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Sazai Hall at the Temple of the Five Hundred Arhats (Gohyakurakanji Sazaido), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Viewing the Seashore at the Eguchi Inn
An Artisan’s Shop, from the album The Mist of Sandara (Sandara kasumi)
Japan; Illustrated book; Illustrated Books
Night Rain at the Double-Shelf Stand, from the series Eight Parlor Views (Zashiki hakkei)
Performance of Hanasaka Jiji, by Toshi, 1889, Meiji 21, from the Hood Museum of Art - PR.995.23.42abc.
Pleasure Boat on the Sumida River
Japan; Illustrated book; Illustrated Books
暮れて月いとおもしろきに、宮の亮、女房にあひて、とりわきたるよろこびも啓せさせむとにやあらむ、妻戸のわたりも御湯殿のけはひに濡れ、人の音もせざりければ、この渡殿の東のつまなる宮の内侍の局に立ち寄りて、「ここにや」と案内したまふ。宰相は中の間に寄りて、まだ鎖さぬ格子の上押し上げて、「おはすや」などあれど、いらへもせぬに、な大夫の、「ここにや」とのたまふにさへ、聞きしのばむもことごとしきやうなれば、はかなきいらへなどす。いと思ふことなげなる御けしきどもなり。
Exhibit in the Jordan Schnitzer Museum of Art, University of Oregon - Eugene, Oregon, USA.
Japan; Illustrated book; Illustrated Books
Goten Hill at Shinagawa on the Tokaido (Tokaido Shinagawa Gotenyama), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Armorer (Yoroi takumi), from the illustrated book "Picture Book of the Amusements of the East (Ehon Azuma asobi)"
A Philosopher Watching a Pair of Butterflies, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Japan; Illustrated book; Illustrated Books
暮れて月いとおもしろきに、宮の亮、女房にあひて、とりわきたるよろこびも啓せさせむとにやあらむ、妻戸のわたりも御湯殿のけはひに濡れ、人の音もせざりければ、この渡殿の東のつまなる宮の内侍の局に立ち寄りて、「ここにや」と案内したまふ。宰相は中の間に寄りて、まだ鎖さぬ格子の上押し上げて、「おはすや」などあれど、いらへもせぬに、な大夫の、「ここにや」とのたまふにさへ、聞きしのばむもことごとしきやうなれば、はかなきいらへなどす。いと思ふことなげなる御けしきどもなり。
Hell Courtesan
Japan; Illustrated book; Illustrated Books
Japan; Illustrated book; Illustrated Books
Mishima Pass in Kai Province (Koshu Mishimagoe), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
"On the way home" from the series "Streaked Mist (Yae gasumi)", Woodblock print
Hotei Smoking his Pipe, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Horse Mackerel (Aji) with Shrimp or Prawn
Woman Reading a Letter
Mt. Fuji through Pines
Festival Procession in the Eastern Capital, by Utagawa Yoshiiku, 1871, from the Hood Museum of Art - PR.995.23.8abc.
Hydrangeas from the series "Streaked Mist (Yae gasumi)", Woodblock print
Viewing Sunset over the Ryogoku Bridge from the Onmaya Embankment (Onmayagashi yori Ryogokubashi sekiyo o miru), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
"Sketching a Garden" from the series "Streaked Mist (Yae gasumi)", Woodblock print
Ejiri in Suruga Province (Sunshu Ejiri), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Playing with pigeons from the series "Streaked Mist (Yae gasumi)", Woodblock print
Exhibit in the Jordan Schnitzer Museum of Art, University of Oregon - Eugene, Oregon, USA.
The Tea Plantation of Katakura in Suruga Province (Sunshu Katakura chaen no Fuji), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)"
The Beach at Sumiyoshi from the Tales of Ise
Part of the series "Portraits of actors at three theaters in Edo". This print depicts the actor Sakata Hangoro III as the villain Fujikawa Mizuemon. This is a first period print and designated collectively together with 26 other prints from the series as Important Cultural Property of Japan.
Under the Wave off Kanagawa (Kanagawa oki nami ura), or The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)
This print illustrates the legend of a woman murdered by her husband because she accidentally broke plates. Her corpse and the pieces of the dishes were thrown into a well, but her ghost returned every night to haunt him in the eerie form seen here. This small-format work features a bright blue color that may seem cheery to us, but Hokusai’s original audience would have associated it with death and the occult.
Amida Falls in the Far Reaches of the Kisokaido (Kisoji no oku Amidagataki), from the series "A Tour of Waterfalls in Various Provinces (Shokoku taki meguri)"
Tatekawa River Lumberyard at Honjo (Honjo Tatekawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Cuckoo Flying under a Full Moon
Singing from the series "Streaked Mist (Yae gasumi)", Woodblock print
Japan; Illustrated book; Illustrated Books
Daibutsu and Scaffolding, by Migita Toshihide, 1895, Meiji 27, from the Hood Museum of Art - PR.995.23.9ab.
Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"
Blue Magpie on a Maple Branch
Kajikazawa in Kai Province (Koshu Kajikazawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Bullfinch and Weeping Cherry (Uso, shidarezakura), from an untitled series of flowers and birds
Whaling off the Coast of the Goto Islands (Goto kujira tsuki), from the series "One Thousand Pictures of the Ocean (Chie no umi)"
Crossing at Sano
Fishing Boats at Choshi in Shimosa (Soshu Choshi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"
Part of the series "Portraits of actors at three theaters in Edo". This print depicts the actor Sawamura Sojuro III as Ogishi Kurando. This is a first period print and designated collectively together with 26 other prints from the series as Important Cultural Property of Japan.
