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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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Shiva tenderly places an arm around his wife, the goddess Uma (also called Parvati), in a gesture that is familiarly human. Both rest their weight on one hip, their bodies complementing one another. Shiva’s front hand gestures in reassurance, while Uma’s would have held flowers offered by priests and devotees.
Depending on their wealth, temples might have dozens of processional sculptures in various forms to be paraded around for different occasions. This image of a loving couple would be suitable for celebrating a marriage ceremony. Like the bride and bridegroom, the sculpture itself would have been adorned with beautiful jewelry: necklaces, crowns, diadems, ear ornaments, and rings, donated by royalty, wealthy landowners, and merchants.
Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.
H: 16 7/8 x W: 11 5/8 x D: 6 1/2 in. (42.9 x 29.5 x 16.5 cm)
medium: copper alloy
given to Walters Art Museum, 2005.
Egypt, Antinoë, Byzantine period
tapestry weave (with plain tabby borders): wool and linen
Overall: 122.6 x 158.1 cm (48 1/4 x 62 1/4 in.)
Purchase from the J. H. Wade Fund
The goddess of love and beauty wears her wavy hair in a topknot. This small head likely was once part of a statuette showing the goddess nude or partially nude.
Greek
2 3/8 in. (6.1 cm)
medium: marble
culture: Greek
Walters Art Museum, 1931, by bequest.
[url=https://www.digitalscrapbookingstudio.com/store/index.php?main_page=product_info&cPath=13_396&products_id=15074] Great Love: Othello & Desdemona by ADB Designs[/url]
temporal: Realismus
62,5 x 79 cm
mat: Öl auf Leinwand, aufgezogen auf Karton
class: Malerei
type: Gemälde
provenance: 1938 Ernst R. Zimmermann. – 1939 Ankauf Kunsthandlung Karl Haberstock, Berlin
Österreichische Galerie Belvedere
sammlung.belvedere.at/objects/2457/agathe-thoma-die-schwe...
In 1657, Pope Alexander VII commissioned Bernini to produce crucifixes for the side aisles of St. Peter's Basilica, in the Vatican. While Bernini provided the design (either a drawing or a terracotta model), the wax model was made in 1658 by the sculptor Ercole Ferrata. The bronze cast was then made by Paolo Curieri, and Bartolomeo Cennini, working under Bernini's supervision, was charged with the final chasing, or finishing, of the surface detail.
As Ferrata had the models in his own workshop at his death, and as there are small casting flaws that Bernini would probably not have accepted (for example, fills are visible on Christ's leg), this "Dead Christ on the Cross" is likely to be a later cast. The modern cross is based on Bernini's design for those in St. Peter's.
Italian
17 1/8 x 13 in. (43.5 x 33 cm)
medium: gilded bronze on a modern wood cross
style: southern Baroque
culture: Italian
Walters Art Museum, 1992, by purchase.
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"The scene depicts one of the crossings, and not a favorable one. The water is deep and Bull boats must be resorted to. The Trapper in the foreground looking back at the approaching Caravan is waiting for orders, while others are testing the depth of the river by swimming across with faint hopes of any fording that will answer so as to avoid the construction of boats. The preparation of the latter loses much time,- sufficient Buffalo must be killed at once to furnish the hides, and while one party is in search of these, another is removing the goods from the larger wagons and taking the bodies from the wheels;- hides are sewed and streched over them, and the contents of all the other vehicles transferred,- the boats are then floated over by the men wading and swimming along-side. Canadian Trappers display wonderful good nature on such occasions, singing their simple French songs;- but when any fighting is to be done, the Kentuckian and Missourian take precedence by long odds." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 9 1/8 x W: 12 15/16 in. (23.2 x 32.9 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
This intaglio shows the head of Ptolemaic Queen Cleopatra II (r. 173-116 BCE) in profile to the left.
Greek
1 1/8 x 7/8 x 7/16 in. (2.9 x 2.2 x 1.1 cm)
medium: peridot
culture: Greek
Walters Art Museum, 1942, by purchase.
Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
Together with 59.1 and 59.2, this piece was discovered in Egypt as part of a hoard that comprised about twenty similar medallions (now dispersed among various museums), eighteen gold ingots, and six hundred gold coins issued by Roman emperors from Severus Alexander (r. 222-235 CE) to Constantius I (r. 293-306 CE). One of the medallions, now in the Calouste Gulbenkian Museum in Lisbon, bears an inscription that possibly reads "Olympic games of the year 274", a date corresponding to 242-243 CE. It is possible that the medallions were intended as prizes to be given out at that event. Alternatively, they may have been issued by Emperor Caracalla (ruled 198-217 CE), who is potrayed on the this medallion in profile, bearing a shield on his shoulder decorated with the image of Nike in a racing-chariot. The back depicts Caracalla's distant predecessor King Alexander of Macedon (r. 336-323 BCE) in short chiton and chlamys (a cloak) hunting a boar. This depiction of a royal hunt was intended to emphasize the prowess that Alexander also showed in battle.
Roman
3/16 x 2 1/4 in. (0.6 x 5.7 cm) (d. x diam.)
medium: gold
style: Hellenistic
culture: Roman
dynasty: Severan Dynasty
Walters Art Museum, 1931, by bequest.
This fibula is one of a pair crafted in a workshop in northern France. The peacock likely reflects Roman or Byzantine influence, as it is not native to northern France. In early Christian art, the peacock was a symbol of immortality. Knowledge of the bird could have passed to northern France through the transmission of Christian iconography in textiles, books, and other portable objects. The fibula originally was one of a pair of brooches worn by women on either side of the chest. A second gold peacock fibula, plausibly the mate to this one, belongs to the Hungarian National Museum in Budapest.
Frankish
H: 1 1/8 x W: 1 1/2 x D: 5/16 in. (2.9 x 3.9 x 0.9 cm)
medium: gold, bronze (over an iron core), garnets, glass
culture: Frankish
Walters Art Museum, 1931, by bequest.
Ancient Egyptians believed the goddess Taweret, whose name translates as "the Great One," offered protection to women during pregnancy and childbirth. She is represented as a hippopotamus with a swollen belly, pendulous human breasts, the limbs of a lion, and the back and tail of a crocodile. Taweret was a benevolent deity and was commonly depicted on amulets. Underscoring her function as a protector, she holds the hieroglyph "sa," meaning protection, in each hand, (the cartouches on her shoulders were added at a later date, and have so far escaped a definitive reading). Although her cult gained great importance, she had no temples of her own.
Egyptian
H: 20 7/8 x W: 8 7/16 x D: 9 3/4 in. (53 x 21.5 x 24.7 cm)
medium: red granite
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.