Exhibition Checklist

All works in the exhibition are gifts of Drs. John Fong and Colin Johnstone.

Introduction

Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Sake Decanter (tokkuri)
1800s
Glazed ceramic
5½ × 6 in. (14 × 15.2 cm)
2021.196
1
A light brown sake decanter with a narrow opening at the top and a much wider base. It has a small rimmed lid, and a poem in Japanese characters is inscribed around the vessel. Finger prints and indentations cover its surface.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Sake Decanter (tokkuri), 1800s. Glazed ceramic. Gift of Drs. John Fong and Colin Johnstone, 2021.196.
Kō (Ōshima) Raikin 高(大島)来禽
Active late 1700s
Autumn Landscape
Late 1700s
Ink and light color on paper
12⅞ × 8½ in. (32.7 × 21.6 cm)
2018.193
2
An ink-painted scroll depicts house on an outcropping, surrounded by trees. A small figure in a blue shirt walks up a path toward the house.
Kō (Ōshima) Raikin 高(大島)来禽, active late 1700s, Autumn Landscape, late 1700s. Ink and light color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.193.
Takeuchi Shōran 武内小鸞
Active late 1700s–early 1800s
Bush Warbler on a Plum Branch
Early 1800s
Ink and color on silk
37½ × 14½ in. (95.3 × 36.8 cm)
2018.215
3
A narrow, horizontally oriented composition. A brown bird sits on a thin branch of a plum tree with small white blossoms. Other tree branches spread out below and above it. A signature with Japanese characters is in the bottom right corner.
Takeuchi Shōran 武内小鸞, active late 1700s–early 1800s, Bush Warbler on a Plum Branch, early 1800s. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.215.
Katō Seiko 加藤青湖
Active 1800s
Sparrows and Bamboo
About 1872
Ink and color on silk
49⅜ × 16⅛ in. (125.4 × 41 cm)
2018.212
4
About 15 sparrows flit around and sit in the green leaves of two bamboo plants on the left side of this long, narrow composition. Japanese calligraphy and two red stamps appear in the upper right corner.
Katō Seiko 加藤青湖, active 1800s, Sparrows and Bamboo, about 1872. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.212.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Waka Poem
About 1828/9 or 1840/41
Ink on decorated paper
13¼ × 2¼ in. (33.7 × 5.7 cm)
2018.181.3
5
A poem in Japanese characters and brushed with black ink fills the length of a long, narrow strip of paper. Splotches and drips of light-colored ink appear atop some of the calligraphy.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Waka Poem, about 1828 or 1840. Ink on decorated paper. Gift of Drs. John Fong and Colin Johnstone, 2018.181.3.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Two Poems on Uchiwa Fans
1800s
Ink on paper with bamboo ribbing, wood handles, silk tassels, and mica
Blue fan 14⅞ × 9½ × ¼ in. (37.8 × 24.1 × 0.6 cm), Beige fan 15 × 9⅜ × ¼ in. (38.1 × 23.8 × 0.6 cm)
2018.166.1-2
6
Two paddle-shaped fans. The fan on the left is beige, and the fan on the right is light blue. Both have black handles and are inscribed with poems in thin Japanese calligraphy.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Incense Container (kōgō) in the Shape of a Tanuki (raccoon dog)
1800s
Glazed ceramic
2¼ × 2½ in. dia. (5.7 × 6.4 cm. dia)
2021.199A-B
7
A white, spherical vessel in the shape of a raccoon dog. The face of the raccoon dog looks up, and its arms and legs, with incised lines representing fur, are close to its body. Japanese characters are incised on its chest.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Incense Box (kōgō) in the Shape of a Tortoise
1800s
Ceramic with gold and lacquer repair (kintsugi)
¾ × 1⅝ × 2¼ in. dia. (1.9 × 4.1 × 5.7 cm dia.)
2021.164A-B
8
