COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1989.8.3
amicoid
CMA_.1989.8.3
AMICA ID
false
AMICA Library Year:
2002
aly
2002
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Tomonobu, Kano
crn
Tomonobu, Kano
Creator Name
false
Creator Nationality:
Japanese
crc
Japanese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1746 - 1828
cdt
1746 - 1828
Creator Dates/Places
false
Biography:
active later 16th century
crb
active later 16th century
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Kano Tomonobu
crt
Kano Tomonobu
Creator Name-CRT
false
Title:
Hotei with Daoist Immortals: Immortal with Gourd and Dragon
otn
Hotei with Daoist Immortals: Immortal with Gourd and Dragon
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1575-1600
oct
c. 1575-1600
Creation Date
false
Creation Start Date:
1570
ocs
1570
Creation Start Date
false
Creation End Date:
1600
oce
1600
Creation End Date
false
Materials and Techniques:
triptych of hanging scrolls: ink on paper
omd
triptych of hanging scrolls: ink on paper
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Dimensions:
Painting only: 119.6cm x 51cm, Including mounting: 210.2cm x 68.6cm
met
Painting only: 119.6cm x 51cm, Including mounting: 210.2cm x 68.6cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1989.8.3
ooa
1989.8.3
ID Number
false
Credit Line:
Mr. and Mrs. William H. Marlatt Fund
ooc
Mr. and Mrs. William H. Marlatt Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Hotei was a Chan (Japanese: Zen) monk living in China during the 900s who, in the 1300s, became a legendary figure in Japan. At that time a popular cult praising him sprang up, extending beyond Zen to other religious communities.This rare triptych embraces a central Zen icon with flanking Daoist images, thereby suggesting the compatibility-rather than the exclusivity-of these two creeds. Hotei also enjoys popularity in Japan as a kind of genre, or folk figure, which explains his mirthful expression in Japanese paintings. The Daoist figures in contrast appear eccentric and foreign-looking, in keeping with Daoist lore.When these paintings came to the museum their appearance was compromised by poor quality textile mountings, and cracked paper surfaces deserving of restoration. The fact that these scrolls constituted an integral set that properly had to be shown as a unit heightened the need to stabilize their condition and improve their presentation for museum visitors.A complete remounting of each scroll occurred following the cleaning of the paper surfaces and the repair of the lifting surface areas. No inpainting was done, thereby preserving the original ink values and brushstrokes.
cxd
Hotei was a Chan (Japanese: Zen) monk living in China during the 900s who, in the 1300s, became a legendary figure in Japan. At that time a popular cult praising him sprang up, extending beyond Zen to other religious communities.This rare triptych embraces a central Zen icon with flanking Daoist images, thereby suggesting the compatibility-rather than the exclusivity-of these two creeds. Hotei also enjoys popularity in Japan as a kind of genre, or folk figure, which explains his mirthful expression in Japanese paintings. The Daoist figures in contrast appear eccentric and foreign-looking, in keeping with Daoist lore.When these paintings came to the museum their appearance was compromised by poor quality textile mountings, and cracked paper surfaces deserving of restoration. The fact that these scrolls constituted an integral set that properly had to be shown as a unit heightened the need to stabilize their condition and improve their presentation for museum visitors.A complete remounting of each scroll occurred following the cleaning of the paper surfaces and the repair of the lifting surface areas. No inpainting was done, thereby preserving the original ink values and brushstrokes.
Context
false
Related Image Identifier Link:
CMA_.AM20021670.tif
ril
CMA_.AM20021670.tif
Related Image Identifier Link
false