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CMA: Japanese Art

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Sharing public domain works from the Japanese Art department of the Cleveland Museum of Art

Festival Scenes, 1615-99, Cleveland Museum of Art: Japanese Art

Much smaller in size than standard Japanese folding screens, this lively pair depicts all manner of entertainments. Although at first they seem to show an ongoing festival, closer examination reveals that the screens comprise a series of isolated scenes from disparate occasions. In one screen, crowds gather around a bout of sumo wrestling as well as juggling and balancing acts. Elsewhere, teams of men pull a float bearing musicians costumed in foreign dress. There is also a dance circle with drums, a performing monkey, and a party of falconers. In the other screen, male courtiers observe a game of kickball played by noblemen, while their female counterparts watch from behind bamboo curtains. Others enjoy a theater performance. A children’s dance circle and a dance performance with ladies sporting elaborate headgear occupy the center of the screen. A group wielding huge parasols at the upper left of the screen reenacts episodes from legend, as still other performances, including dancing dogs, entertain the crowds below. Size: Overall: 51.1 x 208.9 cm (20 1/8 x 82 1/4 in.) Medium: pair of six-panel folding screens; ink, color, gold, and gold leaf on paper

https://clevelandart.org/art/1985.279

Tiger in Wind and Rain, Maruyama Okyo, 1776, Cleveland Museum of Art: Japanese Art

The short inscription on this painting was added by Prince Yūjō, Ōkyo's most important patron as a young artist. Some of the artist's finest compositions remain in the possession of the temple near Kyoto where Yūjō lived and became the abbot. He introduced Ōkyo to a number of clients who supported his career. Size: Image: 134.6 x 58 cm (53 x 22 13/16 in.); Overall: 194 x 73 cm (76 3/8 x 28 3/4 in.) Medium: hanging scroll; ink on paper

https://clevelandart.org/art/1971.232

Half Moon Bridge, Yoshida Tōshi, 1941, Minneapolis Institute of Art: Japanese and Korean Art

half-circle footbridge in middle ground over calm water; small buildings at left and right; many people walking; gnarled tree with purple hanging blooms across top of image Size: 7 11/16 × 10 7/16 in. (19.53 × 26.51 cm) (sheet) Medium: Woodblock print; ink and color on paper

The flow of new peoples from Korea to Japan during the Yayoi period brought new technologies of bronze and iron casting. Similarly, the form of the dotaku, or bronze bell, is thought to have originated in Korea. The original Korean prototypes—stout, thickly cast bells—were transformed in Japan into sculptural forms with sophisticated surface decoration. These dotaku are often uncovered near burial sites paired with a metal spear or sword nearby, suggesting ceremonial importance. Size: Overall: 97.8 x 48.9 cm (38 1/2 x 19 1/4 in.) Medium: cast bronze

https://clevelandart.org/art/1916.1102

Driving Rain at Shono (Station 46) from the series Fifty-Three Stations of the Tokaido, Ando Hiroshige, 1833, Cleveland Museum of Art: Japanese Art

In this print, Hiroshige mastered capturing the atmospheric qualities of rain and its effects on travelers wearing straw raincoats. The publisher’s name, Takenouchi, is written on the umbrella. His large red seal is stamped on the left side of the print. Hiroshige often depicted rainfall with distinct slanted lines. Here, he also added sheets of gray shading to emphasize the intensity of the downpour. In addition, three different shades of gray, requiring three different stages of the printing process, suggest distance in the thickets of bamboo in the background. Size: Sheet: 38 x 25.4 cm (14 15/16 x 10 in.) Medium: color woodblock print

https://clevelandart.org/art/1948.306

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