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christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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This stone head is Buddhist in inspiration. It is carved with bulging features, almost as if it had been kneaded out of clay. There is a patterned beard and neat mustache; the eyebrows, bridge of the nose, and cheeks all swell outward. In the Buddhist cosmological system, conceived in India, a mountain stands in the center of our world. On the middle slopes of this mountain dwell four heavenly kings, who guard the four directions. Which of the four kings this head represents is not certain, but he may be Virudhaka (in Sanskrit; Cengchang [Tseng-ch'ang] in Chinese), the regent of the south. He has been given a beard and mustache like those of the Central Asian traders found in contemporaneous tomb sculpture. Intact sculptures of Cengchang [Tseng-ch'ang] show him with one foot on the head of a demon; his raised right arm holds a lance, his left hand is on his waist. The statue from which this head came was probably part of an ensemble in one of the Buddhist cave temples of Tang [T'ang] China. It would have flanked an image of the Buddha standing at the center of the world. Ceramic images of heavenly kings were also placed in tombs as guardians; their facial features are as vigorously modeled as those of this stone head.
Chinese
H: 18 1/2 × W: 10 7/16 × D: 11 5/8 in. (47 × 26.5 × 29.5 cm)
medium: stone
culture: Chinese
dynasty: Tang [T'ang] Dynasty
Walters Art Museum, 1931, by bequest.
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Konstantin Yegorovich Makovskii (1839-1915), a popular artist and member of the Peredvizhniki, or Wanderers, is best known for historical genre scenes. Depicted in glossy enamel is The Bride's Attire (or Dressing the Bride) (1889). In a 17th-century interior, some lavishly attired women and a solitary youth have assembled to watch the bride as she is being dressed. A young girl kneels at the bride's feet a young girl and behind, an elder woman combs the subject's hair. To convey a sense of verisimilitude, the artist has included such details as a jewel box and a teremok-shaped casket in walrus ivory and bone of the type associated with the town of Kholmogory in northern Russia. An icon is also discernible on the wall in the background.
An unusual feature of this casket is the Viking-style interlace in turquoise over black enamel on the lid's sloping deck. These patterns bear striking resemblance to those in an illustration of the Aberlemno Cross in Inigo Jones's The Grammar of Ornament (1856), a resource that would most likely have been available in Moscow. Another possible source for the interlace could have been found in late 17th-century Russian manuscripts. The sides and ends of the box have vignettes of brightly colored flowers and buds over a cream ground. These, in turn, are framed by patterns of interlace in blue, olive, violet, and black. By this time, Rückert increasingly employed black enamel in his works.
The lid of the box opens to reveal a turquoise, en plein counter enamel over a ground engraved with flowers and buds.
The box is equipped with handles at both ends and with bracket feet.
H: 2 1/2 x W with handles: 5 7/16 x D: 3 7/8 in. (6.3 x 13.8 x 9.9 cm)
medium: silver gilding, painted filigree and en plein enamel, en plein counter enamel
by bequest to Walters Art Museum, 2010.
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 5/8 × W: 7 5/16 in. (24.5 × 18.6 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor with gum heightening, gouache details, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately thick, cream wove paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).
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The scene on this cylinder seal depicts a nude goddess with arms clasped at her midriff, and a star in the field over her right shoulder. It has a cuneiform inscription in three registers.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 13/16 x Diam: 7/16 in. (2.1 x 1.1 cm)
medium: quartz (?)
culture: Babylonian
Walters Art Museum, 1941, by purchase.
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This scene of outdoor, rustic frivolity was probably painted by the Master of the Béguins, a Flemish imitator of the Le Nain brothers who capitalized on their success around the 1650s in Paris. Distinct features of this artist's style are the wide eyes, pudgy cheeks, and white peasant caps—béguins—that give the artist his name. The sturdy and comical peasants, clothed in coarse fabrics with heavy folds, and the use of earthen tones emphasize the provincial mood. During the mid-17th century, the treatment of the poor and lower classes was a subject of great debate in the Catholic Church in Paris, especially at Saint Sulpice, where the Le Nain brothers were buried. Scenes of everyday workers or peasants were incredibly popular, drawing on both comic, Flemish genre scenes of drinking and the French interest in carefully observed, realistic details. Although the picture's meaning remains ambiguous, the gaiety of this world comes from the wonderfully naturalistic details, such as the worn hole on the piper's elbow, the villagers' cheerful expressions, and still-life details such as the ripe apples and reflective drinking vessel.
France, 17th century
oil on canvas
Framed: 111 x 142 x 8 cm (43 11/16 x 55 7/8 x 3 1/8 in.); Unframed: 91.8 x 120.3 cm (36 1/8 x 47 3/8 in.)
Gift of Mrs. Salmon P. Halle in memory of Salmon Portland Halle