A small brown box in the shape of a tortoise. The lid is the head and shell of the tortoise. It has eight faceted sides, and the eyes of the tortoise are holes on either side of the head.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Incense Box (kōgō) in the Shape of a Tortoise, 1800s. Ceramic with gold and lacquer repair (kintsugi). Gift of Drs. John Fong and Colin Johnstone, 2021.164A-B.
Calligraphy by Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Painting by Wada Gesshin 和田月心
1800–1870
Stag and Poem
About 1865–70
Ink on paper
26¾ × 7 ¾ in. (67.9 × 19.7 cm)
2018.245
9
A stag painted in thin black ink stands on a light ground near the bottom of the narrow, vertical composition. A poem in Japanese calligraphy is inscribed in the top half of the composition, and a red stamped seal appears below the stag.
Calligraphy by Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Painting by Wada Gesshin 和田月心, 1800–1870. Stag and Poem, about 1865–70. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.245
Calligraphy by Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Painting by Tomioka Tessai 富岡鉄斎
1836–1924
Three Waka Poems and a Pine
1850–1900
Ink on paper
38¼ × 12 in. (97.2 × 30.5 cm)
2021.156
10
Energetically brushed Japanese characters in black ink fill the top three quarters of a long, narrow composition. A delicately drawn branch of a pine tree spreads across the bottom of the composition. A signature and two red stamps are in the bottom right corner.
Kuroda Kōryō 黒田光良
1823–1895
Two Teabowls in the Style of Rengetsu (Rengetsu-yaki)
Late 1800s
Glazed ceramic
Each 1⅞ × 4½ in. dia. (4.6 × 11.4 cm dia.)
2018.259.1-2
11
Two small beige bowls with slanted sides. The exteriors are rough and darker brown than the smooth interiors. The interior rims are stamped with small squares and circles. The interior of the bowls are lighter beige and inscribed with poems written in Japanese characters.
Kuroda Kōryō 黒田光良, 1823–1895, Two Teabowls in the Style of Rengetsu (Rengetsu-yaki), late 1800s. Glazed ceramic. Gift of Drs. John Fong and Colin Johnstone, 2018.259.1-2.
Unidentified artist
Signed Mirei 美嶺
The Three Obediences (sanjū)
1700–mid-1800s
Ink and color on paper
29⅛ × 9¾ in. (74 × 24.8 cm)
2018.146
12
Two large Japanese characters are written in thick black ink at the top of the long, horizontal composition. At the bottom, a woman in a brown and black robe sits on a thinly painted white rug with her knees bent beneath her. She holds rosary beads and seems to look out at the observer.
Unidentified artist, Signed Mirei 美嶺, The Three Obediences (Sanjū), 1700s–mid-1800s. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.146.
Miwa Teishin 三輪貞信
1809–1902
Waka Poem on Poetry Slip (tanzaku)
Late 1800s
Ink on decorated paper
14¼ × 2⅜ in. (36.2 × 6 cm)
2018.182
13
A poem in Japanese characters and brushed with black ink fills the length of a long, narrow strip of paper. Splotches and drips of light-colored ink appear atop some of the calligraphy.
Miwa Teishin 三輪貞信, 1809–1902, Waka Poem on Poetry Slip (tanzaku), late 1800s. Ink on decorated paper. Gift of Drs. John Fong and Colin Johnstone, 2018.182.
Murase Myōdō 村瀬明道
1924–2013
Breaking Waves in the Pines (shōtō)
Late 1900s
Ink on paper
12⅝ × 23⅞ in. (32.1 × 60.6 cm)
2018.155
14
Two thickly brushed Japanese characters in black ink occupy the center of a horizontal piece of paper. One small red stamp in the top left corner, and two others on the right-center edge of the paper.
Murase Myōdō 村瀬明道, 1924–2013, Breaking Waves in the Pines (shōtō), late 1900s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.155.
Kamei Shōkin 亀井少琴
1798–1857
Blossoming Plum
About 1850
Ink on paper
52¼ × 19 in. (132.7 × 48.3 cm)
2018.192
15
Painted in black and gray ink, several branches of a blossoming plum tree swoop across the paper, filling the bottom two-thirds of the composition. Every branch is heavy with delicate white blossoms. Three lines of calligraphy and three red seals in the top left corner.

