Asian Collection

Covered Box with Molded Peony Design is around porcelain box with a blue-grey transparent glaze. It is incised with a delicate pattern and a peony blossom.
Covered Box with Molded Peony Design
Covered Box with Molded Peony Design
Covered Box with Molded Peony Design is around porcelain box with a blue-grey transparent glaze. It is incised with a delicate pattern and a peony blossom.

Covered Box with Molded Peony Design

China
Song dynasty (960–1279)
13th century
Porcelain, transparent glaze with pale blue gray tint (Qingbai ware)
H. 3 1/8 in. (7.9 cm); Diam. 5 11/16 in. (14.5 cm)
AG 1971.01
Qingbai ware, prized for its elegant restraint, was produced near the great ceramic center of Jingdezhen in Jiangxi province, in south China. These delicate porcelains are distinguished by a clear, bluish white glaze over incised, combed, or molded decoration.
Tea Caddy is a porcelain caddy with a yellow glazed design
Tea Caddy
Tea Caddy
Tea Caddy is a porcelain caddy with a yellow glazed design

Tea Caddy

China
Southern Song or Yuan dynasty (1127–1279/1279–1368)
13th–14th century
Porcelain with yellow glaze and iron oxide pigment (Jizhou ware)
H. 4 3/4 in. (12 cm); Diam. 7 3/4 in. (19.7 cm)
AG 1985.01
This charming container was originally made as a medicine or cosmetic jar, but this type of Chinese ceramic was highly prized by Japanese tea masters of the fifteenth and sixteenth centuries, who adapted a variety of domestic wares for use in the tea ceremony.
Detail of Vishnu attired in a richly draped and elaborately fastened skirt (dhoti), ornate jewelry, and a tall regal crown.
Vishnu
Vishnu
Detail of Vishnu attired in a richly draped and elaborately fastened skirt (dhoti), ornate jewelry, and a tall regal crown.

Vishnu

India
Chola period (c. 850–1310)
13th century
Bronze
33 3/4 x 13 3/8 x 12 7/8 in. (85.7 x 34 x 32.7 cm)
AG 1970.01
The Cholas originated a tradition of large-scale, cast-metal Hindu sculpture in the round. These sculptures were carried in ritual processions through the temple and adjoining precincts––the lugs and holes on the base were used for the insertion of poles to support the image.
Standing Shaka Buddha is a beautifully proportioned Gilt and lacquered wood sculpture of a Buddha. The Buddha stands on a pedastal as if moving forward. He is clothed in a gold deeply folded and decoratively draped robes.
Standing Shaka Buddha
Standing Shaka Buddha
Standing Shaka Buddha is a beautifully proportioned Gilt and lacquered wood sculpture of a Buddha. The Buddha stands on a pedastal as if moving forward. He is clothed in a gold deeply folded and decoratively draped robes.

Standing Shaka Buddha

Kaikei
Japanese (active c. 1185–1225)
Kamakura period (1185–1333)
c. 1210
Gilt and lacquered wood
54 7/16 x 19 1/4 x 13 1/2 in. (138.2 x 48.9 x 34.3 cm)
AP 1984.01 a,b,c
Kaikei, the great master sculptor of the Kamakura period (1185–1333), established the primary school of sculpture that produced statuary for the major temples in Nara and Kyoto.
Seated Nyoirin Kannon is a wood sculpture of a deity seated in a relaxed pose, resting on one of his six hands. His other hands hold a jewel, a lotus, and
Seated Nyoirin Kannon
Seated Nyoirin Kannon
Seated Nyoirin Kannon is a wood sculpture of a deity seated in a relaxed pose, resting on one of his six hands. His other hands hold a jewel, a lotus, and

Seated Nyoirin Kannon

Japan
Kamakura period (1185–1333)
c. 1230–50
Wood with traces of gilt and pigment
19 x 18 x 10 in. (48.3 x 45.7 x 25.4 cm)
AP 1985.15
Kannon is the Japanese name for the Indian Buddhist deity Avalokiteshvara, the bodhisattva of compassion. Because of the boundless love he offered to all beings, this was the most popular of all the Buddhist deities throughout Asia.
Bamboo and Rocks
Bamboo and Rocks

