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.
Three black and white photographs of young people's faces are vertically arranged. Above each and below the center image are smaller versions of similar portrait photographs. Four of these smaller photos are also arranged in the line of the large photographs, one on each end, and two separating the larger pictues. All the photos are surrounded by an arrangement of light bulbs, which are connected by a network of electrical cables that snake along the walls and over the photos.
The subject of Boltanski's mixed media piece is the Holocaust and Holocaust memory. The photographs in the piece are enlargements from a 1931 graduating class picture from a Jewish high school in Vienna, the Lycée Chases. The piece is both a memorial to the victims and an engagement with the fate of the memory of the dead.
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.