Tama River in Musashi Province (Bushu Tamagawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
The Four Seasons
Nakamura Fukusuke I as Kumagai Jirō Naozane on a Folding Fan
Spring and Autumn Farming (Autumn)
Memorial Anniversary (Shunen), from the series "One Hundred Ghost Tales (Hyaku monogatari)"
Four Motifs from the Eight Views of Xiao-Xiang
This frightening print illustrates the story of Kohada Koheiji, a Kabuki actor who was drowned by his wife’s lover but later came back to haunt the couple. The tale was popular in the 18th century, eventually inspiring a novel and several Kabuki plays. Here, the skeletal ghost of Kohada Koheiji pulls down the mosquito net and eerily peers at the sleeping couple in their bed.
Saigo Takamori in the retreat from Shiroyama castle, Woodblock print (nishiki-e); ink and color on paper
慈眼大師像
Morning Glories and Tree-frog, from an untitled series of Large Flowers
Togetsu Bridge at Arashiyama in Yamashiro Province (Yamashiro Arashiyama no Togetsukyo), from the series "Unusual Views of Famous Bridges in Various Provinces (Shokoku meikyo kiran)"
Yoro Waterfall in Mino Province (Mino no kuni Yoro no taki), from the series Tour of the Waterfalls in Various Provinces (Shokoku Takimeguri)
Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)
Acteurs tijdens een kabuki-voorstelling in Kabukiza, Tokyo
The Merry Family
Zal Climbing to Rudaba, page from a copy of the Shahnama of Firdausi
Ōtsu-e of a Youth Holding Irises (Yarō)
Exhibit in the Jordan Schnitzer Museum of Art, University of Oregon - Eugene, Oregon, USA.
牡丹花肖柏像(重要文化財、東京国立博物館蔵)
European Banquet Scene (or The Marriage Feast at Cana?)
Ushibori in Hitachi Province (Joshu Ushibori), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Maharana Amar Singh II with Ladies of the Zenana outside the Picture Hall at Rajnagar
Suido Bridge and Surugadai, from One Hundred Famous Views of Edo
"The Funeral of Isfandiyar," Folio from a Shahnama (Book of Kings)
Fujimigahara in Owari Province (Bishu Fujimigahara), from the series "Thirty-six views of Mount Fuji (Fugaku sanjurokkei)"
Hunting Scene
Beneath Mannen Bridge in Fukagawa (Fukagawa Mannenbashi shita) from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
Friends of Krishna, folio 163 from a Bhakti Ratnavali of Vishnu Puri
In the Omnibus
Hydrangea and Swallow, from an untitled series of large flowers
Famous Views of Ōmi
Ono Falls on the Kisokaidō Road (Kisokaidō Ono no bakufu), from the series Tour of the Waterfalls in Various Provinces (Shokoku taki meguri)
Books and Scholars’ Accoutrements
This painting depicts a rural scene with people gathered in front of log cabins. Hills, sparse trees, and a haystack are visible in the background under a partly cloudy sky. In the distance on the left, two people stand on a pile of logs, a small fire breaking out on the far left and putting gray smoke in the air. Closer to us on the left, a man stands by a machine made of several horizontal rods, appearing to feed long strands of fiber or grain into it. Gathered in a line across the rest of the painting is a crowd of men and women, appearing to hold long, flat objects and bundles of thin fiber. Some of the people talk while others seem to dance. The people all have pale skin, and the women wear colorful dresses with aprons and bonnets, while the men wear jackets, vests, and top hats.
Bahram Gur Arrives at the House of a Merchant, text page (recto); Bahram Gur Slays a Dragon (verso), from a Shahnama (Book of Kings) of Firdausi (940–1019 or 1025), known as the Great Mongol Shahnama
Umezawa Marsh in Sagami Province (Soshu Umezawa hidari), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"
The setting for the painting is the royal stables in Isfahan. The upper portion of the scene consists of a platform on which are gathered the shah, or Persian king, who appears next to the column on the right; five kneeling courtiers; and various attendants serving fruit and wine. The king is identified in the artist’s signature at the upper left as Shah ‘Abbas II, who died in 1666, but it is possible that the undated painting was executed after his death. The ruler’s status is emphasized by his golden halo and by the opulent gold and jeweled vessels placed before him. The lower portion shows a roundup of horses who bear the trident-like royal brand on their flanks; they move in a spiral that coils counterclockwise from the upper right. The scene bursts with energy and looks chaotic—a brawl is taking place at the lower left—but the courtiers and handlers seem to be getting control of the animals. The figures on the platform, meanwhile, pay no attention to the commotion below. The painting represents a new journalistic, even anecdotal approach to Persian painting introduced in the second half of the seventeenth century. The viewer gets the sense that the work may record a specific moment in daily life at court and that it was observed firsthand. Figures no longer conform to stock types but are highly individualized by facial features and dress. Standing just to the right of center in the upper part of the roundup scene is a man wearing a gold, fur-lined, armless jacket. He holds a list and is writing notes while conferring with a young man in a blue robe. The man taking notes may well be the supervisor of the royal stud, one of whose responsibilities was to inspect the king’s stables and keep an inventory of the animals.
Cotton Roses and Sparrow, from an untitled series of Large Flowers
Krishna's Fifth and Sixth Avatars, page from a copy of the Gitagovinda of Jayaveda
Mount Fuji with Cherry Trees in Bloom
Fishing by Torch in Kai Province (Koshu hiburi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"
Ingelijste muurschildering voorstellende Xiwangmu en dienaressen
Couple in a Snowstorm, Suzuki Harunobu, c. 1768
Buddhist Deities
Tagonoura Bay near Ejiri on the Tōkaidō (Tōkaidō Ejiri Tagonoura ryakuzu), from the series Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)
Mandala of the Three Shrines at Kumano
Shower Below the Summit (Sanka hakuu), from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"
A Virtuous Woman Placates the King by Plucking Out Her Eyes