This piece depicts boats decorated with lanterns, the evening sky and festivities. The shore is lined with teahouses set up for the event. The title for the print is located in the upper right corner in a red box.
The series Rokujuhoshu meisho zue depicts a famous place from each of the 68 provinces and the capital, Edo. Each of the 69 prints in this series, and the contents page, is a vertical composition.
In Tsushima, Aichi Province, on June 14th and 15th a festival is held, called Tenno Matsuri. Teahouses like the ones seen in this print would have been set up along the riverbank for the occasion in honor of the deity Gozu Tenno. This piece depicts boats decorated with lanterns, which would normally have close to 400 paper lanterns, decorating the evening sky and festivities. This particular arrangement is based off of the 1844 illustration "rokugatsu jyuyon nichi yuu" by Odagiri Shunko, from Owari Meisho Zue.
This vertical print frames a view of a landscape with an up close view of a bird in the upper right corner that takes up about thirty percent of the image.
The viewer is positioned alongside the bird, circling the sky above the twin peaks of a mountain. A crate floats in the water below while smaller birds flocking around it. Snow covers the ground.
The signature and title markings are in the upper right corner, and in the middle along the left side above the landscape.
In this series Hiroshige combines his mastery of kacho-e and landscapes, while incorporating innovative compositions and color choices. His use of vertical format literally turned ukiyo-e on its side, transforming the traditional horizontal structure of woodblock prints. He also makes use of striking figure-ground framing techniques, of which this print, Fukugawa, Ten-million Tsubo Plain at Suzaki, may be the most famous example.
The viewer is positioned alongside a black kite, or tonbi, circling the sky above the twin peaks of Mount Tsukuba. In Japanese culture the tonbi is understood as an inexorable hunter and scavenger, and her favorite food is fabled to be abura age, or thin pieces of fried tofu. This tonbi may be after a floating crate of abura age below or the smaller birds flocking around it.
A village by a lake is shown in the snow. Several travelers are walking in the streets. The snow is steadily fallling and covers their hats, the roofs of the houses, the trees and the mountains. The title is in the upper right corner in a red box.
A procession enters the village of Fujikawa, the 37th stop along the Tokaido Road. Many feudal lords travelled the road, so many stations, much like Fujikawa, would have had multiple inns for travelers.
In the main street of Goyu village at nightfall, female touts aggressively solicit travelers by dragging them into the tea-house on the right, where one is already resting. The large circle on the wall bears the sign of the publisher of the series, Take-no-Uchi, which was omitted in later issues. On the sign-boards inside are given the names of the engraver, Firobei; the printer, Heibei; and the artist, Ichiryusai.
A ritual object for use in royal and religious cermonies, this bronze is cast by the lost wax process in the shape of a conch, with an intricately decorated surface. The tripod stand, which may not be of the same date, is has three coiling serpentine legs that end in stylized naga (serpent) heads with cobra-like fans.
A buff sandstone sculpture of a lion, sitting erect with its front legs extended, all on a stone platform. The legs have been fully released from the stone, while surface details such as the curly mane and the tail are carved in low relief. In keeping with its role as a guardian figure, the lion has buldging eyes and its lips are drawn back to reveal sharp teeth.
A stylized lion, of the type that originally stood at the base of stairways to temple buildings of the Khmer empire in Cambodia of the 9th through 13th centuries.
Inscription of artist: Playfully painted by Ch'en Tsun at the Treasure Ink Studio on the 15th day of the 12th month, 1612. (Wan-li jen-tzu la-yüeh wang-jih hsi-tso yü Pao-mo chai Ju-hsün-fu Ch'en Tsun) Seals of artist: Ch'en Tsun ssu-yin, Ch'en Ju-hsün shih.
In this painting a well-fed cat nestles contentedly among the grass and flowers, relaxing on the bank of a stream.
In this charming example of bird and flower painting, the animated cat, comfortably ensconced, gazes directly out at the viewer.
Rejecting detailed realism, Chen Zun freely paints the cat in light, lively brushstrokes, making effective use of the white space of the paper. Rocks, flowers, and grasses are skillfully depicted in different tonalities of monochrome ink.
Porcelain bottle vase of double gourd design, flat on reverse side with a slot for hanging on the wall, possibly inside the chamber of a royal sedan chair. Dragon motif is represented on both the upper lobe and the lower one.
In China, the double gourd or calabash is a symbol of the unity between heaven and earth. The gourd with dragon design would be part of the roya decor produced in Jingdezhen during the Wanli period of the Late Ming period.