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1868 UMMA Objects
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Seifū Yohei III
Water jar
1893 – 1914
Bequest of Margaret Watson Parker
1954/1.515A&B
This porcelain bowl was produced at a regional kiln in the regions of Gimhae-si, Jinhae-si, Jinju-si, Sacheon-si, and Gonmyeong-myeon in southwestern region of Gyeongsangnamdo in the 16th century, Joseon. Such bowls were known to the Japanese as “ido (井戶)” tea bowls and treated as luxury items. Though this bowl was intended to be made as a white porcelain bowl, the numerous impurities stuck to its surface tinged the surface with brown. Refractory spur marks remain on the inner base and the foot. There is a large number of pinholes on the foot and lower part of the wall, and impurities stuck inside the pinholes appear like dotted decoration. There are traces of glaze running, some of which were caused by melting and flowing down. Although this was previously classified as a Japanese artifact, it is thought to have been produced in Korea and later used in Japan as a tea bowl. Therefore, the Overseas Korean Cultural Heritage Foundation newly added this bowl as a Korean object after a careful examinat
Korean (Korean (culture or style))
Tea Bowl, 'ido chawan' type
16th century
Bequest of Margaret Watson Parker
1954/1.535
A wide, shallow stoneware bowl on a footring with an everted rim with articulation.  The exterior is carved with lotus petals and covered in a gray-green celadon glaze.
Chinese (Chinese (culture or style))
Bowl
14th century
Gift of Toshiko Ogita in memory of Tomoo Ogita
1987/1.306
There are two cherry branches point downward. They start at the top and end in the middle of the painting. Twigs jut out from the branches and hold leaves with a reddish tint. There is a signature and seal in the bottom right of the painting.
Nishiyama Kan'ei
Cherry Branches
1850 – 1899
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1990/1.192
There is a single pheasant standing in the middle of the painting with its head turned around to peck at its feathers. There are a mixture of red, blue, green, and black feathers on the pheasant. Behind the pheasant is a plant growing from the ground. On the ground surrounding the pheasant and plant is grass. There are two seals, one on the left side of the painting and the other on the right side of the painting.
Nishiyama Kan'ei
Pheasant
1850 – 1899
Museum Purchase made possible by the Friends of the Museum of Art
1990/1.196
There are three ducks in the water. The first is facing forward and is sitting in the water with its feet completely submerged. The second is behind the first but is a little higher in the water and is pecking at its feathers. The third is the furthest behind and is standing in the water with its legs fully visible but its feet submerged, it is also pecking at its feathers. There are two signatures and two seals on the right side of the painting.
Nishiyama Kan'ei
Ducks
1884
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1990/1.198
There is a single camellia branch that points upward. It starts from the bottom of the painting and ends at the top. There are many twigs that jut branch out from the main branch that have leaves and flowers growing from them. There is a single bird sitting on the branch. There is a seal in the bottom right corner of the painting.
Nishiyama Kan'ei
Bird on Camellia Branch
1850 – 1899
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1990/1.205
There are two white egrets standing next to each other in the water, one is looking foreward while the other is pecking at itself. Beside them is a tree with branches and green leaves hanging above them.
Nishiyama Kan'ei
White Egrets under a Tree
1850 – 1899
Museum Purchase made possible by the Friends of the Museum of Art
1990/1.206
There is a single camellia branch that points upward. It starts from the bottom of the painting and ends at the top. There are many twigs that jut branch out from the main branch that have leaves and flowers growing from them; the leaves have a presence in the painting because of their size and their detail. There is a single bird sitting on the branch. There is a seal and signature in the bottom left corner of the painting.
Nishiyama Kan'ei
Birds on Camellia Branch
1850 – 1899
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1990/1.207

Iranian (Iranian)
Vessel with spout in the shape of an antelope head
Gift of the Estate of Maxine W. Kunstadter in memory of Sigmund Kunstadter, Class of 1922
1983/1.430

Iranian (Iranian)
Star-shaped tile with phoenix among clouds
1267 – 1366
Museum purchase
1960/1.132

Iranian (Iranian)
Shallow bowl with stylized floral medallion
1000 – 1199
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1961/1.183
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