Inner Chambers

Artist unknown
Signed Kiyohara Yukinobu 清原雪信
Active 1600s–1700s
Genji Peeping at the Young Murasaki
1600s
Ink and color on silk
15¼ × 21½ in. (38.7 × 54.6 cm)
2018.255
16
A house with a large porch stands on stilts amid a hilly landscape. A green pine tree grows on the hillside to the right. Below the porch, a lavishly dressed man and his servant look up at the porch where three women and a young girl, all in kimonos, stand and sit.
Artist unknown, Signed Kiyohara Yukinobu 清原雪信, 1643–1682, Genji Peeping at the Young Murasaki, 1600s. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.255.
Ono no Ozū (or Ono no Otsū) 小野お通
1559/68–before 1650
The Deified Sugawara Michizane Crossing to China (Totō Tenjin)
Early 1600s
Ink on paper
25⅜ × 12¾ in. (64.5 × 32.4 cm)
2018.152
17
A man with black hair in a high bun and a long, wispy beard wearing a kimono takes up the majority of the composition. Japanese calligraphy is above both of his shoulders, and also in the lower left-hand corner.
Ono no Ozū (or Ono no Otsū) 小野お通, 1559/68–before 1650, The Deified Sugawara Michizane Crossing to China (Totō Tenjin), early 1600s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.152.
Yamazaki Ryūjo 山崎龍女
Active early 1700s
Hotei and His Bag of Treasure
Early 1700s
Ink on paper
17⅛ × 22 in. (43.5 × 55.9 cm)
2018.185
18
A man sits and looks into a large bag in the left half of the composition. A small signature and red stamp are to his left at the edge of the paper. Two vertical rows of Japanese calligraphy fill the right half.
Tachihara Shunsa 立原春沙
1818–1858
Blossoming Plum
Mid-1800s
Ink and color on silk
41 × 14⅛ in. (104.1 × 35.9 cm)
2018.214
19
Branches of a plum tree with tiny white blossoms. Japanese calligraphy in the upper right-hand corner, along with a red stamp.
Nakayama Miya 中山三屋
1840–1871
Chrysanthemums
Mid-1800s
Ink and color on paper
54¼ × 12 in. (137.8 × 30.5 cm)
2018.218
20
Chrysanthemum flowers are delicately painted in the bottom half. A small signature and red stamp to the left of the flowers. Two rows of Japanese calligraphy in the top half of the paper to the right.
Nakayama Miya 中山三屋, 1840–1871, Chrysanthemums, mid-1800s. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.218
Nakayama Miya 中山三屋
1840–1871
Blossoming Plums
Mid-1800s
Ink on paper
35½ × 10½ in. (90.2 ×26.7 cm)
2018.221
21
A branch from a plum tree fills the bottom half of the paper. Two vertical rows of Japanese calligraphy and a signature with a red stamp fill the top right of the paper.
Attributed to Oda Shitsushitsu 織田瑟瑟
1779–1832
Blossoming Cherry Tree
Early 1800s
Ink and color on paper
45⅞ × 20⅞ in. (116.5 × 53 cm)
2018.213
22
The green and brown trunk of a cherry tree stands on a pillowy brown hill. The trunk leans to the left, and smaller limbs with leaves and flowers branch out from the trunk. Only part of the tree is seen as it seems to extend beyond the paper.
Attributed to Oda Shitsushitsu 織田瑟瑟, 1779–1832, Blossoming Cherry Tree, early 1800s. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.213.

Daughters of the Atelier

Kiyohara Yukinobu 清原雪信
1643–1682
The Goddess Benzaiten and Her Lute (biwa)
1660–82
Ink, color, and gold on silk
32⅝ × 14⅛ in. (82.9 × 35.9 cm)
2018.150
23
A slender, elegantly dressed woman in flowing robes sits crosslegged on a tuft of grass upon a rock. She strums a lute that rests in her lap. Behind her is a vague suggestion of a landscape, and a large, moon-like orb frames the top half of her body.
Kiyohara Yukinobu 清原雪信, 1643–1682, The Goddess Benzaiten and Her Lute (biwa), 1660s–80s. Ink, color, and gold on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.150.
Nakabayashi Seishuku 中林清淑
1829–1912
Blossoming Plum and Bamboo
1893
Ink on paper
54¼ × 13¼ in. (137.8 × 33.7 cm)
2018.194
24
In the bottom left corner of this long, vertical composition, a few bamboo stems jut across the paper. Above, a blossoming plum branch reaches across to the other side and then up the length of the composition. Both are painted in black ink. At the bottom, two red stamps and Japanese characters.
Hirata Gyokuon 平田玉蘊
1787–1855
Queen Mother of the West and Attendant
About 1839
Ink and color on silk
44⅞ × 16½ in. (114 × 41.9 cm)
2018.211
25
A slender woman in a blue kimono and dusty-rose obi stands on a hill, looking down at the sprigs with green leaves and white blossoms that she holds in her hands. A young girl in a dusty-rose colored robe with green trim stands behind her. She carries a zither and looks into the distance to the left of the frame.
Hirata Gyokuon 平田玉蘊, 1787–1855, Queen Mother of the West and Attendant, about 1839. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.211.

