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.
Carved wooden decoy of a Pike fish; green along dorsal region with yellow underbelly, spots and flecks of yellow, white, and black.
Used for both functional and decorative purposes, the decoy of a Pike fish is typical of Peterson’s basic design consisting of a protruding jaw, with a curved slender body and realistic color techniques. Using wood as his primary material, he also employed metal fittings for fasteners and fins.
The cover has a button-shaped knob at the top and is mostly plain. The mounted bowl has a outward-turned rim. This type of mounted bowl may be deated to sometime in the early 5th century.
Mounted bowl was made in prehistoric times of Korean, China and Japan. It is presumed to be used for personal vessel or ritual vessel. The leg was holed to decorate the bowl or lessen the weight of the bowl. This kind of bowl was found in Silla and Gaya Dynasty. After Silla, the leg become shorter.
This painting inculdes the seal of the artist Ren Xun. A crane stands in the foreground, with it's head and beak turned toward the viewer, revealing a patch of orangish red on its face. A pine tree arches across the background above.
Ren Xun, best known for painting birds and animals, was the younger brother of Ren Xiong’s (1823–1857). This elegant painting of a crane, a symbol of immortality, and pine and bamboo, symbols of longevity, is appropriate for birthday or New Year’s gifts. To suggest the cold season, Ren Xun chose orange pigment to depict the pine needles.
Black crepe silk with origame crane designs hand-painted by paste-resist yûzen techinique, in colors and gold pigment. Lining is pink silk damask with woven pattern of truncated floral medallions. Double oak leaf crest (kashiwa) is embroidered with bokashi-dyed blue and white 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.