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Shiva stands firmly on his lotus pedestal, arching his back in a stance associated with power in the region of Kerala, on India’s southwestern coast, where this sculpture was made. In his upper hands, he holds a battle axe—to cut through illusion—and an antelope, which expresses his role as lord of creatures. The goddess Ganga, a personification of the sacred Ganges River, looks out through Shiva’s hair. When she came to earth from the heavens, she traveled through Shiva’s thickly matted dreadlocks, in order to ease the force of her descent into a gentle flow. Shiva also wears the crescent moon in his hair, a symbol of time, marked by the moon’s waxing and waning. The crescent moon also appears at the peak of the flaming aureole that surrounds the god, along with a five-headed serpent (only two heads remain intact). The snake may allude to the time when Shiva destroyed the deadly poison that threatened both heaven and earth.
In Kerata, sculptures like this one are carried by priests seated on elephants during ritual processions in and around a temple's grounds.
Indian
Overall H: 11 15/16 × W: 6 5/16 × D: 4 15/16 in. (30.3 × 16 × 12.5 cm)
Base only H: 1 13/16 × W: 4 15/16 × D: 4 15/16 in. (4.6 × 12.5 × 12.5 cm)
medium: copper alloy
culture: Indian
given to Walters Art Museum, 1989.
Shiva stands firmly on his lotus pedestal, arching his back in a stance associated with power in the region of Kerala, on India’s southwestern coast, where this sculpture was made. In his upper hands, he holds a battle axe—to cut through illusion—and an antelope, which expresses his role as lord of creatures. The goddess Ganga, a personification of the sacred Ganges River, looks out through Shiva’s hair. When she came to earth from the heavens, she traveled through Shiva’s thickly matted dreadlocks, in order to ease the force of her descent into a gentle flow. Shiva also wears the crescent moon in his hair, a symbol of time, marked by the moon’s waxing and waning. The crescent moon also appears at the peak of the flaming aureole that surrounds the god, along with a five-headed serpent (only two heads remain intact). The snake may allude to the time when Shiva destroyed the deadly poison that threatened both heaven and earth.
In Kerata, sculptures like this one are carried by priests seated on elephants during ritual processions in and around a temple's grounds.
Indian
Overall H: 11 15/16 × W: 6 5/16 × D: 4 15/16 in. (30.3 × 16 × 12.5 cm)
Base only H: 1 13/16 × W: 4 15/16 × D: 4 15/16 in. (4.6 × 12.5 × 12.5 cm)
medium: copper alloy
culture: Indian
given to Walters Art Museum, 1989.
Textiles formed a large part of Louis Comfort Tiffany's artistic production, especially since he used many of them in his designs for artistic interiors. His clients included many society notables, institutions, churches, and even the White House. Tiffany employed many women artisans in his business, including Dorothy Marshall Hornblower, who oversaw the textile department and likely designed this ethereal Art Nouveau pattern.
America, New York
plain silk velvet stencilled with vegetable dyes
Overall: 11.7 x 34.3 cm (4 5/8 x 13 1/2 in.); Mounted: 18.7 x 41.3 cm (7 3/8 x 16 1/4 in.)
Did you know...
This dragonfly design for a stenciled velvet fabric was likely used for drapery material.
Gift of Joseph F. Sindelar
Robert Salmon
1755–ca. 1844
16 1/2 x 25 5/8 in. (41.9 x 65.1 cm)
medium: Oil on wood
Metropolitan Museum of Art, New York, NY 1979.488 1979
Gift of Mr. and Mrs. Harry L. Koenigsberg, 1979,
Gift of Lisa Koenigsberg, in memory of Harry L. Koenigsberg, 2004
The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.
Iran, Shiraz, Timurid period (1370-1501)
Opaque watercolor, ink, gold, and silver on paper
Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)
Did you know...
The painting on this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama </em>(Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.
John L. Severance Fund
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John Singleton Copley
American, Boston, Massachusetts 1738–1815 London
14 5/16 x 22 5/8 in. (36.4 x 57.5 cm)
medium: Black chalk and white-chalk heightening on blue laid paper
Metropolitan Museum of Art, New York, NY 60.44.17 recto 1960
Harris Brisbane Dick Fund, 1960
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The scene in the sketch presents something of a bird's eye view of the great chain of Wind River Mountains, throwing up their huge heads against a warm evening sky, their lofty pinnacles crested with snow and reflecting light with the brilliancy of burnished silver;- Across the green plateau to the right, the Caravan is seen winding its slow length along. In front of this, wild and rough rocks covered with a primeval growth of hemlocks, firs, and pines jut out into the river that is sweeping by, fed by the melting snows of the mountians. In the immediate foreground some Trappers are galloping to join a party who are on the extreme end of the bluff, looking at the 'promised land' which forms their mountian home; for at the base of these, they expect to meet large bands of their brother Trappers with whom they promise themselves a grand carouse and drinking bout;- in order to repay themselves for the abstinence they are compelled to observe in a military and well-governed camp." 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.
8 9/16 x 12 7/16 in. (21.8 x 31.6 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
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In this portrait, the Ōbaku school Buddhist monk Duli Xingyi (born Tai Li, 1596–1672), whose name is pronounced Dokuryū Shōeki in Japanese, sits upon a woven mat holding a ceremonial scepter known as a <em>ruyi</em>, or <em>nyoi</em> in Japanese. Above his head is an insciption he added to the painting in 1671, the year before his death. It may be translated to read: <br><br>Contemplative emptiness: the moon suspended over the village at midnight. Suddenly my soul is startled by the howl of an ape. Who could know that it would arouse me beyond my senses, and bring me an inner vision from Mt. Sumeru.<br>(translated by Stephen Addiss and Kwan S. Wong) <br><br>Originally from what is now the city of Hangzhou in China, Duli emigrated to Japan in 1653, where he took monastic vows. His skills in calligraphy and seal carving were formidable. Painter Kita Genki combined Chinese brush styles he learned in Nagasaki with Western painting techniques to capture Duli's likeness.
Japan, Edo period (1615–1868)
hanging scroll; ink and color on paper
Painting: 111.4 x 50.1 cm (43 7/8 x 19 3/4 in.); Mounted: 211.8 x 63.8 cm (83 3/8 x 25 1/8 in.)
Mr. and Mrs. William H. Marlatt Fund
This armor was developed for the joust-a sporting combat between two mounted contestants. Although all of the elements of this armor date from the same period, they are not all from the same suit. This armor is thus called "composed." It also shows the asymmetry of jousting armor. The participants rode along a wall-like barrier known as a "tilt" with their left sides facing one another. Consequently, armor on that side of the body had to be thicker. Note the large plate (grandguard) over the left shoulder for extra protection. Also, the breathing holes in the helmet were placed on the right side (farthest from an opponent's lance) to avoid injuries from splinters. The bracket attached to the right breastplate is called the lance-rest, a shock-absorbing support designed to accommodate the lance when "couched" under the right armpit.
South Germany, 16th century
steel, leather straps, brass rivets
Overall: 42.3 x 32 x 14.2 cm (16 5/8 x 12 5/8 x 5 9/16 in.)
Gift of Mr. and Mrs. John L. Severance