Taking the Tonsure

Suganuma Ōhō 菅沼大鳳
Active early 1900s
Rengetsu Working in Her Hut
1935
Ink and color on paper
45⅛ × 16⅞ in. (114.6 × 42.9 cm)
2018.165
26
Detailed ink painting showing a birds-eye view of a simple but elegantly furnished hut, partially obscured by trees. Inside, a seated nun serenely inscribes her pottery.
Suganuma Ōhō 菅沼大鳳, 1891–1966, Rengetsu Working in Her Hut, 1935. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.165.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Travel Journal to Arashiyama (Arashiyama hana no ki)
1800s
Ink and color on paper
1¼ × 4¼ × 6½ in. (3.2 × 10.8 × 16.5 cm)
2021.206
27
Accordion-bound album with elegant cursive lines of poetry and occasional illustrations like butterflies or a sprig of pink flowers.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Travel Journal to Arashiyama (Arashiyama hana no ki), 1800s. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2021.206.
Ōishi Junkyō 大石順教
1888–1968
Bodhisattva Kannon (Avalokiteśvara)
Mid-1900s
Ink on paper
25⅝ × 13⅜ in. (65.1 × 34 cm)
2018.156
28
Simply brushed plain line painting in black ink of a seated meditating feminine figure draped in a flowy robe. Japanese calligraphy on the right.
Ōishi Junkyō 大石順教, 1888–1968, Bodhisattva Kannon (Avalokiteśvara), mid-1900s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.156.
Ōishi Junkyō 大石順教
1888–1968
Shrimp
Mid-1900s
Ink on paper
6¼ × 13¾ in. (15.7 × 34.9 cm)
2018.158
29
Fan painting on light paper using wet dabs of monochrome ink of a wide-eyed shrimp, stretching claws to upper right corner. Artist’s signature on the left.
Daitsū Bunchi 大通文智
1619–1697
Bodhisattva of Myriad Acts of Compassion (Jihi Mangyō Bosatsu)
1600s
Ink on paper
38¾ × 11 in. (98.4 × 27.9 cm)
2018.153
30
Hanging scroll with a single line of semi-cursive calligraphy. The strong and energetic characters are rendered in thick black ink on yellowing paper.
Daitsū Bunchi 大通文智, 1619–1697, Bodhisattva of Myriad Acts of Compassion (Jihi Mangyō Bosatsu), 1600s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.153.
Ryōnen Gensō 了然元総
1646–1711
Poem
1701–11
Ink on paper
11¼ × 11 in. (28.6 × 27.9 cm)
2018.159
31
Five vertical lines of cursive Japanese calligraphy are painted on yellowing paper at varying heights and thicknesses. Two large red square seals at bottom left.
Ryōnen Gensō 了然元総, 1646–1711, Poem, late 1600s–early 1700s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.159.
Image by Utagawa Kunisada 歌川国貞
1786–1864; Inscription by Ryūtei Tanehiko 柳亭種
1783–1842
“The Nun Ryōnen (Ryōnen-ni)” from Kokon meifuden [Famous women of past and present] Ryōnen Gensō 了然元総, 1646–1711
1854 edition
Color woodblock print
14⅞ × 9¾ in. (37.8 × 24.8 cm)
2018.160
32
Colorful woodblock print showing a nun pressing a hot iron to her cheek. A brazier with smoldering embers in the background. Tightly arranged blocks of Japanese text overhead.
Image by Utagawa Kunisada 歌川国貞, 1786–1864; Inscription by Ryūtei Tanehiko 柳亭種, 1783–1842, “The Nun Ryōnen (Ryōnen-ni)” from Kokon meifuden [Famous women of past and present], 1864 edition. Color woodblock print. Gift of Drs. John Fong and Colin Johnstone, 2018.160.
Tagami Kikusha 田上菊舎
1753–1826
Hermit/Self-Portrait
Early 1800s
Ink on paper
11½ × 4⅝ in. (29.2 × 11.7 cm)
2018.222
33
Small monochrome ink painting on yellowing paper. A few expressive strokes outline a robed figure facing away. Cursive and archaic style calligraphy occupy most of the space above.

