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Between and Mortarboard

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13 UMMA Objects
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Primarily black and grey ink painting. Signature stamp in the lower right side of the image. Background contains mountains and a river runs from them down to the base of the image. A small hut or structure is shown next to the cliff and some trees on the left side. A figure of a person stands near the river at the base of the image.
Ōhara Tonshū (Donshū)
Mountain Hut among Pines
1831 – 1844
Museum purchase made possible by a gift from Helmut Stern
1985/2.27
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
There are mountains lined with trees and houses; as you go further, they become smaller. There is a single tree that dominates the left side of the hanging scroll, blocking houses behind it. It stands upon one of the hills that line the coast of a river. There is an inscription in the top left of the hanging scroll as well as a signature and stamp in the top and bottom left of the scroll.
Yamaoka Geppō
Blue and Green Landscape, with inscription by Murase Kôtei
1767 – 1832
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.24
A stand of trees beside water foregrounds a central mountain that seems to rise lightly to the left. To the right of the mountain is calligraphic text and two orange seals. A small building is tucked to the right behind the stand of trees. Depth of the mountains is indicated with the use of wash.
Kanemoto Shunsho
On a Spring Day
1885
Gift of Stuart Katz
2010/2.29
There is a mountain in the background with a waterfall pouring out of it and flowing into a river. On the opposite shore of the mountains, there are rocks and trees. There is an inscription and seal in the top left corner of the hanging scroll. The hanging scroll is bordered with blue.
Fujimoto Tetsuseki (Tesseki)
Autumn Retreat amidst Mountains and Valleys
1862
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.20
The painting has a large tree in the forground, behind which is positioned a small hut which has two figures seated inside. Behind the hut are mountains and a small path disappearing in the distance on the bottom left of the image. 
Tanomura Chokunyū (Japanese (culture or style))
Scholars in a Thatched Hut Under an Old Tree
1850 – 1950
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1986/1.162
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, covered in powder blue underglaze. There are four large, scalloped reserved panels on the body, alternating with smaller reserves on the shoulder, base, and lid: the large reserves contain flowering plants, a landscape, and two scenes of the "Hundred Antiquities", painted in underglaze blue and red, and overglaze enamels; the smaller reserves contain 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 1982/1.207A, 1982/1.207B, and 1982/1.207C. 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, 1982/1.220; plates, 1982/1.212, 1982/1.213, and bowls 1982/1.221,1982/1.22.
Chinese (Chinese (culture or style))
Covered Jar (Jar)
1700 – 1722
Gift of the Estate of Hobart Taylor, Jr.
1982/1.207A
This porcelain baluster-shaped vase, of tall cylindrical form, sits on a footring and has a tall, wide neck, and rim with protruding articulation. It is covered in powder blue underglaze with four large scalloped reserved panels on the body, alternating with smaller reserves on the shoulder, and base. The large reserves show landscapes with cranes and deer, painted in underglaze blue and red, and overglaze enamels; the smaller reserves show 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. 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, 1982/1.220; plates, 1982/1.212, 1982/1.213, and bowls 1982/1.221,1982/1.22.
Chinese (Chinese (culture or style))
Vase
1700 – 1722
Gift of the Estate of Hobart Taylor, Jr.
1982/1.208
<p>&quot;This&nbsp;landscape&nbsp;is&nbsp;characteristic&nbsp;of&nbsp;the&nbsp;Unkoku school&nbsp;in&nbsp;its&nbsp;sharp&nbsp;tonal&nbsp;contrasts&nbsp;and&nbsp;dramatic composition. The&nbsp;right&nbsp;side&nbsp;is&nbsp;dominated&nbsp;by&nbsp;a&nbsp;jutting&nbsp;sheer&nbsp;cliff&nbsp;face whose magnitude&nbsp;is&nbsp;suggested&nbsp;by&nbsp;the&nbsp;tall&nbsp;trees&nbsp;emerging&nbsp;from&nbsp;its side.&nbsp;In&nbsp;the&nbsp;far&nbsp;distance&nbsp;are&nbsp;other&nbsp;rugged&nbsp;peaks&nbsp;that&nbsp;tower over&nbsp;unseen&nbsp;valleys.&nbsp;In&nbsp;the&nbsp;foreground&nbsp;stands&nbsp;a&nbsp;scholar with a&nbsp;staff&nbsp;viewing&nbsp;the&nbsp;spectacle&nbsp;before&nbsp;him.&nbsp;His&nbsp;young attendant holds&nbsp;the&nbsp;scholar&#39;s&nbsp;favorite&nbsp;instrument, the&nbsp;Chinese&nbsp;<em>ch&#39;in</em>. In the&nbsp;middleground&nbsp;a&nbsp;small&nbsp;open&nbsp;air&nbsp;pavilion&nbsp;under&nbsp;two&nbsp;pine trees&nbsp;punctuates&nbsp;a&nbsp;flat&nbsp;stretch&nbsp;of&nbsp;peninsula,&nbsp;and&nbsp;beyond,
Unknown artist (formerly attributed to Unkoku T
Scholar Strolling in the Mountains
1700 – 1899
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1964/2.63
There are mountains in the background that run along a river. These mountains slowly turn into trees, many without leaves. There are two houses along the waterside, partially hidden behind the trees. There is an inscription and two seals in the upper right corner. The hanging scroll is bordered in gold.
Okada Hankō
Waterside Landscape
1838
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1967/2.38
A drawing of a landscape showing a view through a mountain pass with another mountain in the background.
William Gilpin (British (modern))
Landscape
1750 – 1804
Gift of the Estate of Helen B. Hall
1999/1.75
<p>&quot;As&nbsp;the&nbsp;path&nbsp;leads&nbsp;the&nbsp;eye&nbsp;into&nbsp;the&nbsp;picture&nbsp;from&nbsp;the right, the&nbsp;ground&nbsp;seems&nbsp;to&nbsp;swell&nbsp;until&nbsp;it&nbsp;bulges&nbsp;wildly&nbsp;over a stream&nbsp;whose&nbsp;surface&nbsp;can&nbsp;be&nbsp;briefly&nbsp;glimpsed.&nbsp;The&nbsp;middle of&nbsp;the&nbsp;painting&nbsp;is&nbsp;dominated&nbsp;by&nbsp;very&nbsp;tall&nbsp;twisting&nbsp;treetrunks&nbsp;laden&nbsp;with&nbsp;large&nbsp;masses&nbsp;of&nbsp;foliage&nbsp;through&nbsp;which can&nbsp;be&nbsp;seen&nbsp;several&nbsp;houses.&nbsp;At&nbsp;the&nbsp;top&nbsp;loom&nbsp;various mountains&nbsp;slanting&nbsp;off&nbsp;to&nbsp;the&nbsp;right.&nbsp;In&nbsp;the&nbsp;manner&nbsp;of&nbsp;Buson (1716-1783)&nbsp;or&nbsp;one&nbsp;of&nbsp;his&nbsp;followers, a&nbsp;figure&nbsp;seated&nbsp;in&nbsp;the window&nbsp;of&nbsp;a&nbsp;house&nbsp;calmly&nbsp;stares&nbsp;out&nbsp;at&nbsp;the&nbsp;viewer.&nbsp;This painting&nbsp;takes&nbsp;the&nbsp;love&nbsp;of&nbsp;unusual&nbsp;natural&nbsp;shapes&nbsp;foun
Totoki Baigai
Studio in the Mountain Forest
1750 – 1799
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.23
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