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牡丹花肖柏像（重要文化財、東京国立博物館蔵）

Portrait of Momonoi Naoaki

『新三十六歌仙図帖』より

Ōtsu-e of a Youth Holding Irises (Yarō)

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.

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)

Girl Arranging Flowers

Scholar admiring plum blossoms

Crossing at Sano

Chinese Bird on Snow-Laden Branch

Sparrows on Blossoming Plum

Plum Blossoms

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。

Portrait of the Great Master Yeongwoldang Eungjin

慈眼大師像

Vase of Flowers

马远《寒江独钓图》（图片经过较温和的亮化处理）

松下達摩図

Unidentified Man

Excellent Ox, Tokyo National Museum, Japan

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。

Unidentified Man

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.

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting. Shown against a marine-blue background, he looks into the distance with hazel eyes under bushy eyebrows. He has a long, bumped nose, and his full, pale pink lips are closed. His round cheeks are tinged with pink, and there is a hint of a five-o-clock shadow around his mouth and jawline. Chestnut-brown, curly hair hangs to the base of his neck, and wispy curls fall across his forehead from under his tall, chocolate-brown cap. The cap has a small gold pin high over the ear we can see. The man wears a garnet-red jacket with a black collar over a white collarless shirt decorated with five black, narrow bands below the neckline. The fingers of his right hand, to our left, rest with the fingertips braced along on the bottom edge of the painting, as if along a ledge. He pinches the shaft of an arrow with his index finger and thumb, so we see the sienna-brown feathers. He wears a gold ring embedded with a small blue gem near the first knuckle of his ring finger.

Tathagata Buddha

Unidentified Man

Unidentified Man

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

Fishing in a Springtime Valley

Portrait of Emperor Jahangir

Lakeside Retreat

Unidentified Man

Hotei Smoking his Pipe, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Unidentified Woman

The Burgomaster

Farmer Returning Home in Autumn

Shown from the waist up, a cleanshaven man with pale, peachy skin, wearing a black cap and a voluminous fur-lined, black cloak, is positioned behind a crimson-red ledge or tabletop in this vertical portrait painting. His head and torso nearly fills the composition. His body is angled to our left, and he looks off in that direction with dark brown eyes under faint eyebrows. His high cheeks are lightly flushed, and he has a pointed nose and a hint of a five o-clock shadow. His soft black cap has flaps that cover his ears. The wide, fur lapels of his black cloak nearly reach his shoulders. The sleeves of the garment beneath has a tan and black checked pattern, and a white undershirt peeks out at his neck and cuffs. A cross hanging from a heavy gold chain has black pearls in the cross of each arm and a teardrop-shaped black pearl hangs from the bottom. The cross has a hand on each short arm, two feet on the long leg, and a red circle at the center. The sitter’s left hand, on our right, rests on the red ledge holding a pair of gloves that are ivory white around the wrist and charcoal gray at the fingers. His right hand, father from us, rests in a loose fist near his other wrist. A folded piece of white paper with black writing lies to our left of the hands. It reads, “NVNQVID NON PAVCITAS DIERVM MEORVM FINIETVR BREVIS.” The background behind the man is mottled with rust brown and steel gray. Gold writing spans the background to either side of the man’s head, reading, “BRIANVS TVKS, MILES, ANO ETATIS EVAE LVII” along the top and “DROIT ET AVANT” below.

Unidentified Woman

Adolph Heinrich Joseph Sutro

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

The laurel branch is a traditional Medici emblem.

Shown from the chest up, a clean shaven, young man with pale, rosy skin and curly, mahogany-red hair, looks at or toward us against a black background in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look our way with sienna-brown eyes under curved eyebrows. He has a long, prominent nose and small thin pink lips. His shoulder length hair curls tightly around his face and covers his ears. He wears a tomato-red shirt with a high collar trimmed with white.

Hell Courtesan

Shown from the chest up, an older, pale-skinned man dressed in scarlet red faces us in this vertical portrait painting. His slender body is turned slightly to our right, but his head turns back to our left so he gazes at a point just over our left shoulder. His large, deep-set dark blue eyes are lined with crow’s feet over high, angular cheekbones. His dark brown beard is shot through with silvery gray, and he has brown, chin-length hair and bangs across his lined forehead. His red garment has a high neck, and the opening down the front is lined with white, perhaps fur. A black sash drapes over his left shoulder, to our right. He is illuminated with warm light from the upper left and set against a dark brown background. A portion of an inscribed plaque is visible just over his right shoulder. It reads, “…TIS …OIX.”

