The girl in the middle of the printing is surrounded by lots of butterflies, and the butterflies have similar color and pattern with the background. The background consists of a variation of colors and shapes.
This work depicts a lively outdoor scene in pen and ink with grey wash and pink and blue watercolor. The setting is replete with lush foliage and populated by several figures and animals. A nude female figure stands holding onto a slender fruit tree looking over a body of water in which a winged boy wades holding his hands to his head. Another nude female figure is shown seated on the right holding a dog tied to a leash. Two playful birds and another winged boy are shown in the bottom foreground.
One of the Eight Eccentrics of Yangzhou, a group of highly individualistic artists active in the prosperous metropolis of Yangzhou, Jin Nong began his artistic career as a calligrapher, but at the age of sixty his painting talent finally blossomed. He mastered many subjects, including bamboo, vegetables, plum blossoms, horses, self-portraits and late in life, Buddhist images. These album leaves are elegant counterpoints to the angular standard script of the artist and are characteristic of his distinctly individualized calligraphic style.
The inscription on the album leaf depicting lotus blossoms reads:
In the evening, the rustic fragrance [of the lotus blossom] invites the guests to linger,
While the egrets at the Thirty-six Ponds and the whole world [enjoy] a cool [breeze].
The inscription on the album leaf depicting day lily reads:
Near [mother’s] northern hall, [the day lily] blossoms like a smiling face.
[I] wish [that she] would live a hundred years, [and] happiness will last throughout [her] life.
She would never have to recount [her] worries and troubles to others.
The day lily most certainly causes [mothers] to disregard their sorrow.
White silk crepe with mottled green ground and white lines achieved through hand-applied discharge paste (hako roketsu). Lining is plain weave silk, white above and green below.
This kimono required a labor intensive technique called shibori, in which hundreds of hours would have been spent tying up each small section where white can be seen on the fabric before immersing it in dye. Shibori textiles are very expensive due to the time and skill required to produce them.
A view, perhaps from inside a cave, that provides a glimpse of a small strech of highway through mountainous terrain. A river flows below, cutting a path between the mountains.
A scene of the Cross-Island Highway in Taiwan. Central Cross-Island Highway was the first national highway of great magnitude, crossing the Central Mountain Range and connecting the east coast to the west bank of Taiwan. Running through exceedingly rugged and unstable terrain, the construction of this route was extremely challenging. The completion of the roadway not only was celebrated as a symbolic icon of Taiwan’s governmental accomplishment, but also because it opened to worldwide tourists astonishing, yet previously un-accessible scenic spots of Taroko Gorge and nearby natural mountainous areas along the route, nowadays known as the Taroko National Park.
One of six hanging scrolls in a series depicting the landscape of Ali Mountain, trees and hillside are shown below calligraphic text. The artist uses alternating wet ink washes for the misty clouds and dry flying-brushes for the large pine trees
Located in middle-Taiwan, the Ali Mountain is one of the most famous scenic landmarks among Taiwan’s National Parks. Ali Mountain is best known for the beauty of the vast “cloud sea” surrounding the mountain peaks and the towering “divine giant trees” found amid the ridges and valley of the mountain.
The painting’s format, a traditional mounting style called “the screen of connected scenes” or “sea curtain”, gives the artist the advantage of representing a panoramic view of monumental landscapes. Each of six individual pieces was first painted on the ground in the artist’s studio with an overall composition envisioned in the artist’s mind. Then, the inscriptions were added on the top, (inscribed by the artist himself in this case), and finally the six paintings were mounted into the current format.
Inscribed is a piece of classic Song lyrics (the most popular in the Song dynasty), written in calligraphy style running script. The poetic lines describe a forested mountain filled with vigorous energies. Yet the atmosphere is melancholic. The vast landscape appears dream-like, symbolically representing the lost homeland of Chang and his peer generation-- mainland China-- that awaits its recovery from the Chinese Communists. The inscription thus connects the painting’s otherwise natural scenery to the advocated political theme of the Nationalist government’s rule in Taiwan in 1960s.
This print of a calendar for the month of January, 1964, is dominated by red. Blues and purples round out the composition. Sundays are indicated with red numbers and purple boxes, while the rest of the calendar days sit in red boxes with the numbered date showing as paper through negative space. The year 1963 is printed at top center in a rounded and pointed red rectangular shape. Birds, flowers, and kanji are used to decorate the upper register.
Serizawa, designated as a Living National Treasure in 1956, is known for his textile design. This calendar, on handmade mulberry paper, uses katazome technique, in which a paste resist is applied through a stencil. Colors are tapplied through dyeing or painting.
Inscription of artist: Playfully painted by Ch'en Tsun at the Treasure Ink Studio on the 15th day of the 12th month, 1612. (Wan-li jen-tzu la-yüeh wang-jih hsi-tso yü Pao-mo chai Ju-hsün-fu Ch'en Tsun) Seals of artist: Ch'en Tsun ssu-yin, Ch'en Ju-hsün shih.
In this painting a well-fed cat nestles contentedly among the grass and flowers, relaxing on the bank of a stream.
In this charming example of bird and flower painting, the animated cat, comfortably ensconced, gazes directly out at the viewer.
Rejecting detailed realism, Chen Zun freely paints the cat in light, lively brushstrokes, making effective use of the white space of the paper. Rocks, flowers, and grasses are skillfully depicted in different tonalities of monochrome ink.
This small, flat piece made of light brown brass (called "sentoku" in Japanese) has a round diamond shape. It has a triangular shaped hole in the center and another round hole on one side. Artist’s name is signed between the two holes. The surface is slightly concaved from the rim. The front has relief design of a shrimp, blowfish, and bamboo branch. On the back, there are designs of a spiral shell, a barnacle, and water drops. The sea motifs are inlayed with gold, silver, copper, and shakudô (copper-gold alloy).
Tsuba (sword guard) is inserted between a sword handle and blade to protect hands from sharp blades. The center hole is where the sword is placed. The smaller hole is to insert an ornamental stick called kozuka. This particlar tsuba has a sea-related theme of shrimp and blowfish.