Japanese art2

Japanese Art after 1392

From Muromachi to Shōwa period

Bodhidharma Meditating Facing a Cliff, hangingscroll, ink on paper, Song dynasty, Cleveland Museum of Art.

Bodhidharma Meditating Facing a Cliff, hangingscroll, ink on

paper, Song dynasty, Cleveland Museum of Art.

Koreo Nobutada (1565-1614), Meditating Daruma, ink on paper.

“Quietness and emptiness is enoughto pass through life without error”

Kinkakuji (“Golden Pavilion”), Rokuon ji, Kyoto、 original structure, late fourteenth century, Muromachi period, rebuilt in the 1950s.

<— (Chinese-influenced) Zen style

<— Shoin zukuri (“study room” style)

<— Shinden zukuri (“palace” style)

Kinkakuji (“Golden Pavilion”), model and interiors.

Karesansui 枯山水 dry rock garden

Ryōanji temple, Kyoto, c. 1499, Muromachi period.

Sesshū Tōyō, Winter Landscape, c. 1470-80, Muromachi period, one of a pair of hanging scrolls, ink on paper, 47.8 x 30.2 cm, Tokyo National Museum.

Attributed to Sen no Rikyū, Tai-an Tearoom, Myōki-an temple, Kyoto, c. 1582.

Guest entrance, Tai-an Tearoom, Myōki-an temple, Kyoto, c. 1582.

Guest “crawling-in” entrance, Tai-an Tearoom, Myōki-an temple, Kyoto, c.

1582.

Interior, Tai-an Tearoom, Myōki-an temple, Kyoto, c. 1582.

Kanō Naizen, Namban (Southern Barbarian) Screens, 1598-1615, late Momoyama-Edo period, a pair of six-panel folding screen, ink, color and

gold leaf on paper, 154.5 × 363.2 cm each, Kōbe City Art Museum; detail 1; detail 2.

Ogata Kōrin (1658-1716), Eight-Planked Bridge, 18th century, Edo period, a pair of six-panel folding screens, color on gilded paper, 179.1 x 371.5 cm, The Metropolitan Museum of Art, New York.

Ogata Kōrin (1658-1716), Eight-Planked Bridge Writing Box, 18th century, Edo period, maki-e lacquerware with gold and silver inlay, Tokyo National Museum.

Katsushika Hokusai, Great Wave at Kanagawa, from Thirty-Six Views of Mt. Fuji, c. 1830-1832, Edo period, color woodblock print, 25.4 x 38.1 cm,

the Metropolitan Museum of Art.

Hōgai Kanō, Kannon Merciful Mother), 1888, Meiji period, pigments on silk, 196 x 86.7 cm, Tokyo University of Arts.

Seiki Kuroda, Lakeside, 1897, Meiji period, oil on canvas,68 x 83 cm, National Research Institute for

Cultural Properties, Tokyo.

Yorozu Tetsugorō (1985-1927), Nude Beauty, 1912, Taishō period, oil on canvas, 162 x 97 cm, National Museum of Modern Art, Tokyo.

Yorozu Tetsugorō (1985-1927),

Nude Beauty, 1912.

Henri Matisse, Blue Nude (Souvenir of Biiskra), 1907.

Photographer unknown, Unidentified MAVO performance, c. 1923-25.

Mavo, n. 3, 1923.

Miyamoto Saburō, The Meeting of Gens.Yamashita andPercival, 1942, Shōwa period, oil on canvas, 180.7 × 225.5 cm, on permanent loan by the US

government to the National Museum of Modern Art, Tokyo.

Miyamoto Saburō, The Meeting of Gens. Yamashita and Percival, 1942, Shōwa

period, oil on canvas, 180.7 × 225.5 cm, on permanent loan by the US

government to the National Museum of Modern Art, Tokyo.

February 15, 1942. Battle of Singapore, British Surrender, 1942, photograph,

Imperial War Museum, London.

Yokoyama Taikan (1868-1958), Japan where the Sun Rises, 1940, Shōwa period, ink and color on paper, 234.0 x 449.0 cm, Imperial Household

Agency, Tokyo.

Katsushika Hokusai, Great Wave at Kanagawa, from Thirty-Six Views of Mt. Fuji, c. 1830-1832, Edo period,

color woodblock print.

Yokoyama Taikan, Japan where the Sun Rises, 1940,

Shōwa period, ink and color on

paper, 234.0 x 449.0 cm

Katsushika Hokusai, Storm below Mt. Fuji; Fujimigahara in Owari Province, from Thirty-Six Views of Mt. Fuji, c. 1830-1832, color woodblock print.

Yokoyama Taikan, Shining Japan, 1942, a pair of 8-panel folding screens, 381.8 x 175.8 cm, Kawamura Memorial Museum.