Floating World

Various artists
Poem Slips (tanzaku)
1700–1900s
Pigment, gold, silver, and ink on paper
Each approx. 13 × 2 in. (33 × 5 cm)
2018.181.3-44
34
Dozens of vertical, decorated paper slips with calligraphy are mounted haphazardly on faux folding screen made of transparent plexiglass. Their reflection in the mirror-like platform, enhanced by the dark room, creates a sense of floating.
Various artists, Poem Slips (tanzaku), 1700–1900s. Paper with pigment, gold, silver, and ink. Gift of Drs. John Fong and Colin Johnstone, 2018.181.4-44.
Artist Unknown
Poetry Slip Box (tanzaku) with God of Longevity (Juro–jin) and Deer
1800s
Lacquer, wood, gold, silver, and cinnabar
15⅝ × 3½ × 1½ in. (39.7 × 8.9 × 3.8 cm)
2018.184.1A-B
35
Tall, narrow black lacquer box speckled with gold. Lid has a gold and silver lacquer image of an old man and deer sitting under a tree. The man wears voluminous robes, holds a staff, and has a long beard, mustache, and eyebrows.
Attributed to Takabatake Shikibu 高畠式部
1785–1881
Seven Waka Poems
1800s
Ink on decorated paper
Overall 28 × 71 × ¾ in. (71.1 × 180.3 ×1.9 cm)
2018.226
36
Seven decorated vertical paper slips with calligraphy mounted on a two-paneled folding screen at alternating heights.
Takabatake Shikibu 高畠式部, 1785–1881, Seven Waka Poems, 1800s. Ink on decorated paper. Gift of Drs. John Fong and Colin Johnstone, 2018.226.
Sakuragi-dayū (The Tayū Sakuragi) 桜木太夫
Active mid- to late 1800s
Poetry Slip (tanzaku) with Poem on Pampas Grass (obana)
Mid-1800s
Pigment, gold, and ink on paper
13½ × 2¼ in. (34.3 × 5.6 cm)
2018.181.2
37
Two columns of quickly brushed calligraphy extend down the length of a narrow sheet of paper. The top and bottom quarters are washed in light shades of blue.
Sakuragi-dayū (The Tayū Sakuragi) 桜木太夫, active mid- to late 1800s, Poetry Slip (tanzaku) with Poem on Pampas Grass (obana), mid-1800s. Pigment, gold, and ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.181.2.
Ōhashi-dayū (The Tayū Ōhashi) 大橋太夫
Active 1700s
Two Poems
Mid-1700s
Ink on paper
7½ × 36⅝ in. (145.4 × 96.5 cm)
2018.183
38
Long, horizontal sheet of beige paper speckled with gold inscribed with many short lines of cursive calligraphy at alternating heights. Calligraphy is fluid with a variety of line thicknesses
Ōhashi-dayū (The Tayū Ōhashi) 大橋太夫, active 1700s, Two Poems, mid–1700s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.183.
Yuri of Gion 祇園の百合
1694–1764
Waka Poem
Mid-1700s
Ink on paper
11⅛ × 11⅞ in. (28.3 × 30.2 cm)
2018.186
39
A square sheet of paper inscribed with flowing calligraphy, mounted on a vertical orange cloth with cream-colored clouds and green and gold embroidery.
Yuri of Gion 祇園の百合, 1694–1764, Waka Poem, mid-1700s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.186.
Kaji of Gion 祇園梶子
Active late 1600s
Waka Poem
Late 1600s–early 1700s
Ink on paper
13⅜ × 2⅜ in. (34 × 6 cm)
2018.181.1
40
Long, vertical paper slip with light grey marbled pattern inscribed with stylized Japanese calligraphy.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Sake Flask
1800s
Glazed ceramic
5¼ × 3 in. dia. (13.3 × 7.6 cm dia.)
2018.175
41
Dark brown ceramic vase with round body that tapers towards the top. Uneven surface is inscribed with stylized Japanese calligraphy.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Sweets Dish in the Form of a Lotus with Poem
1800s
Glazed ceramic
1¾ × 6 in. dia. (4.4 × 15.2 cm dia.)
2021.205
42
Round ceramic dish with edges pinched upwards to resemble lotus petals. Interior is inscribed with stylized Japanese calligraphy.

