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Results for On display?:on; Current location:UMMA Gallery Location ➔ FFW, 2nd floor ➔ 216 (Japanese Gallery)

49 UMMA Objects
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A figure is sitting on a lotus-shaped pedestal, which is itself placed on an hexagonal pedestal. The figure wears a drape hanging from the left shoulder and covering the bottom. The arms are placed in front; right hand holding the left index finger. The facial expression is calm; the two eyes looking down; a dot on the forehead. Two elongated ears. A tall crown on the head. The two halos are on the back of the figure; one behind the head and other behind the torso. Two halos are surrounded by an oval-shaped dais. The statue and pedestals are guilded with gold; some polychrome remnants.
Japanese (Japanese (culture or style))
Vairocana Buddha (Japanese, Dainichi Nyorai)
17th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2003/2.59.1

Nakazawa Shin'ichi
Yatsuhashi IV
2002
Museum purchase made possible by Jane and Ken Lieberthal
2003/1.388
<p>Black rinzu haori with interwoven wave motifs with white shibori Oonami (large wave) motifs with dyed shibori light green, maroon, and yellow autumnal leaves with gold embroidery and miniature bamboo, plum blossom, dandelion, and chrysanthemum motifs with light pink and white peony lining.</p>
Japanese (Japanese (culture or style))
Haori
1925 – 1999
Gift of Mrs. Kazuko Miyake
2016/2.74
The armor is comprised of a round helmet with a neck protector and a crescent-moon shaped ornament; a mask with fake mustache; an upper-body protector with sleeves from waist down and paulownia crest in the middle; a thigh cover; two metal leg protectors; two arm and hand protectors. The suit is stored in a black lacquered box with the gold crest.<br /> The helmet is made of red-painted metal lined with indigo-dyed cotton fabric and deer skin leather trim, which is attached to the metal helmet. The cotton is quilted with indigo-dyed cotton threads. There are two loops on side and one loop in the back, to hold a code for tying below the wearer’s chin. The code is indigo-dyed and then plaited; there are some fading areas. On the outside of helmet, the paulownia crest is on side flaps (to protect ears). There is a hole in the middle of the helmet for a head ornament. The metal leaves are interlaced with cotton strings. Ceremonial knots of yellow code on the back. It weights about 10 pounds.<br /> The helmet orna
Workshop of Mitsusada
Armor and Helmet with Paulownia Crests
19th century
Gift of James Abbott
2006/1.146A-M
Autumn flowers are painted in colored lacquer on plates of gold leaf. The quiet, natural plant motifs stand out against the glittering square of gold.
Shibata Zeshin
Plate with Floral Design, one of five
1879 – 1890
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.56
Autumn flowers are painted in colored lacquer on plates of gold leaf. The quiet, natural plant motifs stand out against the glittering square of gold.
Shibata Zeshin
Plate with Floral Design, one of five
1879 – 1890
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.60
An elegant writing box, which originally came with a paperknife, a water-dropper, and a stone for grinding the ink. Black laquer with poetic motifs formed out of abalone shells, gold, silver and corroded lead.
Ogata Kōrin
Writing Box (Suzuri-bako)
1661 – 1716
Gift of the Baroness Maud Ledyard von Ketteler
1942.7
A porcelain baluster-shaped jar on a footring with a short wide neck, topped with a domed cover with flaring flange and a peaked knob. It is covered in powder blue underglaze with four large scalloped reserved panels on the body alternating with smaller reserves on the shoulder and lid: the large reserves containing flowering plants, a landscape, and two scenes of the hundred antiquities, painted in underglaze blue and red, and overglaze enamels; the smaller reserves containing flowering plants in underglaze blue and red. The jar is covered in clear glaze, then painted with overglaze gold floral meander, which is wearing away. The jar, lid, and teakwood stand are acquisition numbers 1982/1.206A, 1982/1.206B, and 1982/1.206C. They are part of a ten-piece garniture set which includes: jars, 1982/1.206A, 1982/1.206B, 1982/1.206C,  1982/1.207A, 1982/1.207B, and 1982/1.207C; vases, 1982/1.208, 1982/1.215, 1982/1.216, and 1982/1.220; plates, 1982/1.212, 1982/1.213, and bowls 1982/1.221, and1982/1.22.
Chinese (Chinese (culture or style))
Covered Jar (Jar)
1700 – 1722
Gift of the Estate of Hobart Taylor, Jr.
1982/1.206A
A satin hanging scroll painted with ink, this painting focuses on a cliff face. At the foot of the cliff is a roofed building surrounded by trees and a path. The trees climb up the cliff up to the upper fourth of the painting. To the left of the building is a body of water. A small waterfall feeds into it from the lower regions of the cliff. On the right is a distant background scene. The upper right contains four inscriptions two of which, furthest to the right, are written higher than the following two. On the left of the inscription are two red seals on top of each other obscured by the inscription. There is another red seal on the bottom left corner as well.
Okuhara Seiko
Summer Landscape
1877
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1989/2.105
Circular tsuba, made of iron. It has two holes in the middle. Two figures, Kanzan and Jittoku, are carved on the lower right corner. Kanzan, who holds a scroll on his hand, and Jittoku, who holds a bloom stick and pointing to the sky, are looking upward. The two figures are carved slightly higher than the surface. On the back, there is the moon partially obscured by clouds. Gold and silver alloy inlays are applied to the moon and the clouds. Gold is also inlayed in their eyes, parts of the garments, and Kanzan's scroll. Shakudô (copper-gold alloy) is inlayed in Jittoku's bloom and his jacket collars.
Japanese (Japanese (culture or style))
Tsuba (sword guard) with design of Kanzan (Chinese, Han Shan) and Jittoku (Chinese, Shihde), two Zen eccentrics
1700 – 1732
Gift of Mr. and Mrs. Robert T. Weston
1978/2.5
It is a round, openwork iron tsuba, in the design of three interconnected irises. The two holes are plugged with gold.
Japanese (Japanese (culture or style))
Tsuba (sword guard) with iris design
1775 – 1785
Gift of Mr. and Mrs. Robert T. Weston
1978/2.8
Yo no naka ni &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A fine example<br /> mi no nariidete&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;of success to emulate<br /> omou koto &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;A lowely eggplant<br /> nasu wa medetaki&nbsp; &nbsp; &nbsp; &nbsp; ripens and brings forth fruit<br /> tameshi narikeri&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;accomplishing its goal in life
Ōtagaki Rengetsu
Eggplant and Calligraphy
19th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1964/1.98
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