RM2B015B2–Brazil: Cannibalism in Brazil in 1557 as alleged by Hans Staden. Woodcut print by an unidentified artist, c. 1557. Hans Staden (c. 1525 - c. 1579) was a German soldier and mariner who voyaged to South America. On one voyage, he was captured by the Tupinamba people of Brazil whom he claimed practiced cannibalism. He wrote a widely read book describing his experiences.
RM2B00X5P–Indonesia: An early 19th-century Muslim wedding procession in Java. Taken from a contemporary woodcut, this illustration shows the bride and groom carried through the street while guests play music and dance.
RM2B00X4T–Indonesia: A royal procession to Friday prayers at the mosque on the island of Ternate in the Moluccas in 1599. This Dutch woodcut depicts Ternate mosque (far left) and the palace of Ternate in the foreground. The illustration was first published in the Dutch journal, Het Tweede Boeck.
RM2B01GHD–Germany: A mechanical printing press of the type designed by Johannes Gutenberg. Woodcut engraving by Jost Amman (1539 - 17 March 1591), c. 1568. At left in the foreground, a printer removes a printed page from the press. The printer at right is inking the plate. In the background, compositors are using cast type. Presses of this type could make 240 prints per hour.
RM2B01GNR–Europe: A woodcut depicting the plague or the 'Black Death', anonymous, c. 15th century. The Black Death was one of the most devastating pandemics in human history, peaking in Europe between 1348 and 1350. Of several competing theories, the dominant explanation for the Black Death is the plague theory, which attributes the outbreak to the bacterium Yersinia pestis. Thought to have started in China, it travelled along the Silk Road and reached the Crimea by 1346.
RM2B01KTY–Germany: 'Moses and the Burning Bush'. Woodcut print by Michael Wolgemut (1434 - 30 November 1519) from the Nuremberg Chronicle, 1493. The burning bush is an object described by the Book of Exodus (3:1-21) as being located on Mount Sinai; according to the narrative, the bush was on fire, but was not consumed by the flames, hence the name. In the narrative, the burning bush is the location at which Moses was appointed by God to lead the Israelites out of Egypt and into Canaan.
RM2J57GEM–China / Taiwan: The Horrifying Inspection by Chinese artist, Huang Rong-can (1920 - 1952), 1947. The woodcut print depicts the 228 Incident. The February 28 incident was an anti-government uprising in Taiwan that was violently suppressed by Governor Chen Yi of the Kuomintang-led Republic of China government, which killed thousands of civilians beginning on February 28, 1947. The number of Taiwanese deaths from the incident and massacre was estimated to be between 18,000 and 28,000.
RM2B01GP4–Europe: A woodcut depicting a praying skeleton, probably symbolic of the 'Black death', anonymous, c. 15th century. The Black Death was one of the most devastating pandemics in human history, peaking in Europe between 1348 and 1350. Of several competing theories, the dominant explanation for the Black Death is the plague theory, which attributes the outbreak to the bacterium Yersinia pestis. Thought to have started in China, it travelled along the Silk Road and reached the Crimea by 1346.
RM2B014WR–Yemen/Portugal: Albuquerque’s naval forces attack the Arabic port of Aden in February 1513. Coloured woodcut illustration from 'Lendas da India' (Legends of India) by Gaspa Correia (c. 1496-1563), 16th century. Afonso de Albuquerque (1453-1515) was a Portuguese admiral whose military and administrative accomplishments as second governor of Portuguese India established the Portuguese colonial empire in the Indian Ocean. He is generally considered a military genius.
RM2B014WY–Portugal/India: Pedro Mascarenhas (1480 - 16 June 1555), explorer and Viceroy of India for one year (1554-55). Woodcut portrait, 1674. Dom Pedro Mascarenhas was a Portuguese explorer and administrator. He was the first European to discover the island of Diego Garcia in 1512, and was ambassador from Portugal to the Holy See. He was forced by King John III to become the new viceroy of Portuguese India, despite his resistance due to his age, and served for only a year before dying in 1555.
RM2B00WN2–Germany: 'Dürer's Rhinoceros'. Woodcut print by Albrecht Durer (1471-1528), 1515. Albrecht Dürer (21 May 1471 – 6 April 1528) was a German painter, printmaker and theorist from Nuremberg. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance.
