14 UMMA Objects
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Stuart
The Cloisters of Belem
19th century
Gift of Margaret and Howard Bond
1979/2.111
The branches of a plum tree stretch skyward, skillfully utilizing the vertical space of this hanging scroll. Black dots are used as accents along the branches, making them look knotted and full of texture. These heavy features are offset by the delicate depiction of plum blossoms. Calligraphic text is in the upper right corner, with two seals.
Li Jishou
Plum Blossoms, after Jin Nong
19th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1985/2.28
A lark stands inside the curving vine of a morning glory growing on the grass. Both the bird and the flowers are naturalistically depicted, while the grass is indicated with subtle brushstrokes mostly grouped in the bottom left corner of the painting.  
Yūki Masaaki
Lark and Morning Glory
1867 – 1932
Bequest of Margaret Watson Parker
1955/1.95
In this scene, a young prince, seen at right in his bejeweled splendor, offers reverence to an ascetic. The sage, nearly naked and with matted hair, sits on an animal skin. His right hand is in the gesture of exposition, suggesting that he is preaching to his courtly audience.
Indian (Indian (South Asian))
Oriya manuscript (unidentified), folio: A Courtier Visits an Ascetic. (Images and text on both sides; pair with 1985/2.144)
19th century
Gift of Professor Walter M. and Nesta R. Spink
1997/2.40
Travelers are seen on a winding mountain pathway, among overlapping layers of mountains.<br />
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&quot;Goshun&nbsp;has&nbsp;powerfully&nbsp;evoked&nbsp;a&nbsp;winter&nbsp;landscape&nbsp;by&nbsp;reserving&nbsp;large&nbsp;areas&nbsp;of&nbsp;blank&nbsp;silk&nbsp;along&nbsp;with&nbsp;scattered touches of&nbsp;white&nbsp;to&nbsp;suggest&nbsp;snow.&nbsp;The&nbsp;heavy&nbsp;overcast&nbsp;sky&nbsp;and&nbsp;the cloudy&nbsp;washes&nbsp;amidst&nbsp;the&nbsp;bare&nbsp;limbs&nbsp;of&nbsp;the&nbsp;trees&nbsp;suggest a gloomy&nbsp;atmosphere&nbsp;appropriate&nbsp;to&nbsp;the&nbsp;theme.&nbsp;The mounted figures&nbsp;and&nbsp;attendants&nbsp;are&nbsp;proceeding&nbsp;along&nbsp;the&nbsp;road towards a&nbsp;mountain&nbsp;pass.&nbsp;Their&nbsp;casual&nbsp;demeanor&nbsp;belies&nbsp;the&nbsp;ordeal through&nbsp;which&nbsp;they&nbsp;have&nbsp;passed.&quot;<br />
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<b id="docs-internal-guid-56596195-7fff-8d60-d089-a3e5d66935e9">Adams, Celeste, and Paul Berry. <em>Heart, Mountains, and Human Ways: Japanese Land
Matsumura Goshun
The Road to Shu
1767 – 1832
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1970/2.152
Watercolor drawing of a hilly landscape with travelers in the left foreground, grazing animals in the middle ground, and a tower in the right background.
William Payne (British (modern))
Landscape with Tower and Distant Lake
1776 – 1830
Gift of Professor Walter M. and Nesta R. Spink
2012/2.215
<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
This vase in iridescent glass consists of a large swelling shoulder that tapers towards a narrow base. The decoration in mauve, pink, blue and brown includes feather designs, including peacock tail &quot;eye&quot; design.
Louis Comfort Tiffany
Vase
1896 – 1900
University purchase 1930, transferred to the Museum of Art, 1972/2.200
1972/2.200
Miniature vase of irregular, slightly globular form; vessel has suggestions of lobes and has a narrow neck. Exterior of vase exhibits a deep yellow and pinkish iridescent surface with an overall effect of rich color and natural aysmmetry.
Louis Comfort Tiffany
Miniature vase
1896 – 1900
University purchase 1930, transferred to the Museum of Art, 1972/2.210
1972/2.210
A brass pipe with a figurative bowl in the shape of a human head wearing a cap and smoking a pipe. 
Pipe
1900 – 1987
Gift of Douglas and Mary Kelley
1987/1.344
A grounded and a flying goose is paired in both paintings, creating a contrast of stillness and movement. The goose is the water has its head turned to watch the descent of the goose flying in from the right. The upper left corner contains calligraphic text, and creating ripples in the water in the foreground is a goose with its head below the surface, and bottom in the air. Reeds come in from the right.<br />
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These two hanging scroll paintings depict geese and reeds. Based on the style, the use of silk and the mounting method, it is assumed that the two works are part of the same set. Plate 278-1 (2009/1.488.1) depicts three geese including one with its head plunged into the water, while Plate 278-2 (2009/1.488.2) depicts two. Both works depict reeds on the right part of the painting. Yang&rsquo;s signature in &ldquo;boneless&rdquo; stroke style, effective in portraying light and shade, is striking. Yang Gihun (楊基薰, 1843&ndash;?), who painted these works, was active mainly in Pyeongyang which is cur
Ki-hun Yang
Geese and Reeds (one of a pair)
1867 – 1899
Gift of Keum Ja and Byung Schick Kang
2009/1.488.1
A grounded and a flying goose is paired in both paintings, creating a contrast of stillness and movement. A goose swoops into the scene from the top left, while the neck of the grounded goose follows a graceful curve to look at the approaching bird. The swaying reeds and grass around the grounded goose add lightness to the composition. Between the two geese are three lines of calligraphy.<br />
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These two hanging scroll paintings depict geese and reeds. Based on the style, the use of silk and the mounting method, it is assumed that the two works are part of the same set. Plate 278-1 (2009/1.488.1) depicts three geese including one with its head plunged into the water, while Plate 278-2 (2009/1.488.2) depicts two. Both works depict reeds on the right part of the painting. Yang&rsquo;s signature in &ldquo;boneless&rdquo; stroke style, effective in portraying light and shade, is striking. Yang Gihun (楊基薰, 1843&ndash;?), who painted these works, was active mainly in Pyeongyang which is currently located i
Ki-hun Yang
Geese and Reeds (two of a pair)
1867 – 1899
Gift of Keum Ja and Byung Schick Kang
2009/1.488.2
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