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Winter and Summer Flowers

The Four Seasons

Geese, Reeds, and Water

Birds and Flowers

Flowers and Trees of the Four Seasons (left screen)

Winter and Spring Landscape

Returning Sails off a Distant Shore, from Eight Views of Xiao-Xiang

Spring and Autumn Farming (Autumn)

Birds and Flowers

Mount Asama, byobu by Aodo Denzen, Tokyo National Museum, Japan

Scholar admiring plum blossoms

Autumn Evening with Full Moon on Musashino Plain

Dragon and Tiger

Autumn Maples with Poem Slips

Farmer Returning Home in Autumn

Lakeside Retreat

Ivy Lane

Sunset Glow over a Fishing Village, from Eight Views of Xiao-Xiang

Winter Scene with Plum Trees and Pheasants

Sparrows on Blossoming Plum

Birds and Flowers of the Four Seasons

Howling Wolf in a Deep Mountain Valley

Flowers and Grasses

Heron on a Willow Branch

Mt. Fuji through Pines

Gazing at a Waterfall

Grapevine in the Wind

Chrysanthemums by a Stream

Chinese Bird on Snow-Laden Branch

Fish in a Lotus Pond

Pleasure Boat on the Sumida River

Four Motifs from the Eight Views of Xiao-Xiang

這幅作品被命名為《昆侖松鶴》。昆侖是指神仙們居住的神山——昆侖山。據推測位於中國西部，是中國的大河——黃河的源頭。松和鶴都是長壽的象徵，是和神仙故事頗有關聯的題材。畫面右上方有畫家的署名，並寫著送給一位叫做李懷素的人。以昆侖山上的松樹以及聚集在此的仙鶴為繪畫題材的這幅作品主題極為吉祥，作為賀壽之禮極為相稱。作者呂健是活躍於十六世紀到十七世紀的人物。其曾祖父呂紀是一位著名的宮廷畫家。呂紀有很多構圖周密的大型花鳥圖作品，其華麗的色彩和細膩的筆法不僅在中國，也在朝鮮半島和日本大受追捧，呂紀的繪畫風格在東亞地區到了廣泛傳播。呂健不僅認真學習呂紀的花鳥畫，似乎還將其轉化成了更加瀟灑而又惹人憐愛的表現。這幅作品中姿態優美地彎曲著長頸的仙鶴以及以淡綠色輕輕暈開的松葉都充分表現出了呂健的審美觀。淡淡的墨影巧妙地表現出水面上湧起的波浪，以極具透明感的白色顏料細緻描繪的羽毛線條等卓越的描寫技術也是看點所在。

Lions and Tigers in Peony and Bamboo

Fishing in a Springtime Valley

Paulownias and Chrysanthemums

Sunset over Autumn Mountains

Grapevine

Gibbons in a Landscape

Monkeys in a Cherry Tree

Depicts Zen monk Huike (慧可) thinking. By painter Shi Ke (Chinese: 石恪), from Five Dynasties and Ten Kingdoms Period to Northern Song (about 10th century)

Painting from Flowers and Grasses

Duck in Flight

Phoenixes and Paulownia

screen by Fukae Roshu "Narrow ivy road". Six-fold screen, color on gold leafed paper, Important Cultural Property

Peonies

Monkeys

Monkey Hanging on to a Branch

Flowers and Birds in a Spring Landscape

Peacocks and Bamboo

Yoroboshi, by Shimomura Kanzan, Tokyo National Museum, Japan

Hell Courtesan

Birds and Flowers

Famous Views of Ōmi

Irises

松下達摩図

Birds and Flowers

Crossing at Sano

Mandarin ducks and cotton rose hibiscus

Vase of Flowers with Grasshopper, Marine Life, and Garden Rock

Ōtsu-e of a Youth Holding Irises (Yarō)

Summer Flowers

Irises at Yatsuhashi (Eight Bridges)

Mount Fuji with Cherry Trees in Bloom

Girl Arranging Flowers

Blooming Plum Tree, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Cuckoo Flying under a Full Moon

马远《寒江独钓图》（图片经过较温和的亮化处理）

Peahen and hibiscus

Chrysanthemums by the Water

Plum Blossoms

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Grapevine and Squirrels

Vase of Flowers

慈眼大師像

Enclosed Valley

Tama River in Musashi Province (Bushu Tamagawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Symbols of Longevity: Deer under Peach and Pine (Pine) (right)

Portrait of Momonoi Naoaki

『新三十六歌仙図帖』より

Hen and Bamboo, by Luo Chuang, Tokyo National Museum, Japan

Fragment textiel

Singing from the series "Streaked Mist (Yae gasumi)", Woodblock print

Hunting Scene

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)"

Japan; Illustrated book; Illustrated Books

A Young Prince on Horseback

Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

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)"

Fan painting with river landscape

A view across a wide, brightly lit field scattered with broken pieces of stone is framed to the left and right by crumbling stone temples in this horizontal painting. The sunlight is infused with a soft pink glow, which warms the cream-white stone with a pale blush. The temple on our left sits on a low rise, and a row of at least nine columns topped with an entablature faces our right. Several of the columns are broken off, and part of the entablature and the entire roof is missing, from what we can see. Fragments of pediments and wheel-like sections of columns tumble down from its front steps and back along its side, cascading into and across most of the field before us. The rocky terrain is carpeted in celery-green growth speckled with sage green and areas of rust red in the lower left and right corners. Barely visible in the center of the field, are two men, barely taller than the fragments they inspect. One man wears an apricot-orange suit and bowler hat over blond hair. He kneels with his back to us as he writes or sketches on a piece of paper. A second man stands to his right, also with his back to us, dressed in a long pleated, white tunic with a red cap, jacket, and knee-high boots. To our right and farther back than the other temple, a brick-red tower stands next to another columned arcade. A third temple there, or perhaps another part of that building complex, has columns carved into the shape of six identical, robed women, facing our left. Beyond the ruins, the field slopes down to a peach-colored plain that ends at a wide, topaz-blue body of water with mountains in the far distance along the low horizon line. A petal-pink haze rises from the water and mountains and almost fills the blue-gray sky above. The artist has signed and dated the painting in the lower left, “S.R. Gifford 1880.”

Dragon in foliage with lion and phoenix heads

The Town on the Hill, New Almaden

Cranes on snow-covered pine

Mandala of the Three Shrines at Kumano

Hydrangea and Swallow, from an untitled series of large flowers

Tánggǔ (堂鼓)

Marshland

Cotton Roses and Sparrow, from an untitled series of Large Flowers