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inscription

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Published: 01 April 2018
Figure 17. Hon'ami Kōetsu (Japanese, 1558–1637), calligraphic inscription of a poem by Kamo no Chōmei (ca. 1155–1216); shikishi painting attributed to Tawaraya Sōtatsu (Japanese, fl. ca. 1600), dated 1606. Ink, gold, and silver on paper, 20.2 × 17.8  cm. The Metropolitan Museum of Art, New More
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Published: 01 April 2017
Figure 6. Inscribed to “usta dadinani” (inscription is not entirely clear), Rahim , dated 1867, Bikaner. Opaque watercolor on paper ( wasili ), 17 × 13 cm. Artwork in the public domain. Figure 6. Inscribed to “usta dadinani” (inscription is not entirely clear), Rahim, dated 1867, Bikaner More
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Published: 01 April 2017
Figure 9. “Daskat Rahim,” inscription on a drawing of “Shri Sajirdin,” Bikaner, 1860s–80s. Lampblack on paper. Private collection. Figure 9. “Daskat Rahim,” inscription on a drawing of “Shri Sajirdin,” Bikaner, 1860s–80s. Lampblack on paper. Private collection. More
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Published: 01 April 2017
Figure 10. Detail of inscription on a portrait of Maharaja Ratan Singh, Bikaner, 1860s–80s. In Rahim handwriting: “Shri Bara Hazur Syahvar Khakho” (drawing on khakha [pin-pricked composition] of His Majesty). Lampblack on paper. Private collection. Figure 10. Detail of inscription More
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Published: 01 April 2017
Figure 1. Luo Qilan (China, b. 1755), Herbaceous Peony , 1795. Inscription by Wang Wenzhi (1730–1802). Hanging scroll, ink and colors on paper, 85.7 × 39 cm. Photograph: © The Palace Museum, Beijing; all rights reserved. Figure 1. Luo Qilan (China, b. 1755), Herbaceous Peony, 1795 More
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Published: 01 October 2021
Figure 17c. Rubbing of relief carved dedicatory inscription on the stele, Niche 304, Guyang Cave. After Mizuno and Nagahiro, Kanan Rakuyō Ryūmon sekkutsu , rubbings 15. Figure 17c. Rubbing of relief carved dedicatory inscription on the stele, Niche 304, Guyang Cave. After Mizuno and Nagahiro More
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Published: 01 October 2021
Figure 18c. Rubbing of dedicatory inscription by Lady Yuchi, Niche 94, Guyang Cave. Image courtesy of the Longmen Research Institute. Figure 18c. Rubbing of dedicatory inscription by Lady Yuchi, Niche 94, Guyang Cave. Image courtesy of the Longmen Research Institute. More
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Published: 01 October 2021
Figure 19. Rubbing dedicatory inscription by the Prince of Beihai, dated 498, Niche 51, Guyang Cave. Image courtesy of the Longmen Research Institute. Figure 19. Rubbing dedicatory inscription by the Prince of Beihai, dated 498, Niche 51, Guyang Cave. Image courtesy of the Longmen Research More
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Published: 01 October 2021
Figure 23. Niche 66 with Fasheng dedicatory inscription dated 503, Guyang Cave south wall. Image courtesy of Longmen Research Institute. Figure 23. Niche 66 with Fasheng dedicatory inscription dated 503, Guyang Cave south wall. Image courtesy of Longmen Research Institute. More
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Published: 01 October 2021
Figure 1. Chen Shizeng (Chinese, 1876–1923), Rickshaw Puller with an Inscription by Cheng Kang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 1. Chen Shizeng (Chinese, 1876–1923), Rickshaw Puller More
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Published: 01 October 2021
Figure 2. Chen Shizeng, Camel Driver with an Inscription by Zheng Wuchang and an Inscription by Chen Xiazhang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 2. Chen Shizeng, Camel Driver More
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Published: 01 October 2021
Figure 3. Chen Shizeng, Bridal Chair Filler with an Inscription by Cheng Kang and an Inscription by He Binsheng , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 3. Chen Shizeng, Bridal Chair Filler More
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Published: 01 October 2021
Figure 4. Chen Shizeng, Tea Drinker with an Inscription by He Binsheng and an Inscription by Chen Xiazhang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 4. Chen Shizeng, Tea Drinker with an Inscription More
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Published: 01 October 2021
Figure 5. Chen Shizeng, Sugar-glazed Hawthorn Skewer with an Inscription by Chen Xiazhang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 5. Chen Shizeng, Sugar-glazed Hawthorn Skewer with an Inscription More
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Published: 01 October 2021
Figure 6. Chen Shizeng, Beijing-style Mover with an Inscription by He Binsheng and an Inscription by Chen Xiazhang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 6. Chen Shizeng, Beijing-style Mover More
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Published: 01 October 2021
Figure 7. Chen Shizeng, Buying Chrysanthemum with an Inscription by He Binsheng and an Inscription by Chen Xiazhang , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 7. Chen Shizeng, Buying Chrysanthemum More
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Published: 01 October 2021
Figure 8. Chen Shizeng, Ice Cart with an Inscription by He Binsheng and an Inscription by Jin Cheng , from the album Beijing Fengsu , ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 8. Chen Shizeng, Ice Cart with an Inscription by He More
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Published: 01 October 2021
Figure 9. Chen Shizeng, Wall with Ears with Chen's Own Inscription and an Inscription by Tong Danian , from the album Beijing Fengsu ,ca. 1915. Ink and color on paper, 28.6 × 34.6 cm. The National Art Museum of China, Beijing. Figure 9. Chen Shizeng, Wall with Ears with Chen's Own More
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Published: 01 October 2021
Figure 10. Inscription one to the right of the doorway (below Avalokiteśvara-Amoghapāśa). Photograph: Sarah Richardson. Figure 10. Inscription one to the right of the doorway (below Avalokiteśvara-Amoghapāśa). Photograph: Sarah Richardson. More
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Published: 01 October 2021
Figure 16. Inscription two to the left of doorway (below Tathāgata). Photograph: Sarah Richardson. Figure 16. Inscription two to the left of doorway (below Tathāgata). Photograph: Sarah Richardson. More