Rama and Lakshmana sit under a tree with the King of the monkeys, surrounded by monkeys. Some monkeys have taken to flight in the upper corners of the drawing. With a few deft strokes the artist conveys the swiftly changing emotions of the moment, as the monkeys respond with astonishment, empathy, and action to Rama’s pleas.
In this drawing for a scene from the Ramayana, the hero Rama and his brother Lakshmana are seen entreating Sugriva, king of a divine tribe of monkeys, for aid. The brothers had searched in vain for Sita, Rama’s beloved wife, after she had been abducted from their forest hermitage. While they are conferring, several monkeys of Sugriva’s divine tribe take to the skies, eager to begin the search.
This jar has a long and upright mouth with a robust shoulder that give way to a body tapering toward the base. The crane, cloud, pine tree and rock are painted with blue and red copper pigment.
This body shape has prevailed the entire Joseon period but the tall mouth is a unique end Joseon feature. The parallel use of these two colors started in the late 18th century to continue into the following century, and seem to have been influenced by colorful folk painting.
Lacquered wooden box with inlaid mother-of-pearl in double-dragon design. The heads of each dragon stretch diagonally inward from opposite corners of the box, with wide eyes and open mouths. Their bodies curve in and out of the top plane of the box, creating an opposing effect with symmetrical balance. The dragons reach forward towards a flaming orb in the center of the box, called a cintamani, or Buddhist wish-granting jewel. Among the dragons are swirling cloud designs made of inlaid nacre and copper wire.
Box decorated with double-dragons reaching for cintamani (Buddhist wish-granting jewel).
Travelers are seen on a winding mountain pathway, among overlapping layers of mountains.
n this painting, Goshun depicts the rounded mountains of the Japanese landscape in a Chinese-derived composition and brush techniques. Some typically Chinese elements in this work include the theme of travelers on a mountain pathway, the composition which winds upwards in an S-curve, and the depiction of overlapping layers of mountains. Apparently Goshun painted this scene again and again to fufill the requests of his admirers because at least five versions of the Road to Shu by Goshun still exist.
A watercolor primarily in greens, blues, black and grey depicting a landscape with rolling hills and a tower and lake in the distance. A family of weary travelers are positioned in the shaded left foreground. A herd of sheep and two donkeys rest in the sunlit fields in the mid-ground.
A landscape with hills, travelers, animals and a tower in the distance.
The majority of this print depicts a deep architectural setting. In front of the buildings a wedding procession takes place. Rats, in daimyo fashion, are celebrating.
The Rat’s Wedding is a fable known across much of Asia, including Japan, in which a young rat female comes of age. Her parents decide to wed her to the most powerful being in the world, and ask the sun to marry her. Although honored by their request, the sun tells them that clouds are stronger than he, blocking his rays. They make their proposal to a cloud, who directs them to the wind, and the wind bows to the strength of the wall. The wall explains that the strongest force in the world is a rat, able to make holes in his frame. The rat maiden is finally wed to a rat, and the jubilant procession is depicted here.