Bamboo and Rocks

Attributed to Tan Zhirui
Chinese (active late 13th to early 14th century)
Yuan dynasty (1279–1368)
c. 1275
Hanging scroll; ink on paper
39 1/2 x 14 15/16 in. (100.3 x 38 cm)
AP 2002.02
This delicate ink painting of bamboo and rocks, a recurrent motif in Chinese painting, has recently been attributed to the Yuan-dynasty (1279–1368) painter Tan Zhirui. The elegantly inscribed poem was added by the Buddhist priest Yishan Yining (1247–1317).
Seated En No Gyoja with staff and scroll. The eyes are fixed as if in a hypnotic gaze, and the mouth is open to expose the teeth and tongue, as if En no Gyoja were chanting the scriptures or delivering a lecture.
En no Gyoja
En no Gyoja
Seated En No Gyoja with staff and scroll. The eyes are fixed as if in a hypnotic gaze, and the mouth is open to expose the teeth and tongue, as if En no Gyoja were chanting the scriptures or delivering a lecture.

En no Gyoja

Japan
Kamakura period (1185–1333)
c. 1300–1375
Polychromed wood
54 15/16 x 32 x 26 in. (139.6 x 81.3 x 66 cm)
AP 1984.13
En no Gyoja was the legendary founder of the Shugendo sect, which emphasized the practice of religious austerities, and he thus came to represent the archetypical ascetic recluse. He is said to have died in the early eighth century after living a hermetic life in the mountains.
Seated Arhat is a cast iron depiction of monk representing an arhat. His face contrast with the simplified but rhythmical form of the body to produce a portrait of great character and presence.
Seated Arhat
Seated Arhat
Seated Arhat is a cast iron depiction of monk representing an arhat. His face contrast with the simplified but rhythmical form of the body to produce a portrait of great character and presence.

Seated Arhat

China, Shaanxi province
Late Yuan to early Ming dynasty (1279–1368/1368–1644)
c. 1300–1450
Cast iron, traces of pigment
30 11/16 x 19 7/8 x 16 in. (78 x 50.5 x 40.7 cm)
AP 1984.14
This engaging portrait of a monk represents an arhat (in Chinese, lohan), one of a group of “perfected beings” who, in the Buddhist faith, were the original disciples of Shakyamuni Buddha.
Twenty-Five Bodhisattvas Descending from Heaven made of two pairs of hanging scrolls un which twenty-five small music-making divinities, bejeweled and richly dressed in gold, float down from the heavens on diaphanous clouds.
Twenty-Five Bodhisattvas Descending from Heaven
Twenty-Five Bodhisattvas Descending from Heaven
Twenty-Five Bodhisattvas Descending from Heaven made of two pairs of hanging scrolls un which twenty-five small music-making divinities, bejeweled and richly dressed in gold, float down from the heavens on diaphanous clouds.

Twenty-Five Bodhisattvas Descending from Heaven

Japan
Kamakura period (1185–1333)
c. 1300
Pair of hanging scrolls; gold and mineral pigments on silk
39 x 15 3/4 in. each (99 x 40 cm each)
AP 1986.11 a,b
In this pair of paintings, twenty-five small music-making divinities, bejeweled and richly dressed in gold, float down from the heavens on diaphanous clouds. The divinities are bodhisattva attendants to Amida Buddha, who inspired in his followers the hope of eternal life in his Western Paradise.
Arhat Taming the Dragon is a hanging scroll, which depicts a seated arhat, accompanied by a guardian king, a monk, and a child, confronts a dragon as it emerges from a body of water.
Arhat Taming the Dragon
Arhat Taming the Dragon
Arhat Taming the Dragon is a hanging scroll, which depicts a seated arhat, accompanied by a guardian king, a monk, and a child, confronts a dragon as it emerges from a body of water.

