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BIRDS

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CATS

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HORSES

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INSECTS

Mytological Animals

MYTOLOGICAL ANIMALS

5,202 photos
A pair of porcelain elephants, Edo period, late 17th. Pair of model elephants with tusks, wearing harnesses. Many such models of animals, such as dogs, cats, deer, boars and horses were made as ornaments for European mantle- pieces. Real elephants would not have been seen in Japan at this time and these may have been inspired by pictures of Indian processional elephants. JA,1980.3-25.1-2
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A pair of porcelain elephants, Edo period, late 17th. Pair of model elephants wi...

Partridges, Edo period, 1790. A government official, Seki Mitsubumi, was visiting Nagasaki in 1789 and commissioned a resident Chinese artist to paint a set of five handscrolls, showing birds which had been imported from China in 1762 on a boat called the Hachiban (Boat No. 8).On his return to Edo, Mitsubimi showed the paintigs to the publisher Matsumoto Zembei, who decided to publish a selection as a deluxe woodblock -printed album. Masayoshi was employed to copy the Chinese artist's paintings. JA, JIB90
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Partridges, Edo period, 1790. A government official, Seki Mitsubumi, was visitin...

Bugaku mask of Ryo-o, the "Dragon King", 17th century. The Dragon King is a character from a Chinese story from the Northern Qi dynasty,who was so handsome he had to wear a fearsome mask so that his enemies would be terrified. The mask was used in Bugaku, a courtly ritual dance which survived in Japan since the Heian period and was popular in the Edo period. JA, 1978.4-21.2a
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Bugaku mask of Ryo-o, the "Dragon King", 17th century. The Dragon King is a char...

"Rabbits and autumn grasses", Edo period, mid-18th century Twelve rabbits shown in different activities, mainly feeding, but also chasing each other and one climbing amorously onto another's back. This screen was probably one of a pair painted by an artist of the Rimpa school. JA, JP Add88 (1933.9-29.03)
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"Rabbits and autumn grasses", Edo period, mid-18th century Twelve rabbits shown...

'Horse-breaking', Japan, c1560s. This is an autumn landscape in the mountains, with the leaves of the maple tree changing colour. Two horses are swimming in the river at the bottom of the composition, three more are galloping into view at the top, and in the centre, on a flat promontory in the water, a sixth is being ridden bareback and rears up, as three men try to pacify it. The basic forms are done in ink, with delicate use of light colours on the rocks, horses, and figures. A mist of gold dust floats over the scene, but this is not meant to provide the usual spatial abstraction. This rare work is invaluable in allowing us to see how a Tosa artist incorporated the realistic spirit of Chinese painting. JA, JP ADD919 (1989.12-21.01)
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'Horse-breaking', Japan, c1560s. This is an autumn landscape in the mountains, w...

'Hunting for insects', Japan, Edo period, c1768. A pair of lovers hunt for insects, probably fireflies or chirping crickets, on an early autumn night. A small cage stands ready on the ground while the young man searches through a plant of bush clover. He turns for a moment to exchange an intimate glance with the woman who wears an elegant kimono with a pattern of flowering morning glory. The black background must have been printed several times to produce the soft velvety depth against which the two figures and lantern stand out to such effect. Suzuki Harunobu was one of the first Ukiyo-e artists to develop techniques of full-colour printing from around 1765. He is already using the medium with great sophistication and delicacy in this print. He often echoes the courtly romance of the Heian period in his works, and here we may have a reference to a scene of insect-hunting from the "Genji monogatari" ('The Tale of Genji'). JA, 1945.11-1.08
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'Hunting for insects', Japan, Edo period, c1768. A pair of lovers hunt for insec...

A hanging scroll painting of monkeys, Edo period, Japan, c1795-c1801. A mother monkey and her baby sit together on a rock beside a blueberry bush. The mother is examining a single fruit that she has just picked, while the young one looks on. The painting shows clearly the artist's mastery of the depiction of animals; the soft texture of the animals' coats achieved by meticulously brushing in each individual hair over a background wash. Mori Sosen is most famous for his paintings of monkeys. In about 1808 he even changed the first character of his name to one meaning 'monkey'. He also founded a school of animal painting with his brother Shûhô, in Osaka. JA, JP 2500 (1913.5-1.0531)
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A hanging scroll painting of monkeys, Edo period, Japan, c1795-c1801. A mother m...

Birds and flowers, Edo period, Japan, 1791. A white parrot perched on a blossoming branch. The parrot is not native to Japan, but it was imported from as early as the ninth century, when the birds were presented to the imperial court. Parrots remained rare even during the Edo period (1600-1868), but featured at entertainment stalls in several cities. The white parrot was already a popular theme for paintings, but the artist Sessai may well have observed one in real life at one of these stalls. Although Sessai has here followed the thematic tradition of kachôga (bird-and-flower painting), and used conventional monochrome brushwork on the tree, he has adopted a sharply empirical style for the parrot. JA, JP ADD607 (1979.11-12.01)
#33011042

Birds and flowers, Edo period, Japan, 1791. A white parrot perched on a blossomi...

A wasps' nest, a wooden netsuke, Edo period, Japan, early 19th century. A perfectly carved wasp alights on the nest. Subjects for netsuke became more and more diverse as the Edo period progressed. All kinds of insects, as well as spiders, were a popular subject. A netsuke is a toggle worn at the end of a cord. A purse or pouch would be hung from the cord. JA, F1084
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A wasps' nest, a wooden netsuke, Edo period, Japan, early 19th century. A perfec...

Ivory statue of a falconer, Japanese, Meiji period, late 19th century. The masterly carving here reproduces every fold of the falconer's costume, the straw of his gaiters and boots, the individual strands of the cord and the soft plumage of the bird. It also suggests the textured pattern of his outer coat. After the Meiji Restoration in 1868, many changes occurred within Japan forcing craftsmen to adapt their skills or change trades completely. The new preference for western dress over the traditional Japanese kimono meant that there was no longer a demand for ivory netsuke. The vast new overseas market for traditional Japanese arts and crafts meant that some carvers turned to producing purely ornamental sculptures. This piece was probably made by a member of the Tokyo Ivory Sculptors' Association, which was set up by the government to ensure that such skills were not lost. JA, 1979.7-2.7
#33011052

Ivory statue of a falconer, Japanese, Meiji period, late 19th century. The maste...

Triptych by Kunisada Minamoto Yoshitsune (Ushikawa) instructed in swordplay by Tengi Japaqnese woodblock-print
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Triptych by Kunisada Minamoto Yoshitsune (Ushikawa) instructed in swordplay by...

Marriage ceremony
#33011057

Marriage ceremony