It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.
This is a typical bottle type of the late Joseon period, having the characteristic features of a long, thin neck and flat oval body. The bottle was likely produced at the Bunwon-ri kilns in Gwangju, Gyeonggi-do Province.
This pen and ink and wash drawing depicts a view of a town amidst a hilly landscape. A dog stands atop a hill and looks toward a body of water in the midground. A cluster of buildings are scattered throughout the composition. The central building has a large arched portico. Clouds of smoke appear to be billowing out of buildings.
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.
plate 29 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
A yellow flower, still not yet in bloom. The flower and its stem, entering the image from the bottom right, are the only plants in focus. The background is made up of out of focus green and brown plants and leaves.
A bird (probably a sparrow) perches among peach blossoms, while singing to welcome the spring.
The tradition of bird and flower painting to which this image belongs dates back to the Tang period (618–907); in the Southern Sung (1127–1279) court it became a dominant mode as emperors themselves took up brushes to produce highly refined, delicate-colored paintings in an intimate format. Throughout their long history, these apparently straightforward and charming paintings conveyed symbolic or allegorical messages for the knowledgeable viewer.
This Early Ming painting executed in the in the style of the Southern Sung court celebrates the dynasty that restored Han Chinese rule after nearly a century of Mongol rule during the Yuan dynasty (1279–1368). The blossoming pear tree is a symbol of wise and benevolent administration, while the singing bird symbolizes the loyal scholar-official, overjoyed by the restoration of traditional Chinese government.
plate 8 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
Taken from above, two Trillium blooms. The flower in the upper right is mostly white with strips of green in the center of its petals, while the one in the bottom left is mostly green with tinges of white on the outer edges of its petals.
A round ceramic box (that is, a bowl with a fitted lid), decorated with chrysanthemum scrolls drawn in blue outline against a blue background. The blue is cobalt pigment painted before the application of a clear glaze.
A small ceramic box decorated with chrysanthemum scrolls. Both the chrysanthemum motif and the technique of underglaze blue painting were adopted from Chinese prototypes, but the shape of this box, the tones of the cobalt blue, and the casual free-hand drawing are distintively Vietnamese.
Covered boxes were used as burial objects to accompany the dead. This practice for the care of deceased people in afterlife preceded the succession of foreign religious influence from Buddhism, Hinduism to Islam. The stoneware trade ceramics were also objects of status and wealth, for the local kilns only produced less durable and inexpensive earthernwares. The round shape with a handle, and some of the design motifs were adopted from stone and metal reliquaries and architectural elements came with Indian Hinduism and Buddhism.
This painting depicts a solitary bird perched on a tropical banana plant. There are inscriptions and signature of the artist on the upper left-hand corner: "A farewell gift for Mr. Katsuizumi, as he goes south. Baishi."
In 1922, a friend persuaded Baishi to submit paintings to a Sino-Japanese art exhibition in Japan. It was a spectacular success: his paintings sold for far higher prices than he had been earning in China and several were chosen for an exhibition in Paris, which led to international fame. The Japanese remained some of Baishi’s most eager customers, although he increasingly refused their requests after Japanese incursions into China in the early 1930s.
However, this painting was a gift for the artist's Japanese friend. The artist inscription indicates that it was a farewell gift for his Japanese friend Katsuizumi Sotokichi when he left Beijing for a more southerly post.
It perhaps anticipates that Katsuizumi would be lonely in his new environment. Made in probably the 1920s, it quietly bears witness to an earlier and more congenial phase in Chinese-Japanese relations.