19th century
This is an example of a rarefied and extremely painstaking genre of calligraphy in which a dried leaf was used for the support. In this case, the leaf appears to be from a horse chestnut tree. Written in a majestic thuluth, the Arabic inscription is beautifully composed in an oval to fill the lower and broader part of the leaf. Most Ottoman leaf calligraphies employ gold ink. Microscopic examination of this leaf revealed no pigment whatsoever, which may explain its extremely fragile condition.
21.5 x 10.7 cm (8 7/16 x 4 3/16 in.)
Album leaf; ink on colored letter paper
19th centuryKoreanHanging scroll; ink on paper
ChineseAlbum leaf; ink on paper
ChineseThread-bound book; ink on mica decorated colored paper
17th-18th centuryJapaneseInk, color and gold on paper
19th centuryPersianOne of a pair of hanging scrolls now mounted as the first and second panels of a ten-panel folding screen; ink on paper decorated with designs of auspicious emblems and fruiting and blossoming branches painted in ink and pigments and also with designs of scrolling clouds painted (or printed?) in metallic pigment; with signature of the artist reading "Cha-ha"; with one square, red, relief seal of the artist reading "Cha Ha"
19th centuryKoreanFragment mounted as a handscroll; ink on paper with gold, silver, other designs
17th-18th centuryJapaneseThe first of a series of 54 kotobagaki (calligraphic album leaves) mounted in an album with illustrations; ink and color on paper
16th centuryJapaneseTwenty manuscript books; ink on paper, with cover paintings in gold pigment on indigo-dyed paper
17th centuryJapaneseThe thirteenth of a series of 54 kotobagaki (calligraphic album leaves) mounted in an album with illustrations; ink and color on paper
16th centuryJapanese29th of a set of 54 thread-bound books; ink on paper
17th-18th centuryJapaneseInk on paper
Chinese