RM2B01M23–Germany: 'Battle with the Amalekites'. Moses holding up his arms during battle, assisted by Aaron and Hur. Woodcut illustration by Julius Schnorr von Carolsfeld (26 March 1794 - 24 May 1872) for 'Die Bibel in Bildern', c. 1860. Moses was, according to the Hebrew Bible and Qur'an, a religious leader, lawgiver and prophet, to whom the authorship of the Torah is traditionally attributed. He is the most important prophet in Judaism, and is also considered an important prophet in Christianity and Islam, as well as a number of other faiths.
RM2B01KTN–Germany: 'Moses and the Burning Bush'. Woodcut engraving by Julius Schnorr von Carolsfeld (26 March 1794 - 24 May 1872) for 'Die Bibel in Bildern', c. 1851-1860. The burning bush is an object described by the Book of Exodus (3:1-21) as being located on Mount Sinai; according to the narrative, the bush was on fire, but was not consumed by the flames, hence the name. In the narrative, the burning bush is the location at which Moses was appointed by God to lead the Israelites out of Egypt and into Canaan.
RM2B01873–Russia: Adam and Eve as represented on a woodcut in a Russian lubok, 1792. A lubok is a Russian popular print, defined by simple graphics and narratives inspired by literature, religious stories and folk tales. Lubki prints were used as decoration in houses and inns. Early examples from the late 17th and early 18th centuries were woodcuts, then engravings or etchings were typical, and from the mid-19th century lithography. They sometimes appeared in series, which might be regarded as predecessors of the modern comic strip.
RM2B01CA2–Vietnam: Hang Trong painting of Tet festival messengers bringing good luck. Hang Trong painting (Vietnamese: Tranh Hàng Trống) is a genre of Vietnamese woodcut painting that originated from the area of Hàng Trống and Hàng Nón streets in Old Hanoi's 36 Streets District. In the past, Hang Trong painting was an essential element of the Tết holiday in Hanoi, but today this tradition has almost disappeared and authentic Hang Trong paintings are found only in museums or fine art galleries.
RM2B01CA6–Vietnam: Hang Trong painting of the Gods in the Daoist pantheon, 20th century. Hang Trong painting (Vietnamese: Tranh Hàng Trống) is a genre of Vietnamese woodcut painting that originated from the area of Hàng Trống and Hàng Nón streets in Old Hanoi's 36 Streets District. In the past, Hang Trong painting was an essential element of the Tết holiday in Hanoi, but today this tradition has almost disappeared and authentic Hang Trong paintings are found only in museums or fine art galleries.
RM2B01GEM–Turkey/Germany: Müezzinzade Ali Pasha (-7 October 1571), Ottoman statesman and Grand Admiral (Kapudan Pasha). Woodcut broadsheet, 1571. Ali Pasha was commander-in-chief of the Ottoman naval forces at the Battle of Lepanto on 7 October 1571. Selim had entrusted him with one of the most precious possessions of the Ottoman Sultans, the great 'Banner of the Caliphs', a huge green banner heavily embroidered with texts from the Qur'an and with the name of Allah emblazoned upon it 28,900 times in golden letters. It was intended to provide an incentive for him and his men to do their best in battle.
RM2B01CA5–Vietnam: Hang Trong painting of the Jade Emperor Ngọc Hoàng Thượng Đế, 20th century. Hang Trong painting (Vietnamese: Tranh Hàng Trống) is a genre of Vietnamese woodcut painting that originated from the area of Hàng Trống and Hàng Nón streets in Old Hanoi's 36 Streets District. In the past, Hang Trong painting was an essential element of the Tết holiday in Hanoi, but today this tradition has almost disappeared and authentic Hang Trong paintings are found only in museums or fine art galleries.
RM2B0151A–Panama: Vasco Núñez de Balboa (c. 1475-1519), the first European to see the Pacific Ocean after crossing the Isthmus of Panama in 1513. Woodcut illustration, c. 1888. Vasco Núñez de Balboa was a Spanish explorer, governor, and conquistador. He is best known for having crossed the Isthmus of Panama to the Pacific Ocean in 1513, becoming the first European to lead an expedition to have seen or reached the Pacific from the New World. He traveled to the New World in 1500 and, after some exploration, settled on the island of Hispaniola (now Dominican Republic and Haiti).
