This graphite and ink drawing is of a bearded man who wears a large hat. There are two stamps in the center left side near his head.
A bust-length study of a bearded man appears on one side of this sheet. His torso faces frontally, but his head is turned in ? profile to his left. He wears a shirt with a collar and a hat with a plume. The reverse of the sheet is filled with approximately 12 small sketches of heads, faces, limbs, and full-length figures. A sketch of a radial star shaped decorative pattern is on the right edge. In the middle of the sheet is a basket of fruit and flowers and in the upper left there is a drawing of a figure rowing a boat in a landscape.
The accumulated sketches on both sides of this sheet by at least three different artists, probably from the seventeenth or eighteenth century, reveal its use as a place where a succession of artists jotted down and quickly tested their ideas. From the placing of the sketches one can discern how each artist turned the sheet to find available space for their drawing.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
This rustic looking bowl has a circular base from which the rounded shape of the bowl extends. The clear glaze reveals the brown and black tones of the materials.
During the rise of wabi aesthetics in Momoyama period (1583-1615), Japanese tea masters discovered the rustic earthenware rice bowls that were in widespread use among Korean peasant farmers. These simple bowls fit perfectly the wabi aesthetic taste for rusticity and simplicity. When many Japanese warlords, who were fervent tea practitioners themselves, went to Korea with the invasion attempts of Toyotomi Hideyoshi (1537-1598) in the 1590s, many ido chawan or “well-side tea bowls” were carried home and treasured as family heirlooms. Korean potters were also relocated to Japan as part of the spoils of war, and their descendants at the Hagi clan kilns in western Japan continued to make a ware that recalls the ido type.