24 UMMA Objects
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&quot;On&nbsp;the&nbsp;right&nbsp;side&nbsp;is&nbsp;a&nbsp;drawing&nbsp;of&nbsp;a&nbsp;straw&nbsp;broom&nbsp;accompanied&nbsp;by&nbsp;a&nbsp;single&nbsp;line&nbsp;of&nbsp;verse that reads,<br />
Ippatsu ichiboku&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;One&nbsp;stroke, one&nbsp;line&nbsp;<br />
Soha&nbsp;zokujin&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Sweeps&nbsp;away worldly&nbsp;dust.<br />
In&nbsp;a&nbsp;Zen&nbsp;fashion&nbsp;the&nbsp;poem&nbsp;suggests&nbsp;that&nbsp;one&nbsp;line&nbsp;of&nbsp;ink&nbsp;will clear&nbsp;away&nbsp;the&nbsp;confusion&nbsp;of&nbsp;everyday&nbsp;life. The&nbsp;sweeping action&nbsp;is&nbsp;materialized&nbsp;by&nbsp;the&nbsp;sketch&nbsp;of&nbsp;the&nbsp;broom.<br />
The&nbsp;next&nbsp;poem&nbsp;plays&nbsp;upon&nbsp;the&nbsp;sweeping&nbsp;action mentioned&nbsp;above,<br />
Yukuharu&nbsp;no &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Departing&nbsp;Spring&#39;s<br />
Shiripeta&nbsp;harau&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Buttocks&nbsp;are&nbsp;brushed
Yosa Buson (Japanese (culture or style))
Broom, Poems, and Poets
18th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1969/2.24
This portrait of the poet Matsuo Bashō is constructed with seemingly effortless caligraphic lines, and surrounded by lines from one of the poet's works. The figure sits looking out at the viewer, beside his hat and a square container with a handle. The artist's seal is placed to the left of the figure, visually recalling the objects beside the poet on his other side. 
Yokoi Kinkoku (Japanese (culture or style))
Portrait of the Poet 'Basho'
1767 – 1832
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.22
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
This painting depicts two buildings to the left and a tree on the right separated by a trail or road. As the trail curves away from view, there is a big dropoff. The two buildings overlook the dropoff toward a background comprised of blue soft looking mountains that have small brushstrokes to give the effect of trees. The people in the closer building appear to be looking out into the scenery. The buildings are painted in variations of brown pigment while the trees and grass are colored in light and dark greens. To the bottom left is the artist&#39;s signature.&nbsp;
Kubota Kinsen
Enjoying the Scenery from a Mountaintop Tea House, from a collaborative album of 11Sketches
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.3
On this page is a simply painted rabbit accompanied by 5 lines of inscriptions. The rabbit has black ears and appears to be sitting on a black platform of some sort. The rabbit is off-center to the left. To the right of the rabbit are three vertical lines of writing and to the left are two vertical lines of writing. Following the last inscription on the far left side is a stamp in red. The lines go in descending order-- the top right starting from the highest point until the last line on the left starts closest to the bottom of the page.
Japanese (Japanese (culture or style))
Rabbit, from a collaborative album of 11 pages
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.7
This is a fan painting painted with black, red, and light brown ink. The only figure sits in the middle, slightly to the right, underneath a tree painted on the upper right of the fan. On the far right side of the fan is a vertical inscription written in black and red ink. The man appears to be reading something and is wearing draping robes with a bun on his head. Beside him to the left is two little circles.&nbsp;
Tani Bunchō
Scholar Seated under a Tree
1767 – 1840
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1964/1.96
The painting depicts several daylily flowers in pale yellow leaning over to the left with their long, dark green leaves curled toward the ground. An inscription runs three lines along the right side of the painting. <br /><br />
This work is a pair of album leaves with 1996/2.28.
Jin Nong
Daylilies
1754 – 1756
Gift of Dr. and Mrs. Charles C.S. Ling, in memory of Vee Ling Edwards
1996/2.29
This sketch depicts a lake, trees, a boat, and a man. Directly in main view in the center is a collection of about four trees directly on the coast of a large lake. As we move forward into the body of water, we see a boat and a man. Slightly toward the upper left of the page, a boat with a large sail appears to be moving left and a man in the boat also faces in the same direction. Beyond the boat is a collection of dark clouds. To the right is a two-line vertical inscription written in black ink. In the line closer to the center of the page is a red stamp following the inscription. Red, orange, and black are used in this painting.&nbsp;
Japanese (Japanese (culture or style))
Lakeside in Autumn Evening, from a collaborative album of 11 pages
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.6
This painting depicts a &quot;hobbyhorse&quot; with a detailed head and long stick for a body, intended for play. The horse has four colors, blue, black, pink, and red. The horse looks off to the left of the page and is wearing what appears to be wearing a mouth bit and a cloth around its neck. To the right is the artist&#39;s signature written vertically in black with a red stamp directly following it.&nbsp;&nbsp;
Japanese (Japanese (culture or style))
Hobbyhorse, from a collaborative album of 11 pages
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.1
A group of fishermen and families sit in reeds, resting, playing, drinking, eating, and chatting. Birds fly in the backgrounf, and the reeds bend under the wind. At top center is calligraphic text.
Qian Gong
The Happy Life of Fishermen
1610
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.29
This is a painting of two blue hydrangea flowers. Painted to the center-right, the flowers use a combination of blue, green, and black. To the left of the flowers is an inscription in black ink followed by a stamp in red ink.&nbsp;
Japanese (Japanese (culture or style))
Hydrangea, from a collaborative album of 11 pages
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.8
This is a painting of a wheat sheaf. The subject is tilted in the middle of the page, extending almost to the bottom left and upper right corners. On the bottom left are two vertical inscriptions written in black. The outermost one is shorter yet written larger and is followed by a red stamp inscription. Directly to the right and starting higher on the page is a second longer yet smaller written inscription.&nbsp;&nbsp;
Japanese (Japanese (culture or style))
Wheat sheaf, from a collaborative album of 11 pages
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.5
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