RM2B0186W–Germany: 'The Fall'. Woodblock print by Albrecht Durer (21 May 1471 - 6 April 1528), c. 1500. Albrecht Durer was a German printmaker, painter and theorist active during the German Renaissance. Hailing from Nuremberg, his high-quality woodcut prints made him influential and reputable across Europe, and he was in contact with major contemporary Italian artists such as Raphael and Leonardo da Vinci. From 1512 onwards he was patronised by Emperor Maximilian I. His vast body of work included woodcut prints, altarpieces, portraits and self-portraits, watercolours and his preferred engravings.
RM2B01FD5–France: Coloured woodcut of St. Bernard of Clairvaux (1090 - 20 August 1153) writing a sermon, 12th century. Bernard of Clairvaux, O.Cist was a French abbot and the primary builder of the reforming Cistercian order. After the death of his mother, Bernard sought admission into the Cistercian order. Three years later, he was sent to found a new abbey at an isolated clearing in a glen known as the Val d'Absinthe, about 15 km southeast of Bar-sur-Aube. According to tradition, Bernard founded the monastery on 25 June 1115, naming it Claire Vallée, which evolved into Clairvaux.
RM2B01321–China: The Chongzhen Emperor killing his daughter, before hanging himself. Woodcut illustration by an unknown artist for Martino Martini's (1614-1661) 'De Bello Tartarico', 1655. The decline of the Ming intensified during Chongzhen's reign. Popular uprisings broke out throughout China, including that of Li Zicheng. In April 1644, Li prepared to take the Ming capital of Beijing. Rather than face capture and probable execution at the hands of the newly declared Shun Dynasty, Chongzhen slaughtered most of his own family members at a feast and then hanged himself from a tree on Jingshan Hill.
RM2B0171D–Japan: 'Shoki Striding'. Woodcut handscroll painting by Okumura Masanobu (1685-1764), c. 1741-1751. Zhong Kui (Wade-Giles: Chung Kwei, Japanese: Shōki) is a figure of Chinese mythology. Traditionally regarded as a vanquisher of ghosts and evil beings, and reputedly able to command 80,000 demons, his image is often painted on household gates as a guardian spirit, as well as in places of business where high-value goods are involved. Zhong Kui's popularity in folklore can be traced to the reign of Emperor Xuanzong of Tang (712-756).
RM2B01FD0–Italy: Woodcut of the Annunciation from Bernard of Clairvaux (1090 - 20 August 1153), Venice, 1503. Bernard of Clairvaux, O.Cist was a French abbot and the primary builder of the reforming Cistercian order. After the death of his mother, Bernard sought admission into the Cistercian order. Three years later, he was sent to found a new abbey at an isolated clearing in a glen known as the Val d'Absinthe, about 15 km southeast of Bar-sur-Aube. According to tradition, Bernard founded the monastery on 25 June 1115, naming it Claire Vallée, which evolved into Clairvaux.
RM2B01DDK–Tunisia/Italy: Hannibal's army crossing the Alps during the Second Punic War (218-201 BCE). Woodcut print by Heinrich Leutemann (1824-1905), 1866. The Second Punic War (218 BCE - 201 BCE) is most remembered for the Carthaginian Hannibal's crossing of the Alps. He and his army invaded Italy from the north and resoundingly defeated the Roman army in several battles, but never achieved the ultimate goal of causing a political break between Rome and its allies. While fighting Hannibal in Italy, Hispania and Sicily, Rome also simultaneously fought against Macedon in the First Macedonian War.
RM2B0151G–Spain/Americas: Italian Amerigo Vespucci (9 March 1454 - 22 February 1512), explorer, navigator and cartographer. Woodcut illustration, c. 1505. Amerigo Vespucci was an Italian explorer, navigator and cartographer, born and brought up by his uncle in the Republic of Florence, in what is now Italy. Vespucci worked for Lorenzo de Medici and his son, Giovanni. In 1492, he was sent to work at the Seville branch of the Medici bank. At the invitation of King Manuel I of Portugal, Vespucci participated as an observer in several voyages that explored the east coast of South America from 1499 to 1502
RM2B01X1J–Uzbekistan/Italy: Abū ʿAlī al-Ḥusayn ibn ʿAbd Allāh ibn Sīnā (c. 980-1037), commonly known as Ibn Sīnā or by his Latinised name Avicenna, portrayed as 'Princeps Abinsceni'. Woodcut, 1520. Ibn Sīnā was a Persian polymath, who wrote almost 450 treatises on a wide range of subjects, of which around 240 have survived. In particular, 150 of his surviving treatises concentrate on philosophy and 40 of them concentrate on medicine. His most famous works are 'The Book of Healing', a vast philosophical and scientific encyclopaedia, and 'The Canon of Medicine', which became a standard medical text.
