brocade designs of deities; purple silk backing — Buddhist priest's robe (kesa), c. 1800
Japan

G221

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

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

G223

One, Nihonbashi, Utagawa Hiroshige; Publisher: Maruya Seijirō — One, Nihonbashi, c. 1850-1851
Utagawa Hiroshige; Publisher: Maruya Seijirō

Not on View

jagged, towering rock formations at R with waterfall and gnarled pine trees; small pavilion on shore at lower center with fishing boat nearby; small footbridge connects two shores across a small channel with trees at L; bluish mountains in background; inscriptions ULQ — Early Spring Landscape, before 1533
Shūtoku; Author: Inscribed by Yōkoku Kentō; Author: Inscribed by Teihō Shōchū

Not on View

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

Not on View

snow-covered rocks at L with wilted, snow-covered reeds; hazy snowy mountain in background; patches of light gold wash; inscription at R — “River and Sky in Evening Snow,” from the Eight Views of the Xiao and Xiang Rivers, c. 1602-1603
Kaihō Yūshō; Author: Inscribed by Saishō Jōtai

Not on View

unsigned; image of two black lacquer kimono stands with different types of gold patterning, hung with various patterned kimono; koto (zither) in LRQ; tubular case with pink flowered brocade, pink tassels and gold bells hanging from right top corner of kimono stand at right — Whose Sleeves?, early 17th century
Japan

Not on View

unsigned; musicians and actors on stage at L with audience outdoors, looking on and talking to one another; fence and banners erected behind audience; building at R with men standing and talking behind walls, and others outside sitting and chatting — Okuni Kabuki, first quarter 17th century
Japan

Not on View

male figure in gray and white striped kimono grabs the wrist of a young female attendant who was handing him a red dish; other young women and geisha serve tea, play instruments, and dance around the man; small feast in front of man on ground, including large red snapper; scene takes place on a green dock over water — Summer Party on the Bank of the Kamo River, around 1800
Utagawa Toyohiro

Not on View

picnic set with four stacking bowls decorated with bands of flowers and foliage from each of the four seasons; sake flask created from bamboo, with bamboo leaf motif and crested flying birds; sides of caddy are decorated with wisteria; lid for stacking bowls features phoenix with chrysanthemum design; silver handle — Picnic set with plants from the four seasons, 18th century
Japan

Not on View

drum core in shape of two adjoined chalices; black lacquer with gold flecked grape vines, leaves, and squirrels — Large hand-drum core with grapevines and squirrels, late 16th century
Japan

Not on View

showing 100 of 8390 results matching department:"Japanese and Korean Art". (load 200 more)