Search Results for sery

Figure 14. First episode in Life Story series, depicting bestowal of Bodhisattva's crown to Maitreya, east end of south wall of Akaniṣṭha Shrine (3. a ), first half of seventeenth century. Photograph: author. More

Figure 15. Episode in Life Story series, depicting Dream of Queen Māyā, conception of Buddha, east end of south wall of Akaniṣṭha Shrine (3. b ), first half of seventeenth century. Photograph: author. More

Figure 16. Episode in Life Story series, depicting Māravijaya (Defeat of Māra), near north corner of west wall of Akaniṣṭha Shrine (3. l ), first half of seventeenth century. Photograph: author. More

Figure 17. Episode in Life Story series, depicting first sermon at Sarnath, near west corner of north wall of Akaniṣṭha Shrine (3. m ), first half of seventeenth century. Photograph: author. More

6. Liang Airu (Chinese, active 1810–1850), A Series of Eight Landscapes , Qing dynasty (1644–1911), reign of emperor Jiaqing (1796–1820) or Daoguang (1820–1850), 1814. Album of eight ink-on-paper landscapes, 24.1 × 23.5 cm. Asian Art Museum, San Francisco, 2015.64. Gift of the Yeh Family. More

Kobayakawa Kiyoshi (Japanese, 1899–1948), Tipsy, from the series “Modern Styles of Women,” Japan, Shōwa period (1926–89), 1930. Color woodblock print with mica; sheet 52.1 × 30.5 cm. Saint Louis Art Museum, 119:2016. The Langenberg Endowment Fund. More

Figure 17. Thomas Allom, The City of Nanking , 1843. Engraving. From Allom, China in a Series of Views , 2: plate following page 16. Getty Research Institute/Internet Archive. Public domain. More

Figure 15. Banshū Takasago Onoe no kane (Takasago Onoe Bell in Harima), supplemental print in the series Nōgaku zue (1897–1902) byTsukioka Kōgyo. Ink and color on paper, 24.2 × 37.7 cm. Library of Congress, Washington, DC. More

Figure 16. Thomas Allom (English, 1804–1872), Nanking from the Porcelain Tower, Drawing from a Sketch on the Spot by Captain Stoddart, R. N , 1843. Engraving. From Allom, China in a Series of Views , 4: plate following page 40. Getty Research Institute/Internet Archive. Public domain. More

Figure 5. Shigeo Toya, How still it is here / Stinging into the stones / The locust's trill [ Shizukasa ya iwa ni shimiiru semi no koe 閑さや岩にしみ入蝉の声]. Bashō series, 1983. Lumber, plaster, nails, fire. Discarded. © Shigeo Toya, courtesy of ShugoArts. Photograph: Tadasu Yamamoto. More

Figure 13. Kitagawa Utamaro (Japanese, ca. 1753–1806), Hanaōgi of Ōgiya , from the series “Renowned Beauties Likened to the Six Immortal Poets,” ca. 1795–96. Woodblock print; ink and colors on paper, 38.6 × 25.8 cm. Museum of Fine Arts, Boston, William S. and John T. Spaulding Collection More

Figure 1. Shigeo Toya, How still it is here / Stinging into the stones / The locust's trill [ Shizukasa ya iwa ni shimiiru semi no koe 閑さや岩にしみ入蝉の声], Bashō series, 1983. Lumber, plaster, nails, fire. Hamakurosaki Kaigan, Toyama City, Toyama Prefecture. Discarded. Photograph: © Shigeo Toya More

Kitagawa Utamaro (Japanese, 1754–1806), Hands inside the Sleeves (Futokorode), from the series Eight Views of Tea Stalls in Celebrated Places (Meisho koshikake hakkei) , ca. 1795–96. Woodblock print; ink and color on paper, sheet 38.1 × 24.1 cm. Seattle Art Museum, 2017.23.6. Gift of Mary More

Munakata Shikō (Japanese, 1903–75), Maudgalyāyana, Master of Supernatural Forces, from the series Ten Great Disciples of Buddha , Japan, Shōwa period (1926–89), 1939/1948 (blocks carved), 1960 (printed). Woodblock print; ink on paper, sheet 106 × 47.6 cm. The Metropolitan Museum of Art, 2017.245.9 More

Michael Cherney (American [active China], b. 1969), Sacred Tree on Mount Lu, from the series “Shadow Curtains,” no. 8b , China, 2011. Photographs mounted as a four-panel folding screen; ink on xuan-type cotton, 182.9 × 213.4 cm. Saint Louis Art Museum, 61:2016. William K. Bixby Trust for Asian Art More