RM2B01T55–Japan: Lady Murasaki Shikibu (c. 973-1025), poet and novelist in conversation with five male court poets. Woodcut print by Utagawa Kitamaro (1753 - 31 October 1806), c. 1795-1806. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01C3K–China: An ocean-going junk (Tosen Zu) with listings of the sea route from China to Japan. Woodcut print, c. 1847-1853.. A junk is an ancient Chinese sailing vessel design still in use today. Junks were developed during the Han Dynasty (206 BC–220 AD) and were used as sea-going vessels as early as the 2nd century AD. They evolved in the later dynasties, and were used throughout Asia for extensive ocean voyages. They were found, and in lesser numbers are still found, throughout Southeast Asia and India, but primarily in China, perhaps most famously in Hong Kong.
RM2B01C3W–Vietnam: Jealousy in a rural setting - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C45–Vietnam: Collecting coconuts - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C41–Vietnam: Child with domestic fowl - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C48–Vietnam: Jealousy in a rural setting - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C3Y–Vietnam: Child with domestic fowl - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C42–Vietnam: A pastoral scene in Tonkin - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C46–Vietnam: A mother pig and her litter - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C3T–Vietnam: A pastoral scene in Tonkin - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C44–Vietnam: A village fair in Tonkin - traditional woodblock painting from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01C3R–Vietnam: Traditional woodblock painting of Vietnamese mice paying tribute to the big cat (China). Also known as the 'Rat's Wedding (Dam Cuoi chuot)'. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes and historical figures to folk allegories.
RM2B01C3P–Vietnam: A traditional woodblock painting of wrestlers from Dong Ho village, Bac Ninh Province. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01T5F–Japan: Lady Izumi Shikibu (c. 973-1025), poet and novelist. Ukiyo-e Woodblock print by Komatsuken Kiyomitsu (fl. 18th century), 1765. Izumi Shikibu (976-) was a mid Heian period Japanese poet. She is a member of the Thirty-six Medieval Poetry Immortals (chūko sanjurokkasen). She was the contemporary of Murasaki Shikibu, and Akazome Emon at the court of Joto Mon'in. She 'is considered by many to have been the greatest woman poet of the Heian period'. Her legacy includes 242 poems and two kashu.
RM2B01T5G–Japan: 'Ishiyama Moon'. Lady Murasaki Shikibu (c. 973-1025) gazing at the moon for inspiration. Ukiyo-e woodblock print from the series 'One Hundred Aspects of the Moon' by Tsukioka Yoshitoshi (1839-1892), 1889. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01T5D–Japan: Lady Murasaki Shikibu (c. 973-1025), poet and novelist, writing at her desk. Ukiyo-e woodblock print by Utagawa Kunisada (1786 - 12 January 1865), c. 1858. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01T5B–Japan: Lady Murasaki Shikibu (c. 973-1025), poet and novelist, writing at Ishiyama-dera. Ukiyo-e woodblock print by Harunobu Suzuki (1727 - 29 June 1770), c. 1767. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01T57–Japan: Lady Murasaki Shikibu (c. 973-1025), poet and novelist. Ukiyo-e woodblock print from the series 'Mirror of Women, Ancient and Modern' by Tsukioka Yoshitoshi (30 April 1839 - 9 June 1892), c. 1876. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01T56–Japan: Lady Murasaki Shikibu (c. 973-1025), poet and novelist. Ukiyo-e Woodblock print by Komatsuken Kiyomitsu (fl. 18th century), 1765. Murasaki Shikibu was a Japanese novelist, poet and lady-in-waiting at the Imperial court during the Heian period. She is best known as the author of 'The Tale of Genji', written in Japanese between about 1000 and 1012. Murasaki Shikibu is a nickname; her real name is unknown, but she may have been Fujiwara Takako, who was mentioned in a 1007 court diary as an imperial lady-in-waiting.