Literati Circles

Tokuyama (Ike) Gyokuran 徳山(池)玉瀾
1727–1784
Blossoming Plum
Mid-1700s
Ink on paper
52¾ × 18⅜ in. (134 × 46.7 cm)
2018.208
43
The branch of a knotted plum tree starts in the lower right-hand corner, and extends upwards with tapering branches and delicate blossoms. A signature and red seal at the bottom center.
Tokuyama (Ike) Gyokuran 徳山(池)玉瀾, 1727–1784, Blossoming Plum, mid-1700s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.208.
Various artists
Turtles on New Year’s Morn
About 1894
Ink and color on silk
18⅞ ×12¾ in. (47.9 × 32.4 cm)
2018.202
44
Yellowed silk painted with nine turtles clamering up a rocky surface under a rising sun. Each turtle is accompanied by a signature.
Various artists, Turtles on New Year’s Morn, about 1894. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.202.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Teapot for Sencha
1800s
Ceramic
1¾ × 4¼ in. dia. (4.4 × 10.8 cm dia.)
2021.163A-B
45
a small brown teapot with some calligraphy inscribed around its surface. The lid is concave with a small half-moon handle in its center.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Teapot for Sencha. Ceramic. Gift of Drs. John Fong and Colin Johnstone, 2021.163A-B.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Set of Five Sencha Cups
1800s
Glazed ceramic
Each approx. 1⅜ × 2 in. dia. (3.5 × 5.1 cm dia.)
2021.170.1-5
46
Each cream-colored cup is a slightly different shape and size, but each are round with a brown base and painted with calligraphy and flowers.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Set of Five Sencha Cups, 1800s. Glazed ceramic. Gift of Drs. John Fong and Colin Johnstone, 2021.170.1-5.
Unknown maker
Lidded Wooden Box (tomobako) with Inscription by Priest Kōen of the Jinkō-in temple
1800s
Wood
4¼ × 7¼ × 6¼ in. (10.8 × 18.4 × 15.9 cm)
RA.2021.198
47
A rectangular brown wooden box with Japanese characters written on the lid.
Maker unknown, Lidded Wooden Box (tomobako) with Inscription by Priest Kōen of the Jinkō-in temple, 1800s. Wood. Gift of Drs. John Fong and Colin Johnstone, RA.2021.198.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Sweets Plates with Paintings and Poems
1800s
Ink and color on cedar planks
Each 5¼ × 6½ × ¼ in. (13.3 × 16.5 × 0.6 cm)
2021.198.1-5
48
Small and flat rectangular wooden plates with painting and cursive calligraphy.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Sweets Plates with Paintings and Poems, 1800s. Ink and color on cedar planks. Gift of Drs. John Fong and Colin Johnstone, 2021.198.1-5.
Tomioka Haruko 富岡春子
1847–1940
Bodhisattva Kannon (Avalokiteśvara)
1926
Ink on paper
14 × 12¾ in. (35.6 × 32.4 cm)
2018.251
49
Ink painting of cross-legged female figure in flowing robes with long dark hair. Two lines of calligraphy at the top right and bottom left.
Kaga no Chiyo 加賀千代
1703–1775
Haiku (hokku) Poem
About 1755–75
Ink on paper
13⅞ × 17½ in. (35.2 × 44.5 cm)
2018.217
50
Four vertical lines of calligraphy spaced out over an otherwise blank paper. The lines are of varying lengths, and they ascend in height from left to right. Two small red stamps under the line on the far left.
Attributed to Nonoguchi Ryūho 野々口立圃
1595–1669
Haibun and Haiga of Crickets
Mid-1600s
Ink on paper
9⅞ × 18¼ in. (25.1 × 46.4 cm)
2020.570
51
Two crickets crawl on wispy grasses in the lefthand side of the frame. The right is filled with eleven lines of calligraphy.
After Nonoguchi Ryūho 野々口立圃, 1595–1669, Haibun and Haiga of Crickets, mid-1600s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2020.570.
Takabatake Shikibu 高畠式部
1785–1881
Mountain Studio in Early Spring
1800s
Ink on paper
12¼ × 17⅞ in. (31.1 × 45.4 cm)
2018.225
52
Seven lines of calligraphy in the lefthand side of the frame. On the right, a small thatch-roofed studio nestled into a mountainside flanked by budding branches.
Takabatake Shikibu 高畠式部, 1785–1881, Mountain Studio in Early Spring, 1800s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.225.
Takabatake Shikibu 高畠式部
1785–1881
Bamboo and Poem
1861
Ink on paper
12⅝ × 17½ in. (32.1 × 44.5 cm)
2018.224
53
A bamboo branch with two smaller shoots with leaves on the lefthand side of the frame, and a poem in calligraphy on the right.