Man of the Djard Family

Cuckoo Flying under a Full Moon

Monkey Hanging on to a Branch

Gazing at a Waterfall

Unidentified Woman

Unidentified Woman

Four Motifs from the Eight Views of Xiao-Xiang

A Young Prince on Horseback

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

Puppies

This painting shows a young man against an olive-green background. The man is standing, his body partially turned to the right, with one hand on his hip and the other near his waist. He is looking at us with a neutral expression. The man has light skin and short brown hair under a black hat with pointed ends on either side. He wears a dark outfit with a high white collar and puffed black sleeves. A thin gold ring is visible on his right hand. The green background has visible brushstrokes and some slight variation in color.

Unidentified Man

The Assembly of Tejaprabha Buddha

Unidentified Woman

Mt. Fuji through Pines

Charles II of Valois, duke of Orléans.

George Washington

Mme. Bidetrenoulleau

Grapevine and Squirrels

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

Die Familie des Johann Graf von Majláth

Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum

Unidentified Man

This painting shows a man standing upright, his body slightly turned to the right. He has pale skin and curled white hair under a large black hat, and he wears a long brown jacket over a yellow vest with a white ruffled neck and a wide blue-and-white striped sash over his torso. His pants are black, and he wears tall black boots with brown tops. His hands are covered by yellow gloves, and he is holding a tall, thin rifle on the left, its bottom on the ground. Next to him on the right is a white dog with brown spots and large brown ears. The dog is sitting, looking up at the man. The background features an outdoor setting, with a landscape of hazy hills in shades of pale green and blue below a white and gray sky. There is a tall, dark green tree behind the man, and the ground he stands on is brown.

Shown from about the hips up, a man with peachy skin, wearing an ink-black hat and coat with a bright white collar, looks out at us against a dark background in this vertical portrait painting. He stands with his body angled to our right and his face turned to look at us with dark gray eyes. His slim face is framed in long, brown curls under his tall, brimmed hat, which is cocked a little to our right, away from us. He has a straight, prominent nose, lightly flushed cheeks, and a wispy, light brown mustache above a small, pointed goatee under his lower lip. His neck is encased in a broad, starched, white linen collar, its wings lying along his collarbones. His velvety black coat has a row of tightly spaced buttons down the front. A cummerbund or sash wraps around his waist and hips. He rests his right hand, on our left, against his hip near his lower back, palm facing out. He wears a light, dove-gray glove on his opposite hand, and holds a second glove in that hand. The background is earth brown. The portrait is painted loosely, with broader brushstrokes in some areas, such as the hand at his hip and in the folds of the black garments.

On this folio from Walters manuscript W.604, King Qizil Arslan welcomes the poet Nizami.

A Stallion

Duck in Flight

Shown from the waist up, a light-skinned man sits sideways in a wooden chair so the arm closer to us rests along the chair’s back in this vertical portrait painting. Brushstrokes are visible throughout, especially in the clothing and hair. The man’s right arm, to our left, drapes across the back of the chair. His face turns slightly to our right, and he looks at us with gray eyes under black, curving brows. He has an oval face with high cheekbones and a snub nose. His coral-pink lips are closed and framed by a mustache and pointed patch of hair under his lower lip. He is lit from our left so the far side of his face is in shadow. His loose, curly brown hair cascades over his shoulders. He wears a tall black hat with a stiff, wide brim with a black rosette or pompom on the brim to our right side. The hat is tipped slightly to one side so it angles away from us. A flat, stiff, white collar extends from his chin down to his shoulders, and two tassels hang at this throat. The voluminous sleeve along the back of the chair has a gold pattern picked out in loosely painted, swirling, feathered, and flaring lines against a black background. The jacket is unbuttoned along the forearm to reveal a stark white undershirt that is gathered with a narrow ruffle at the wrist. The chair has a crimson-red center framed by wooden rails to each side and along the top. The background is earth brown to our right of the man, and deepens to dark shadows along the left. A coat of arms, the size of the man’s palm, hangs from the back wall. Three black cow heads create an inverted triangle on a gold field. Under the coat of arms the artist inscribed, “AETA SVAE.22 1645.”

