Signed: Kai Ch'i; Dated: keng-ch'en (1820), eighth month. With an inscription by Huang Ju indicating tht the painting was presented to the artist Ch'ien Tu (1763-1844). Seals: One of Kai Ch'i: Kai Ch'i. One of Huang Jun: (undecipherable). Three collectors' seals: Chang Shou-chieh yin, Yung-yü shu-chai, Kuei an lu hsin yüan shen-ting. Additional inscription: On the mounting, giving biographical information about the artists and with three seals on the mount, including Teng kang wu kang, Ch'ing Yao and one other.
A scholar sits in a relaxed posture at his desk looking at cut plum blossoms in a white vase; before him is an empty sheet of paper and ink stone, and by his side an attendant is boiling water for tea. A crane tucks her head and leg to keep herself warm in the cold winter air. The scholar seems to be contemplating a subject to be drawn or written, perhaps related to the flowers.
A crane—an auspicious bird that denotes longevity—tucks her head and leg to keep herself warm in the cold winter air. Plum blossoms, like bamboo, were a favorite subject of literati artists (educated public servants who practiced painting and calligraphy), for their beauty and sweet fragrance. They were also a symbol of great moral integrity because they bloom in early spring when there is still snow.
The colophon is by Huang Chun and indicates that the painting was presented to the artist Chien Tu (1763-1844). There are a seals of the artist Gai Qi, Huang Chun, and three collectors.
Metal brooch in the shape of a fan with incised and inlaid decor, including floral designs. "Bodai no tame" is inscribed along with the artist's signature, Taniguchi Haruki, and indecipherable characters.
Bodai no tame means "in memoriam."
Obidome were very popular in the Taisho and early Showa periods.
This vessel is in the shap of a fan, raised on a mold-blown stem, on a domed foot. The vessel has a raised design on both the fan and foot and is made from orange/pink iridescent glass.
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
This fan painting shows a mountain village teeming with activity. The peaceful scene provides a glimpse at daily life, depicting villagers pushing carts of goods and traveling into and out of town, sometimes on horseback. The eye follows this lively village of white buildings and tan roofs as it weaves its way up the mountain slope to what appears to be a royal dwelling or city center capped with emerald green rooftops and enveloped by rolling white clouds.
Round fans like the one mounted here lent themselves well to the hanging scroll format, for they were typically painted on silk rather than fragile paper. The use of fan paintings as the focal point of hanging scrolls is a testament to how fans were appreciated not only for their functionality, but for their artistic beauty as well.
A temple lies in the not-so-distant background of tree and mountains. Travellors weave their way along the path, some on horseback. They have their heads covered--some with cloth and some with hats.
This fan painting depicts a well-known historical event of the Kaiyuan era (713–41), when seven prominent scholars celebrated the first winter snow by venturing forth together for an outing to the famous Longmen temple outside of the capital city of Chang’an (today’s Xi’an). This attractive fan was painted by Sheng Maojun, the younger brother of the renowned painter Sheng Maoye from Suchou.
Light mauve silk with appliqued Saga brocade patches of gold fans with calligraphic poetry on them. The calligraphy has been brushed on paper with gold flecks (sunago). which is the weft of the Saga brocade; brown silk thread is the warp. Partially backed with a different silk, a taupe with deliberately knotted weft; reamainder backed with plain-weave taupe silk.
Saga brocade obi with woven poetry inscribed fan designs.
Black plain weave silk with hand painted, embroidered, and appliquéd designs. Lining with hand-painted peaches, melons and other fruits on white silk with bokashi dye toward pink at sleeve ends and lower edge of back. Single crest on the back of paired oak leaves (kashiwa) embroidered in brown and gold thread
The haori was originally part of a man’s formal attire, but in the nineteenth century, female entertainers in Edo (modern Tokyo) adopted it as a cloak for outdoor wear in mild weather. By the end of the century, married women of the upper class adopted black crepe silk haori with family crests (such as that seen here, at the back of the collar) for formal, public occasions. For much of the twentieth century, the haori has been the standard outerwear for a woman who dresses in a kimono outside the home.
This white porcelain jar has the design of six Chinese sages and an attendant boy with blue underglaze in delicate brushwork. One sage is reading a book, while another is listening. The attendant boy is standing next to the sage with a book. Other four sages are looking at a long hand scroll. Some sages hold staffs on their hands. One sage has a string instrument. The jar has a broad shoulder and an inverted mouth, where the lid is placed. The knob of the lid is in a shape of a reclining boy (unpainted), surrounded by books, hanging scrolls, a cane, and a fan, which are painted with blue underglaze. It also has a shallow foot.
Chinese sages are engaging in literati activities: reading books and looking at scrolls.