Explore Japan Art, Japanese Design, and more!

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Detail. 鈴木其一 Suzuki Kiitsu. White Peonies. Japanese hanging scroll. Nineteenth century. Late Edo period. Rinpa School.

Detail. 鈴木其一 Suzuki Kiitsu. White Peonies. Japanese hanging scroll. Nineteenth century. Late Edo period. Rinpa School.

Ryushi Kawabata,  Kanrai (Winter thunder)

Artworks of Ryushi Kawabata (Japanese, 1885 - from galleries, museums and auction houses worldwide.

Ryushi Kawabata,  Koi zu (Carp)

Artworks of Ryushi Kawabata (Japanese, 1885 - from galleries, museums and auction houses worldwide.

伊藤若冲 Ito Jakuchu 金刀比羅宮 Kotohira-gu shrine 花丸図 朝顔(アサガオ) Hanamaru-zu(Various Flowers) Morning glory

伊藤若冲 Ito Jakuchu 金刀比羅宮 Kotohira-gu shrine 花丸図 朝顔(アサガオ) Hanamaru-zu(Various Flowers) Morning glory

Detail. Blossoming Cherry Trees. Sakai Hōitsu 酒井抱一筆 桜図屏風 Japanese folding screen. circa 1805. One of a pair of six-panel screens; ink, color, and gold leaf on paper. Met Museum.

circa One of a pair of six-panel screens; ink, color, and gold leaf on paper.

Detail. Cherry Trees. One of a pair of Japanese Folding Screens: Maples and Cherry Trees. by Sakai Hoitsu 酒井抱一. Edo period. The Denver Art Museum.

One of a pair of Japanese Folding Screens: Maples and Cherry Trees. by Sakai Hoitsu 酒井抱一. The Denver Art Museum.

Birds and Flowers of the Four Seasons scroll. (detail). Sakai Hoitsu. 1818. Tokyo National Museum. 酒井抱一「四季花鳥図巻」 江戸時代後期酒井抱一「四季花鳥図巻」 江戸時代後期

Birds and Flowers of the Four Seasons scroll. (detail). Sakai Hoitsu. 1818. Tokyo National Museum. 酒井抱一「四季花鳥図巻」 江戸時代後期酒井抱一「四季花鳥図巻」 江戸時代後期

Detail. Paulownias and Chrysanthemums, late 1700s-early 1800s. 酒井抱一. Sakai Hoitsu (Japanese, 1761-1828). two-fold Japanese screen; ink and color on gilded paper. Rinpa School  Cleveland Art Museum

Paulownias and Chrysanthemums, late 酒井抱一. Sakai Hoitsu (Japanese, two-fold Japanese screen; ink and color on gilded paper.

横山大観「春風秋雨(秋雨)1」【襖紙】 | 絵画プリントグッズの通販 ORIE original

横山大観「春風秋雨(秋雨)1」【襖紙】 | 絵画プリントグッズの通販 ORIE original

明代 徐渭(Xu Wei,1521-1593) - 墨荷  徐渭,字文長,號青藤,十六世纪傑出的藝術家,在文學、詩歌、戲曲和繪畫上均有繼往開來、推陳出新的地位。其繪畫更對后世四百多年的大寫意畫產生巨大影響。      對於古人畫作,他亦深有研究,認為夏珪的畫: “蒼潔曠迥,令人舍形而悦影”;評倪雲林的畫是:“一幅淡烟光 ... 筆有霜”;及沈周的“草草者”、陳道復的“草書飛動似之”、唐伯虎的“小塗大抹俱高古”等風格。徐文長吸收了前輩諸家的特點,逐步形成自己大寫意的繪畫風格。

明代 徐渭(Xu Wei,1521-1593) - 墨荷 徐渭,字文長,號青藤,十六世纪傑出的藝術家,在文學、詩歌、戲曲和繪畫上均有繼往開來、推陳出新的地位。其繪畫更對后世四百多年的大寫意畫產生巨大影響。 對於古人畫作,他亦深有研究,認為夏珪的畫: “蒼潔曠迥,令人舍形而悦影”;評倪雲林的畫是:“一幅淡烟光 ... 筆有霜”;及沈周的“草草者”、陳道復的“草書飛動似之”、唐伯虎的“小塗大抹俱高古”等風格。徐文長吸收了前輩諸家的特點,逐步形成自己大寫意的繪畫風格。

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