RM2B01T5J–Japan: Akazome Emon (956-1041), Heian court poet. Ukiyo-e Woodblock print by Komatsuken Kiyomitsu (fl. 18th century), 1765. Akazome Emon was a Japanese waka poet and early historian who lived in the mid-Heian period. She is a member both of the Thirty Six Elder Poetic Sages (Chūko Sanjūrokkasen) and the Thirty Six Female Poetic Sages (Nyōbō Sanjūrokkasen).
RM2B01T58–Japan: A scene from 'The Tale of Genji' depicting Utsusemi, stepmother of the Governor of Kii. Ukiyo-e woodblock print from the series 'Tale of Genji in Fifty-four Chapters' by Utagawa Hiroshige (1797-1858), 1852. 'The Tale of Genji' (Genji Monogatari) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period. It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic.
RM2B01GNP–Germany: A scene from 'The Dance of Death' by Hans Holbein the Younger (c. 1497-1543), 16th century. This is one of a celebrated series of small woodcuts that Holbein designed on the theme of Death. In the words of Christian Rümelin: 'Death is depicted in several guises in these illustrations, ranging from the murderous agent (of the monk, merchant, chandler, rich man, knight, earl and nobleman) to the warning commentator (of the pope, emperor, cardinal, judge, alderman, lawyer, and preacher)'.
RM2B01JK6–Japan: 'Hour of the Hare'. Ukiyo-e woodblock print from the series 'Twelve Hours of the Green Houses' by Kitagawa Utamaro, (c. 1753 - 31 October 1806), 1794. Kitagawa Utamaro was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
RM2B01JK8–Japan: 'Hour of the Monkey'. Ukiyo-e woodblock print from the series 'Twelve Hours of the Green Houses' by Kitagawa Utamaro (c. 1753 - 31 October 1806), 1794. Kitagawa Utamaro was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
RM2B017FT–Japan: 'Fukami Jikyu'. Ukiyo-e woodblock print from the series 'One Hundred Aspects of the Moon' by Tsukioka Yoshitoshi (30 April 1839 - 9 June 1892), 1887. Fukami Jikyu, a Japanese fictional hero - similar in reputation to England's Robin Hood - walks proudly in his elegant kimono as cherry blossoms fall around him. Yoshitoshi creates the sense of a calm spring evening in this post-Edo period woodcut.- Alongside his signature in the cartouche at the top right of the painting, Yoshitoshi has included a short poem.
RM2B0147Y–China: The Daoist Gods of Good Fortune (Fu), Prosperity (Lu) and Longevity (Shou), referred to collectively as Fulushou or the Sanxing. Woodcut painting, c. 20th century. The term Fu Lu Shou or Fulushou collectively refers to the concept of Good Fortune (Fu), Prosperity (Lu), and Longevity (Shou). This Taoist concept is thought to date back to the Ming Dynasty, when the Fu Star, Lu Star and Shou Star were considered to be personified deities of these attributes respectively. The term is commonly used in Chinese culture to denote the three attributes of a good life.
RM2M4A10B–Tunisia / Italy: Hannibal's army crossing the Alps during the Second Punic War (218-201 BCE). Woodcut print by Heinrich Leutemann (1824-1905), 1866. The Second Punic War (218 BCE - 201 BCE) is most remembered for the Carthaginian Hannibal's crossing of the Alps. He and his army invaded Italy from the north and resoundingly defeated the Roman army in several battles, but never achieved the ultimate goal of causing a political break between Rome and its allies. While fighting Hannibal in Italy, Hispania and Sicily, Rome also simultaneously fought against Macedon in the First Macedonian War.
RM2B017CF–Japan: 'The Little Egret'. Ukiyo-e woodblock print by Ohara Koson (1877-1945), 1928. The full title of this beautiful ink-on-paper woodcut is 'Little Egret, Standing on One Leg in the Rain at Night'. Originally from Kanazawa, Ohara Matao studied in Tokyo in the 1890s under the artist Suzuki Koson. Matao later adopted his teacher's surname and began specializing in woodcuts, most of his subjects chosen from nature. He particularly loved birds, and he designed over 450 wood-carved prints of various birds. Koson changed his name after 1910 to Shoson, and later to Hoson.
