Signed by the artist: In 1832, I inscribed at Lai-yüan in Ch'ih-yang, Hsiao-t'ing. (Hsi Tao-kuang jen-ch'en (1832), t'i yü Ch'ih-yang chih Lai-yüan Hsiao-t'ing) One artist's seal follows the inscription: Hsiao-t'ing.
The butterflies and peach blossoms on this fan would have made it a perfect wedding or engagement gift. In China the butterfly is a symbol of love and fidelity between a married couple. One popular folk tale recounts the story of a young male student and a maiden who fall in love but are forbidden to wed. The student pines away and eventually dies. On the way to her arranged wedding, the maiden stops to cry at his tomb when suddenly it opens and her first love emerges in the form of a butterfly. She, too, is transformed into a butterfly and they fly away together. The peach blossoms are a reference to a poem in the Book of Songs, or Shijing, China’s most ancient poetry anthology, compiled by the fifth century BCE.
Inscription of artist: I painted in imitation of Chin Nung's horse painting. Wei-ch'ang Jen Hsiung. (Yü fang Tung-hsin lao-jen hua Tung-ku-li-kuo ma yeh, Wei-ch'ang Jen Hsiung.) Artist's seal: Jen Hsiung yin.
This scroll features a single profile of a horse. The artist’s inscription states that the painting is modeled after Jin Nong’s (1687–1764) famous work entitled Ferghana Horse. Ferghana was the name of an ancient Central Asian kingdom known for its exceptional horses.
Although he died at the youthful age of thirty-four, Ren Xiong was a true intellectual who was adept at many types of art. While Ren Xiong based this work on Jin Nong’s famous painting, his portrayal of the horse differs, possessing a delightfully whimsical and humorous expression.
A black and white silkscreen lettering of a dove with its right wing outstretched, neck turned. The bird's beak is a brilliant shade of orange. There is a poem titled, "I Think Continuously of Those Who Were Truly Great." below the dove, and names of various people above the dove. The poem was written by Stephen Spender.
Signed and inscribed: I once painted Three Fish and inscribed it: painting is what I did in the time remaining after work, poetry in the time remaining after sleep, and calligraphy in the time remaining after carving. This is what I call the three remaining. (in Chinese, "fish" and "remaining" are pronounced the same)
The painting depicts three fishes below a calligraphic poem. The poem goes: "I once painted Three Fish and inscribed it: painting is what I did in the time remaining after work, poetry in the time remaining after sleep, and calligraphy in the time remaining after carving. This is what I call the three remaining." (in Chinese, "fish" and "remaining" are pronounced the same)
According to the colophon, the figures depicted in the lower part of the print are two samurai of Aizu; the large figure in the front is Isamu Sôkichirô, who has challenged the figure in the rear, Rokuya Ongun Taiyu, to a vendetta.
It is simple in shape, like a donut but with a sharply trimmed rim in the manner of a metal vessel. The hole in the middle is believed to be a symbol of Eastern philosophy. Designs are painted on the surface in cobalt blue pigment.
A large number of stationery items in various shapes were produced in the late Joseon period. This circular water dropper is a typical white porcelain stationery item. The image painted on the surface includes a mountain in the background, other landscaping lines, and two characters near the foreground.
Both Shen Meisou and Zhu Zumou had been scholar-official for the late Qing government. What Zhu Zumou inscribed is a colophon he wrote for his brother’s painting; Shen Meisou inscribed in standard script (Kaishu) on the other side of the fan two poems his friend had come across.
This folding fan involves work of three artists. Shen Meisou(1850-1922) and Zhu Zumou (1857-1931) each inscribed on one side of the fan, and another artist who did not sign his full name designed and carved on the two cover bamboo ribs of the folding fan. The practice of carving on bamboo in China flourished in the Ming and Qing dynasty and carving on thin bamboo ribs of the fan was rare before Qing dynasty. The inscription on the bamboo also suggests that the carving is in the style of a famous Qing dynasty carver Yang Longshi (1781-1850). On one bamboo rib there is a design in the shape of Chinese scepter symbolizing good fortune and in the “handle” of the scepter there carved “You will be a high official”. The folding fan may be a commodity in the market sought after for gift giving or by people who wish themselves promoted.
The inherently small scale of a manuscript page requires a simplified style with figures and plant forms against a plain background. This scene represents the meeting of a man and a woman (accompanied by attendants) in the forest.
Orissa is located on the eastern coast of India, and thus quite far from the centers of imperial Mughal power at Delhi and Agra, as well as from the Rajput states in the Mughal sphere. Painting in Orissa retained a distinctive style of its own, with strong emphasis on a lively line; and Orissa is one of the few areas that continued to use palm leaves (rather than paper) as a support for manuscripts until relatively recent times.