Ryuryukyo’s work is defined by its japanese (culture or style) sensibility — an enduring influence on generations that followed. Most artists are dead; following is a declaration of love.
Minamoto no Yoshiie on horseback and a bird on a branch, from an untitled hexaptych depicting a pair of folding screens
Ryuryukyo Shinsai Japanese, c. 1764-1820
Plum blossoms and poet, from an untitled hexaptych depicting a pair of folding screens
Seiobo (Queen Mother of the West) and tortoise, from an untitled hexaptych depicting a pair of folding screens
Palace interior and beach, from an untitled hexaptych depicting a pair of folding screens
Lacscape and woman from Ohara, from an untitled hexaptych depicting a pair of folding screens
Empress Komyo (Komyoko), from the series "Three Beautiful Women (San bijin)"
The Jewel Taker (Tamatori), from the series "The Palace of the Dragon King (Ryugu)"
Blue Shell (Aogai), from the series "Five Colors (Goshiki no uchi)"
Sekiya, E-awase, and Matsukaze, from the series "The Tale of Genji (Genji monogatari)"
The Daughter of Tomoyasu (Tomoyasu no musume), from the series "Three Beautiful Women (San bijin)"
A Giant Radish, Chrysanthemums, and Ferns
Ryuryukyo Shinsai (Japanese, active 1799–1823)
Yellow (Ki), from the series "Five Colors (Goshiki no uchi)"
A Pair of Boxes, a Letter Box, and Plum Blossoms
Ryuryukyo Shinsai Japanese, active 1799–1823
Jar, scales and bowl, no. 6 from the series "The Rabbit's Boastful Exploits (Usagi tegarabanashi)"
Mii Temple, from the series "Eight Views of Omi (Omi hakkei)"
Bird cage and flowers
Fish and shells
Red and White Plum Blossoms with Poem Slip