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180 UMMA Objects
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Chen Hengke (Ch'en Heng-k'o)
Old Tree
1920 – 1923
Gift of Katsuizumi Sotokichi
1949/1.198
This is an ink painting of two camels. The camels are centered toward the bottom of the hanging scroll with an inscription above it reading right to left (from the viewer's pov). One camel looks off to the right of the page while the other camel behind the first one bows down to the left and appears to be grazing. The main inscription is five lines. To the right at the beginning is a red stamp. At the end on the left is what appears to be a signature and two red stamps. Below the inscription and just above the camels on the left is perhaps another signature with a red stamp. 
Mori Tetsuzan (Tessan)
A Pair of Camels
1800 – 1849
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1986/1.164
This is a hanging scroll painted with ink and color on paper with the main subject of a demon or&nbsp;<em>oni</em>. The demon has horns in its head and stands as if in motion. On its front leg closest to the viewer is a piece of paper with writing. Above its head is an inscription in four lines descending in order from the upper right. On the bottom right corner is another inscription followed by two red seals.&nbsp;
Japanese (Japanese (culture or style))
Demon Soliticing Contributions
20th century
Gift of Rudolf and Mary Arnheim
1989/1.76
There are two cherry branches point downward. They&nbsp;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&nbsp;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;&nbsp;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
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
In this painting, a mischievous demon is depicted in priest’s garb begging for alms.
Japanese (Japanese (culture or style))
Ôtsu-e: Demon soliciting alms (Oni no nembutsu)
18th century
Museum purchase for the James Marshall Plumer Memorial Collection
1964/2.102
This is a collection of various flower studies in ink and color on paper. There is a variety of subjects ranging from ferns, Japanese morning glories, cherry blossoms, persimmons, and Japanese poppies. Some have no color and are outlined in black ink while others are completely colored in. Many of the drawings also have descriptions of the subject and are written in the traditional vertical form. The front page of the handscroll has blue ink coming from above and purple ink below in a cloud-like, mound-shaped two-layer design.
Japanese (Japanese (culture or style))
Sketches of Flowers: 25 compositions
1695
Museum purchase for the James Marshall Plumer Memorial Collection
1962/2.31
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