Grapevine in the Wind

Meta-koosega

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

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

Japan; Illustrated book; Illustrated Books

Buddhist Deities

Woman Reading a Letter

William Lee

Tánggǔ (堂鼓)

The head, shoulders, and chest of a man wearing a deep rose-red garment fills this vertical portrait painting. His body is angled slightly to our left, and he looks directly at us from the corners of his eyes. His brown hair falls across his forehead, sweeps down over his ears, and curls gently at the nape of his neck. His eyebrows arch over brown eyes, and he has a long, angular nose. His upper lip is full, and his mouth is closed. He has high cheekbones and a cleft in his chin. The high collar is a black band over the voluminous red garment, which falls in pleats or folds down his chest. His right hand, on our left, lifts to clutch the fabric near his chest, in the lower left corner of the painting, and he wears a gold ring on his pinky finger. The background behind the man fades from dark aquamarine blue across the top to pale arctic blue at his shoulders, which span the width of the composition.

General Nathaniel Lyon

Mr. Coombs

Der Maler Theodor von Hörmann

Albert (René) Grenier (1858–1925)

Miles King Jr.

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

Peonies

Shown from the shins up, a pale-skinned, balding, bearded man wearing a voluminous rust-red robe lined with black-speckled white fur looks out at us in this vertical portrait painting. The man sits in a wood-framed chair with a curving seat. His body angled slightly to our left, but his face turns to us. He looks out with dark gray eyes under a lined forehead, one eyebrow slightly cocked. He has a rounded nose, thin lips, and paunchy cheeks. A few wisps of gray hair are suggested across the top of his mostly bald head, and his gray beard is trimmed. His left hand, to our right, rests on the terminus of the chair’s arm, and his other hand rests in front of his belly, presumably with that elbow on the other arm. His robe falls heavily in deep folds, and the wide openings of the sleeves continue down and off the bottom edge of the canvas. The front of the robe and the insides of the sleeves are lined with white fur dotted with black. A scarf-like band of fabric brocaded with dark red-on-red drapes over one shoulder. The background is charcoal gray except for a dark, olive-green shape suggesting a doorway over the man’s left shoulder.

This vertical portrait painting shows the head, shoulders, and chest of a pale-skinned young man in front a cream-white, stone window that opens onto blue sky. The man’s body is angled slightly to our left and he looks directly at us with wide-set, pale blue eyes. He has smooth skin, a rounded nose, a wide jawline, and full, light pink lips. He wears a brimless crimson-red cap over brown hair that curls over his ears and down to the nape of his neck. His slate-blue jacket is lined with brown, perhaps fur, around the high neck and down the front. The jacket has puffy sleeves and vertical pleats over the chest. He is positioned in front of the stone opening, the edges of which run parallel to top and sides of the composition. Vivid blue sky fills the opening behind the young man.

Shown from the chest up, a young man with a plump, pale-skinned face hooks one elbow over the back of a wooden chair and looks at us in this vertical portrait painting. The man’s body faces our right as he turns his head over his right shoulder, closer to us, to gaze out with brown eyes under lifted brows. His nose ends with a round bump, and his round cheeks are flushed. He has a wispy mustache over full pink lips, which are parted. He wears a tall-crowned, brimmed black hat over a cloud of wavy, shoulder-length black hair. A lace-edged white collar spreads over an ink-black, satin coat. His right elbow is planted across the back of the chair, which has carved finials to either side. That hand is closed in a fist, which may hold something. The man’s hat casts a shadow on the right side of the taupe-gray wall behind him, where the artist has signed the painting with two monograms of his initials, “HF.” The brushwork is loose throughout, especially so in the man’s clothing.

Shown from the chest up, a clean-shaven young man with pale, peachy skin looks off to our left against a cloudy sky in this vertical portrait painting. His body is angled to our left, and he gazes in that direction with dark eyes under thick, arched brows. He has a long nose, smooth cheeks, and a hint of a five-o-clock shadow around his closed, peach-colored lips. Chestnut-brown hair is covered by a black headdress with two long tails. One end drapes over the front of his right shoulder, farther from us, and the other end hangs down his back. He wears a brick-red garment that falls in vertical pleats from a high collar. A white undergarment peeks out from the top of the neckline, and the collar is fastened with a small clasp at the throat. Behind him, tan-colored clouds float across a blue sky.

Monkeys in a Cherry Tree

Fish in a Lotus Pond