Arhat Taming the Dragon

China
Yuan dynasty (1279–1368)
Early 14th century
Hanging scroll; ink and mineral pigments on silk
48 1/4 x 20 3/4 in. (122.5 x 52.7 cm)
AP 1987.03
Arhats (in Chinese, lohans) were the original disciples of the Buddha, enlightened beings of exceptional wisdom, endowed with supernatural powers. One of their primary roles is to serve as guardians and advocates of the Buddhist Law (dharma).
Meiping Vase is a pale green-blue ceramic vessel with wide shoulders and a small mouth. It has floral decoration and a wide mouth
Meiping Vase
Meiping Vase
Meiping Vase is a pale green-blue ceramic vessel with wide shoulders and a small mouth. It has floral decoration and a wide mouth

Meiping Vase

China
Jiangxi province, Yuan dynasty (1279–1368)
first half of the 14th century
Porcelain with pale greenish blue glaze (Qingbai ware)
H. 12 1/2 in. (31.8 cm); Diam. 7 1/8 in. (18.1 cm)
AP 1968.08
Qingbai wares of the Yuan dynasty continue an earlier tradition of porcelain wares covered with a transparent glaze, which began as early as the tenth century. The name qingbai (bluish white) refers to the faint bluish tint of the glaze in areas where it thickens.
Pink and White Lotus is a hanging scroll of a painted lotus when the blossoms are fully opened and some petals have begun to fall.
Pink and White Lotus
Pink and White Lotus
Pink and White Lotus is a hanging scroll of a painted lotus when the blossoms are fully opened and some petals have begun to fall.

Pink and White Lotus

China
Yuan dynasty (1279–1368)
14th century
Hanging scroll; mineral pigments on silk
53 9/16 x 23 7/8 in. (136 x 60.7 cm)
AP 1984.19
The grandeur of this depiction of lotus blossoms, leaves, and seed pods is eloquent testimony to the considerable position accorded the genre of flower painting in China.
Vase with Fish and Foliate Scroll Design is a stoneware vessel with a plain cream base, painted with a foliate fish design
Vase with Fish and Foliate Scroll Design
Vase with Fish and Foliate Scroll Design
Vase with Fish and Foliate Scroll Design is a stoneware vessel with a plain cream base, painted with a foliate fish design

Vase with Fish and Foliate Scroll Design

China
Yuan dynasty (1279–1368)
14th century
Stoneware with brown slip and green glaze (Cizhou ware)
15 3/4 x 11 13/16 in. (40 x 30 cm)
AP 1970.06
Cizhou is the designation for a large and varied group of cream-colored stonewares decorated with painted designs under a transparent glaze, or by incising, stamping, or carving into a colored slip.
This scroll shows a traveler at the right approaching a bridge, accompanied by his servant, who  is returning to his home. Past the bridge is a village, a path, and his family home.
Returning from a Visit
Returning from a Visit
This scroll shows a traveler at the right approaching a bridge, accompanied by his servant, who  is returning to his home. Past the bridge is a village, a path, and his family home.

Returning from a Visit

Zhu Derun
Chinese (1294–1365)
Yuan dynasty (1279–1368)
c. mid-14th century
Handscroll; ink on paper
11 1/8 x 46 15/16 in. (28.2 x 119.3 cm)
AP 1972.06
The Yuan dynasty (1279–1368), during which time the Mongols dominated China, was one of great distress for the Chinese. For the first time in their history, the entire country was under foreign control.
Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple
Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple

Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple

Japan
Nambokucho period (1336–1392)
c. 1350
Hanging scroll; color and gold on silk
35 1/4 x 9 1/2 in. (89.5 x 24.1 cm)
AP 1982.02
Vimalakirti Scroll Used for a Yuima-e Service at T"nomine Temple has been retitled to reflect new information that came to light in the course of recent restoration and cleaning carried out in Japan.
White porcelain lotus-shaped bowl decorated with an interior pattern of radiating petals, with a scrolling floral vine and key fret border on the exterior
Bowl with Secret Decoration
Bowl with Secret Decoration
White porcelain lotus-shaped bowl decorated with an interior pattern of radiating petals, with a scrolling floral vine and key fret border on the exterior

Bowl with Secret Decoration

China
Ming dynasty (1368–1644)
Early 15th century
Porcelain with transparent glaze (White ware)
H. 4 in (10.1 cm); Diam. 8 1/4 in. (21 cm)
APx 1971.20
In the Ming period, white ware reached a peak of refinement, achieving a thin, fine-grained, pure white body and a glaze that was transparent and glossy, without any tinge of color.

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