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The woman stands frontally with her hands clasped calmly in front of her. Her face is slightly raised, and she wears a serene expression. Her mantle wraps around her torso and is tucked under her left arm. Under the mantle, she wears a long peplos or chiton, the vertical folds of which contrast to the horizontal and diagonal folds of the mantle. Extensive traces of white paint are visible. The statuette stands on a square base.
Although generally referred to as Tanagra figurines after the most famous findspot, Tanagra (modern Schimatari) in Boeotia, Greece, statuettes of this type have been found at other sites in the ancient world, including Myrina and Smyrna (modern Izmir) in Asia Minor. The most common forms of the statuettes depict young women sitting, standing, or in the process of graceful movement, but there are also examples showing men or children. The statuettes were used as grave offerings, votives, decorative objects, and perhaps toys. The hair, clothing, skin, and jewelry of the pieces were originally painted, although most of the colors are presently faded.
Greek
7 7/8 x 2 5/8 x 1 7/8 in. (20 x 6.6 x 4.7 cm)
medium: terracotta, mold made; traces of paint
style: Hellenistic
culture: Greek
Walters Art Museum, 1931, by bequest.
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Beautiful artwork at the Diwali celebration at Yahoo. I did not make it early enough to the party. Did they have henna station this year? Hopefully there will be some at YEP~
The origin of these stained glass panels is unknown. They depict a male and female donor, presumably husband and wife, who gaze upon a now-lost central panel. The object of their devotions was likely a crucified Christ or a standing figure of the Virgin Mary. The man, dressed in armor, and the woman, wearing a bejeweled and richly embroidered gown, are accompanied by their coats-of-arms (unidentified). They are undoubtedly members of an aristocratic elite who commissioned these windows, perhaps for a family chapel.
France, 15th century
pot metal, white glass with silver stain
Overall: 156 x 43.5 x 1.5 cm (61 7/16 x 17 1/8 x 9/16 in.)
Did you know...
The brilliant colors of this stained glass panel were produced by adding different materials to molten glass, creating a reaction that resulted in specific colors. The metal supports for the individual pieces of glass are made from pot metal, an alloy, or mixture, of copper and iron.
Dudley P. Allen Fund
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Byzantine
H with loop: 2 3/8 x W: 1 1/4 x D: 1/2 in. (6 x 3.2 x 1.3 cm)
H without loop: 2 1/8 x W: 1 1/4 x D: 1/2 in. (5.4 x 3.2 x 1.3 cm)
medium: bloodstone
culture: Byzantine
Walters Art Museum, 1931, by bequest.
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The lover of the unfaithful wife sent a female messenger to arrange for their rendezvous. In a false display of horror, the wily adulteress blackened the face of the messenger as though to disgrace her and threw her out of the house, ordering her to be dumped by the side of a canal. That act, however, was a coded message to her lover to meet at the dark of night at that same location. The Indian artist Shravana added the pink brick wall to lend a sense of depth and dimensionality to the scene.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 10.5 x 10 cm (4 1/8 x 3 15/16 in.)
Did you know...
The striped dome and yellow bricks are vestiges of an earlier style of painting.
Gift of Mrs. A. Dean Perry
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.
Egyptian
H: 8 3/16 x W: 5 11/16 x D: 2 1/16 in. (20.8 x 14.4 x 5.3 cm)
medium: bronze with gilt, gold inlay
culture: Egyptian
dynasty: 25th-26th Dynasty
Walters Art Museum, 1931, by bequest.
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Elaborate oil lamps with figural attachments were common at the royal court in the ancient kingdom of Meroë. This lamp depicts a captive nude prisoner, his hands bound to his ankles. The lamp would have been suspended by a chain from the collar around the figure's neck. A Meroitic symbol, perhaps an owner's mark, is incised on the prisoner's shoulders.
Nubian
W: 4 1/8 x D: 3 9/16 x L: 10 in. (10.4 x 9 x 25.4 cm)
medium: bronze
culture: Nubian
Walters Art Museum, 1931, by bequest.
This tsuba is a depiction of the sky filled with clouds. At the upper left, the moon appears with the depiction of a rabbit pounding rice for sweet rice cakes. This is the figure that the Japanese see in the moon. This tradition may have developed in part because the word for rice cake ("mochi") can also mean "full moon."
Japanese
H: 2 13/16 × W: 2 11/16 × D: 3/16 in. (7.2 × 6.9 × 0.5 cm)
medium: shibuichi (silver-copper alloy), silver, and gold
style: Kii School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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