Brightly colored painting with three primary registers. The uppermost and smallest register contains a poem. The lower two are larger and similar in size. The bottommost depicts stairs, architectural structures, snakes, and flowering plants. Above, the middle register frames a seated man under a canopy-like architectural form, who reaches out to grasp the wrist of a woman. Behind her is a flowering tree, and and the far right, and open door.
According to the poem in the top register, this is a scene of two potential lovers meeting. The pair do not clasp hands or embrace, but the male appears to be forcibly grabbing the wrist of the woman. They are separated by an architectural structure: He remains in his room, seated on his bed, while she holds her hand up to her mouth, unsure and hesitant.
The fertile flowering bush behind the woman may suggest his romantic overtures will be successful.
The lower register shows a pair of snakes, one emerging for an analogous architectural canopy-like structure. Another snake, on the stairs above. is separated from the one below by what may be a palm tree, and two flowers on either side leaning slightly in opposite directions. It has been suggested that these snakes, in contrast to the man and woman above, will meet an obstacle in their pairing.
Long inscription of artist at the end of the painting, titled: Dwelling Place of Small Clouds (Hsiao-yün hsi-t'u); Two artist's seals following his inscription: Lu Hui ssu-yin, Lien-fu; Frontispiece calligraphy by Chêng Hsiao-hsü (an artist, ca. 1860-1938)
The piece includes a large title section, landscape image of the garden,
two seals of the artist, and a portion of calligraphic text.
The text reads: "The Small Cloud Dwelling occupies a corner of Mr. Dingfu's Green Surrounded Mountain Villa in Nanxun. His respected wife, Lady Pang, used to meditate and chant sutras there… In the 8th month, fall of 1909, Lu Hui completed this painting …"
This handscroll was commissioned by a wealthy Shanghai patron to memorialize his mother, a devout Buddhist, who meditated at “The Small Cloud Dwelling.” The tranquility of the breathtaking scenery transcends the chaotic material world, making this scroll a moving expression of the deep feelings of a bereaved son. It includes a large title section, landscape image of the gargen, and a portion of calligraphic text.
The cicada is admired for its ability to sing. It is also associated with eternal youth as it lives longer than any other insect. The willow branch is associated with feminine grace and romance. The two have been paired in Chinese romantic poetry since ancient times.
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.
Inscription and signature of the artist: (After Lan Tianshu [a.k.a. Lan Ying, 1585–after 1664), copying [Dwelling in the] Fuchun Mountains by Dachi [a.k.a. Huang Gongwang, 1269–1354]. Ryûzan, man of leisure.)
In the lower third of the hanging scroll are three figures. Tao Yuanming is the larger figure on the right with his two attendants on the left. They are divided by a table. In the background is a screen which separates the figures from the landscape.
The subject of this painting is the Chinese poet Tao Yuanming, famous for pastoral poems about nature and agrarian life. Though a qualified scholar-official, he rejected the rewards and obligations of a government position, preferring to devote himself to pastoral pursuits. Tao Yuanming’s renunciation of money and power and love of nature became the archetypal values for Chinese intellectuals and artists. In this painting he is attended by two pupils, one holding a tray with an ink stone, water, and brush, and the other holding a bundle of blank scrolls for the inscription of poems. Beside him is a guqin, a seven-string Chinese musical instrument of the zither family favored by scholars and literati.
The daibutsu, or giant buddha, statue takes up the bulk of the pictorial space. Curving upwards and towards the statue is a large pine. At the feet of the green hued daibutsu statue are three women of different generations: a young girl, an adult woman, and an elderly woman. Although a few clouds hover in the sky, the sun appears to be shining brightly, casting some shadows of nearby trees into the picture.
Kawase Hasui worked in concert with the prolific twentieth century publisher of woodblock prints Watanabe Shôzaburo (1885-1962).
Kawase Hasui was especially known for his skillful depiction of landscapes and night scenes. His passion for landscapes led him to travel extensively throughout Japan, keeping a sensitive eye on his surroundings and sketching scenes from his journeys. His close attention to atmospheric conditions and light brought him much success and one year before his death Kawase was awarded the great honor of Intangible Cultural Treasure for his 1956 print “Snow at Zôjôji Temple.”
Vertically long image. Ink on silk. Multiple figures gathered near a table. Vegetation in the lower left.
The artist Gai Qi was from a family of Muslim origin that lived in southeastern China, near the port city of Shanghai. A professional painter living entirely on his art, he is best known for delicately rendered images of beautiful women. This garden scene of two young maids serving their mistress a platter of lichee fruit refers to the legendary incident in which when lichees were presented to Yang Guifei (719-756), the favorite consort of the Minghuang Emperor (r. 712–756) during the Tang dynasty. Lichees grow only in southern China, and the fruit was rushed north on horseback each summer to please the extravagant taste of Yang Guifei and her court ladies. One year when celebrating Yang’s birthday, the Emperor named his musical composition The Fragrance of Lichee. After Yang was killed in a riot, the annual arrival of the fruit reminded the emperor of his lost love and caused him great sorrow. This bittersweet motif is often found in Chinese literature and painting.
This cup is divided three parts into mouth, midsection and lower part of the body. The mouth is slightly everted. A handle is attached starting below the second band and ending close to the bottom. There is a line between each part. The color is green and the surface is not trimmed well.
This kind of sup has been found only in tombs in Gaya or Old silla, Three Kingdoms period.