RM2J5ATG6–Japan: ‘Inume Pass, Koshu’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2KFDKCD–Japan: ‘Koishikawa in the Morning after a Snowfall’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2HGG7EK–Japan: 'Enoshima in Sagami Bay'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2HGG7GP–Japan: ‘The Mitsui Shop in Suruga'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2K22X5J–Japan: ‘Hakone Lake in Sagami Province'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017CM–Japan: ‘Hodogaya on the Tokaido Road’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication
RM2B017CT–Japan: ‘Noboto Bay’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CK–Japan: ‘Hakone Lake in Sagami Province'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017EJ–Japan: ‘The Waterwheel at Onden’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CR–Japan: 'At Sea off Kazusa'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017DH–Japan: 'Tago Bay near Ejiri on the Tokaido'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017E1–Japan: ‘Koishikawa in the Morning after a Snowfall’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017FA–Japan: 'Yoshida on the Tokaido'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CG–Japan: 'Enoshima in Sagami Bay'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CW–Japan: 'Nihonbashi Bridge in Edo'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CP–Japan: ‘The Mitsui Shop in Suruga'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017DF–Japan: ‘Ejiri in Suruga Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CN–Japan: ‘Inume Pass, Koshu’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2KFDKCH–Japan: ‘Noboto Bay’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2PNG9XF–Japan: ‘Ejiri in Suruga Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2HGG7FP–Japan: ‘Sazai Hall - Temple of Five Hundred Rakan’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2HGG7GG–Japan: 'Tago Bay near Ejiri on the Tokaido'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2K50J7A–Japan: 'At Sea off Kazusa'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2KFDKFB–Japan: 'Yoshida on the Tokaido'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2K50J6B–Japan: ‘Hodogaya on the Tokaido Road’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication
RM2B017DE–Japan: ‘Shimomeguro (Lower Meguro)’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017D1–Japan: ‘Sazai Hall - Temple of Five Hundred Rakan’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017D4–Japan: ‘Senju in Musashi Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2B017CX–Japan: ‘Fujimigahara in Owari Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017D3–Japan: ‘Sunset Across the Ryogoku Bridge from the Bank of the Sumida River at Onmayagashi'. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and 10 more were added.
RM2K81625–Japan: ‘Sekiya Village on the Sumida River’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2PNG96P–Japan: ‘Senju in Musashi Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2PY4MA5–Japan: ‘Shimomeguro (Lower Meguro)’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.
RM2NJWTK3–Japan: ‘Fujimigahara in Owari Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017FG–Japan: ‘Sekiya Village on the Sumida River’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added.
RM2B017D2–Japan: ‘Reflection of Mount Fuji in Lake Kawaguchi Seen from the Misaka Pass in Kai Province’. Ukiyo-e woodblock print from the series ‘Thirty-Six Views of Mount Fuji’ by Katsushika Hokusai (31 October 1760 - 10 May 1849), 1830. ‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of woodcut prints by Japanese artist Katsushika Hokusai. The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and 10 were added.
RM2B01NW2–Vietnam: A village fair in Tonkin. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01NW4–Vietnam: A typical village classroom where the old toad is seen as a teacher, various activities and punishments can be seen as well. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes.
RM2B01NTX–Vietnam: 'Lao Thu Thu Tan: Old Rat Taking a Bride'. Traditional woodblock painting of mice paying tribute to the big cat (China), from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes.
RM2B01NWX–Vietnam: Four auspicious animals, left to right: Dragon, Unicorn, Turtle and Phoenix. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes, from good luck wishes to historical figures.
RM2B01NX0–Vietnam: A dragon dance performed by frogs for the annual Tet (Lunar New Year) Festival. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes to historical figures.
RM2B01NTY–Vietnam: Mandarin and attendants on the road. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities and folk allegories.
RM2B01NW5–Vietnam: A selection of traditional Vietnamese musical instruments. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities.
RM2B01NWY–Vietnam: A traditional woodblock painting of Vietnamese fish paying tribute to the big fish (China), from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities.
RM2B01NW7–Vietnam: A dragon dance at the annual Tet (Lunar New Year) Festival. Traditional woodblock painting from Dong Ho village, Bac Ninh Province, 20th century. Dong Ho painting (Vietnamese: Tranh Đông Hồ or Tranh làng Hồ), full name Dong Ho folk woodcut painting (Tranh khắc gỗ dân gian Đông Hồ) is a genre of Vietnamese woodcut paintings originating from Dong Ho village (làng Đông Hồ) in Bac Ninh Province, Vietnam. Using the traditional điệp paper and colours derived from nature, craftsmen print Dong Ho pictures of different themes from good luck wishes, historical figures to everyday activities.
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