Takabatake Shikibu 高畠式部, 1785–1881, Bamboo and Poem, 1861. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.224.
Ema Saikō 江馬細香
1787–1861
The Three Friends of Winter
1857
Ink and light color on paper
46⅝ × 11 in. (118.4 × 27.9 cm)
2018.189
54
Branches of pine, bamboo and plum blossom intertwine and fill the majority of the paper. Mushrooms sprout at the bottom. Calligraphy and red stamps in the middle-right.
Ema Saikō 江馬細香, 1787–1861, The Three Friends of Winter, 1857. Ink and light color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.189.
Kamei Shōkin 亀井少琴
1798–1857
Bamboo
1821
Ink on silk
27¾ × 12¼ in. (70.5 × 31.1 cm)
2018.191
55
Bamboo branches start in the middle left of the composition. Two branches go up to the top of the frame and other leaves spread out to the bottom right. Japanese calligraphy and three red stamps in the top right corner.
Hashimoto Seikō 橋本青江
1821–1898
Orchids
Mid-1800s
Ink on paper
56¼ × 14⅞ in. (142.9 × 37.8 cm)
2018.190
56
Four lines of Japanese calligraphy in the top left-hand corner, along with two red stamps. Five orchid plants dot the bottom half of the paper, with a red stamp in the bottom right corner.
Okuhara Seiko 奥原晴湖
1837–1913
Orchids on a Cliff
1870–80s
Ink on paper
53⅞ × 13¼ in. (136.8 × 33.7 cm)
2018.206
57
Tall painting of a steep cliffside with orchids jutting from the rocky surface. Stylized Japanese calligraphy along the right edge
Okuhara Seiko 奥原晴湖, 1837–1913, Orchids on a Cliff, 1870–80s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.206.
Okuhara Seiko 奥原晴湖
1837–1913
Flowering Plants of the Four Seasons
1898
Ink and color on paper mounted on cabinet doors
Each 8⅞ × 12⅞ in. (22.5 × 32.7 cm)
2018.247A-B
58
A pair of sliding screen doors framed in brown wood. Colorful flowers span the two doors. The left door has ten lines of calligraphy in the upper left-hand corner.
Okuhara Seiko 奥原晴湖, 1837–1913, Flowering Plants of the Four Seasons, 1898. Ink and color on paper mounted on cabinet doors. Gift of Drs. John Fong and Colin Johnstone, 2018.247A-B.
Noguchi Shōhin 野口小蘋
1847–1917
Cut Flowers and Pine Bough
Late 1800s–early 1900s
Ink and color on silk
49 × 17 in. (124.5 × 43.2 cm)
2018.196
59
A wicker basket overflowing with flowers and foliage sits in the bottom foreground of a vertical composition. Behind it, a tall narrow vase on a short plant stand also overspills with blooming flowers, verdant foliage, and a pine bough.
Noguchi Shōhin 野口小蘋, 1847–1917, Cut Flowers and Pine Bough, late 1800s–early 1900s. Ink and color on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.196.
Noguchi Shōhin 野口小蘋
1847–1917
Fan with Scene of Autumn Mountains and Mist
Late 1800s–early 1900s
Ink and light color on paper with bamboo support
9¼ × 15¼ × ½ in. (23.5 × 38.7 × 1.3 cm)
2018.195
60
Cream colored paper folding fan painted with mountain scene with red leaf tree.
Noguchi Shōhin 野口小蘋, 1847–1917, Fan with Scene of Autumn Mountains and Mist, late 1800s–early 1900s. Ink and light color on paper with bamboo support. Gift of Drs. John Fong and Colin Johnstone, 2018.195.
Noguchi Shōhin 野口小蘋
1847–1917
Fan with Summer Scene
Late 1800s
Ink and color on silk with bamboo and lacquered wood support
9 × 14¼ × ½ in. (22.9 × 36.2 × 1.3 cm)
2018.201
61
Cream colored paper folding fan painted with mountain scene.
Noguchi Shōhin 野口小蘋, 1847–1917, Fan with Summer Scene, late 1800s. Ink and color on silk with bamboo and lacquered wood support. Gift of Drs. John Fong and Colin Johnstone, 2018.201.
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Hanging Flower Vase (hana-ike) in the Shape of a Hechima Gourd
1800s
Ceramic
11 × 4½ in. dia. (27.9 × 11.4 cm dia.)
2021.184
62
A gourd-shaped vase with vertical ridges. A dark hole in the center takes up about one third of the surface area.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Hana-ike Hanging Flower Vase in the Shape of a Hechima Gourd (Lone Pine), 1800s Ceramic. Gift of Drs. John Fong and Colin Johnstone, 2021.184.
Yanagawa (Chō) Kōran 柳川(張)紅蘭
1804–1879
Summer Landscape
1876
Ink on paper
41¾ × 14¾ in. (106 × 37.5 cm)
2018.207
63
Vertical painting of mountain waterfall flowing into a lake near trees and a small hut. Five lines of calligraphy in the top left corner.

