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Results for terms:calligraphy (visual works)

52 UMMA Objects (page 1/5)
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There are two columns of calligraphy written in running script.
Nakagawa Tenju [DELETE]
One of a Pair of Calligraphy Scrolls in Running Script
1726 – 1795
Gift of Dr. Jack Dodick in memory of Morris Gitter
1977/1.187
There are two columns of calligraphy written in running script.
Nakagawa Tenju [DELETE]
One of a Pair of Calligraphy Scrolls in Running Script
1726 – 1795
Gift of Dr. Jack Dodick in memory of Morris Gitter
1977/1.186
This scroll features a single profile of a horse. The artist’s inscription states that the painting is modeled after Jin Nong’s (1687–1764) famous work entitled Ferghana Horse. Ferghana was the name of an ancient Central Asian kingdom known for its exceptional horses.
Ren Xiong (Jen Hsiung)
Ferghana Horse, after Jin Nong
1840 – 1857
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.32

Leaf from a manuscript of the Qur’an in Maghribi script
12th century
Gift of Mr. and Mrs. Milton B. Freudenheim in memory of Otto F. Ege
1987/1.195.2
There is a carp leaping out of a body of water. The front half of its body if in the air while the bottom half is still submerged in water. Ripples and mini waves are shown where the carp is emerging from the water. The water and sky have a reddish hue to it, there are a couple splashes of blue where the waves are. In the bottom right corner of the painting, there is a signature and two seals of the artist.
Tsukioka Settei [DELETE]
Leaping Carp
18th century
Gift from the Estate of Frances Eileen Lay
1987/2.16
In this monumental scroll, Nukina Kaioku has brushed a Chinese poem of his own composition, on the enduring theme of nature as refreshment for the spirit.  Note his masterful variation of thick and thin strokes, wet and dry ink, stately and rapid movement.<br />The verses may be tentatively rendered into English as follows:<br />   Mandarin ducks enjoy the fresh water; their graceful forms glow as they pass through channels in the reeds.<br />   Pushing beyond the thickets [to the open pond], they call to one another again and again in the dawn.<br />   A crimson mist breaks through gaps in the glade, its glow warming hidden nests.<br />   Waking up with nothing to do, [I came here] to playfully row among the spring waves.
Nukina Kaioku [DELETE]
Calligraphy: Watching Ducks on a Spring Morning
1840 – 1863
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1987/2.45
A panoramic view of the highway cutting across the Tarako Gorges, laid out in four connecting hanging scrolls.<br />
Inscription: &ldquo;sublime and bright--what opens in this enormous curtain (the connected hanging scrolls).&rdquo;
Chang Ku-nien
Taiwan Cross-Island Highway (Section 2)
1967
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang
2006/1.104.2
An excerpt from the Lotus Sutra (Japanese: Myōhō Renge Kyō), this sutra uses gold pigment on indigo dyed paper.
Japanese (Japanese (culture or style))
Sutra Fragment, Calligraphy in Block Script
1100 – 1299
Gift of Ellen and Richard Laing
2006/2.26
In this hanging scroll, Rosetsu depicts an owl perched on a rock in front of a large moon hanging low in the sky. The soft washes and quick brushstrokes used in the image create an overall sense of airiness, but maintain a clear sense of naturalism in depicting the owl's anatomy. 
Nagasawa Rosetsu [DELETE]
Owl and Moon
late 18th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.24
Arabic calligraphic script on paper; script is in Maghribi style, written in black ink with touches of green and rec ochre. Shadows of script (from reverse or opposite page, transferred while closed?) show through. Beige paper is browned with age at edges; upper left has repaired tear.
Qur’an manuscript leaf in Maghribi script
13th century
Museum Purchase
1959/1.146
&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
Porcelain plate with raised brown rim.  The inner circle uses blue underglaze painting to illustrate a jar with a lid that reads in kanji "fragrant orchid"
Tomimoto Kenkichi
Plate with painted design of a covered jar, 'Fragrant Orchid'
1900 – 1963
Gift in memory of Harold Philip Stern
1978/1.165
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