Unstoppable (No Barriers)

Murase Myōdō 村瀬明道
1924–2013
Mu (Emptiness) and Kan (Quietude)
Late 1900s
Ink on paper with wood frame
*Mu* 13 × 23⅞ in. (33 × 60.6 cm), *Kan* 15¼ × 23⅞ in. (38.7 × 60.6 cm)
2018.154A-C
64
Small, double-sided table screen. Each face bears a sweeping, powerfully brushed Japanese character that occupies most of the paper ground. Small red seals punctuate it.
Murase Myōdō 村瀬明道, 1924–2013, Mu (no, nothingness) and Kan (barrier), late 1900s. Ink on paper with wood frame. Gift of Drs. John Fong and Colin Johnstone,2018.154A-.
Ōishi Junkyō 大石順教
1888–1968
Willow and Frog
Mid-1900s
Ink on paper
15 × 19¾ in. (38.1 × 50.2 cm)
2018.157
65
A small frog leaps with outstretched limbs towards a delicately-brushed branch in the upper left-hand corner. Sprightly, cursive script occupies most of the paper ground, dwarfing the little frog.
Ōishi Junkyō 大石順教, 1888–1968, Willow and Frog, mid-1900s. Ink on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.157.
Yamamoto Shōtō 山本緗桃
1757–1831
Chrysanthemums
Late 1700s–early 1800s
Ink, color, and gold on silk
9⅛ × 7⅜ in. (23.2 × 18.7 cm)
2018.216
66
Two chrysanthemum blossoms in black ink in the upper right-hand of the frame rest atop a leafy stem that tapers to the bottom left. A signature and red stamp in the left-center.
Yamamoto Shōtō 山本緗桃, 1757–1831, Chrysanthemums, late 1700s–early 1800s. Ink, color, and gold on silk. Gift of Drs. John Fong and Colin Johnstone, 2018.216.
Takabatake Shikibu 高畠式部
1785–1881
Signboard
1863
Ink on paper
11 × 11½ in. (27.9 × 29.2 cm)
2018.253
67
On the left, a stick-figure-like sketch of a sign, barely balancing on a wobbly post. To the right, four lines of unsteady-looking calligraphy at varying heights.
Takabatake Shikibu 高畠式部, 1785–1881, Signboard, 1863. Ink on paper, Gift of Drs. John Fong and Colin Johnstone, 2018.253
Ōtagaki Rengetsu 太田垣蓮月
1791–1875
Moon, Blossoming Cherry, and Poem
1863
Ink and color on paper
14⅝ × 18¼ in. (37.1 × 46.4 cm)
2018.164
68
On the left, the moon looms large behind a Sakura branch rendered in soft ink and light ochres. On the right, a poem in thin calligraphy.
Ōtagaki Rengetsu 太田垣蓮月, 1791–1875, Moon, Blossoming Cherry, and Poem, 1867. Ink and color on paper. Gift of Drs. John Fong and Colin Johnstone, 2018.164.