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This masterfully composed landscape in light colors and delicate brushwork is an image of the water-rich Jiangnan region in southeast China, where Wu Bin was active as an artist. Embedded in rolling hills along lakesides and streams nestle cityscapes hosting numerous spring festivities. Lantern displays and street performances in the villages salute the New Year, and are interwoven with scenes of farming, fishing, and silk making. In one scene in the middle ground, an ox made of clay under a canopy is lead in a procession to an architectural compound, a ceremony known as <em>whipping the spring ox</em> in hope for a good harvest. This handscroll bears five collector seals by the Qianlong emperor indicating his appreciation for the painting.
China, Ming dynasty (1368–1644)
handscroll; ink and light color on paper
Image: 34.3 x 252.8 cm (13 1/2 x 99 1/2 in.); Overall: 35 x 1022.2 cm (13 3/4 x 402 7/16 in.)
Purchase from the J. H. Wade Fund
Wolfgang Grosschedel
German, Landshut, active ca. 1517–62
Wt. of man's armor approx. 55 lb. 11 oz. (25.25 kg); Wt. of horse armor with saddle 65 lb. 7 oz. (29.69 kg); helmet (a): H. 15 1/2 in. (39.4 cm); W. 9 1/2 in. (24.1 cm); D. 13 5/8 in. (34.6 cm); Wt. 7 lb. 9.8 oz. (3454 g); gorget (b): H. 7 1/8 in. (18.1 cm); W. 12 3/4 in. (32.4 cm); D. 10 3/4 in. (27.3 cm); Wt. 3 lb. 4.2 oz. (1479 g); breastplate (c): H. 14 1/16 in. (35.7 cm); W. 14 1/8 in. (35.9 cm); D. 9 3/8 in. (23.8 cm); Wt. 8 lb. 1.4 oz. (3669 g); lance rest (d): H. 2 7/8 in. (7.3 cm); W. 6 1/8 in. (15.6 cm); D. 3 3/8 in. (8.6 cm); Wt. 13.9 oz. (394 g); tasset (e): H. 11 in. (17.9 cm); W. 18 1/2 in. (47 cm); D. 19 1/4 in. (48.9 cm); Wt. 3 lb. 7.6 oz. (1575 g); backplate (f): H. 15 1/4 in. (38.7 cm); W. 14 3/16 in. (36 cm); D. 7 1/8 in. (18.1 cm); Wt. 5 lb. 10.05 oz. (2553 g); right pauldron (g): H. 11 in. (27.9 cm); W. 12 1/2 in. (31.8 cm); D. 12 1/8 in. (30.8 cm); Wt. 3 lb. 4.95 oz. (1500 g); left paudron (h): 12 1/4 in. (31.1 cm); W. 11 3/4 in. (29.8 cm); D. 11 7/8 in. (30.2 cm); Wt. 3 lb. 15.55 oz. (1802 g); right vambrace (arm defense) (i): H. 19 5/16 in. (49.1 cm); W. 7 5/16 in. (18.6 cm); D. 5 in. (12.7 cm); Wt. 2 lb. 10.8 oz. (1213 g); left vambrace (j): H. 18 11/16 in. (47.5 cm); W. 7 5/8 in. (19.4 cm); D. 5 1/16 in. (12.9 cm); Wt. 2 lb. 6.5 oz. (1091 g); right gauntlet (k): H. 11 3/4 in. (29.8 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 2.3 oz. (518 g); left gauntlet (l): H. 11 7/8 in. (30.2 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 3.5 oz. (552 g); right upper cuisse (thigh defense) (m): H. 9 1/4 in. (23.5 cm); W. 7 1/8 in. (18.1 cm); D. 7 1/2 in. (19.1 cm); Wt. 1 lb. 4.85 oz. (591 g); left upper cuisse (thigh defense) (n): H. 8 13/16 in. (22.4 cm); W. 7 1/16 in. (17.9 cm); D. 7 5/16 in. (18.6 cm); Wt. 1 lb. 4.85 oz. (591 g); right lower cuisse (thigh defense) and poleyn (knee defense) (o): H. 9 7/8 in. (25.1 cm); W. 6 in. (15.2 cm); D. 6 5/8 in. (16.8 cm); Wt. 1 lb. 6.4 oz. (635 g); left lower cuisse (thigh defense) and poleyn (knee defense) (p): H. 10 1/8 in. (25.7 cm); W. 5 15/16 in. (15.1 cm); D. 6 11/16 in. (17 cm); Wt. 1 lb. 6.85 oz. (647 g); right greave (lower leg defense) and sabaton (foot defense) (q): H. 18 3/4 in. (47.6 cm); W. 5 3/4 in. (14.6 cm); D. 12 1/4 in. (31.1 cm); Wt. 2 lb. 10.7 oz. (1210 g); left greave (lower leg defense) and sabaton (foot defense) (r): H. 18 3/4 in. (47.6 cm); W. 5 7/8 in. (14.9 cm); D. 12 in. (30.5 cm); Wt. 2 lb. 13.9 oz. (1300 g)
medium: Steel; leather, copper alloy, textile
Metropolitan Museum of Art, New York, NY 23.261 1923
Fletcher Fund, 1923
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
This scarab has a bottom inscription, which consists of three columns, framed by an oval line; the central column has a royal cartouche. The text contains the name, titles, and epithets of King Thutmose III. The inscription is carved in sunken relief. The layout is arranged to fit in the oval frame, but the two outer columns are not well balanced, and some signs collide with the borderline. The shape of the hieroglyphs is slightly rough, and the nfr-sign has three instead of two horizontal lines. The highest point of the back is partition between pronotum (dorsal plate of the prothorax) and elytron (wing cases). Pronotum and elytron display incised borderlines, single separation lines, and V-shaped marks for the humeral callosities (thickenings at the shoulders). The borderlines of the elytron ends at the rear in half spirals. The proportions of the top are unbalanced, the pronotum and head section are short in comparison to the elytron. The head has long-oval shape, the side plates are irregularly trapezoidal, and clypeus (front plate) shows a central base notch. The carved extremities show natural form, and vertical hatch lines on the upper sides for the tibial teeth and pilosity (hair). The symmetrical base has a long-oval shape; and the drill-holes of the scarab are framed.
The scarab is longitudinally pierced, was originally mounted or threaded, and functions as an amulet. This amulet should ensure for its owner support by the royal authority (cartouche) of the divine king (title: "Perfect God"), and all-inclusive protection (epithet: "who reverses the foreign countries".) The scarab was produced after the death of King Thutmose III, who was most probably understood as a protective god and successful model of divine kingship.
The change of the royal title nb t3.wj "Lord of the Two Lands" to nb t3.w "Lord of the Lands" may be either a writing mistake, or a variant to make the title match to the plural form in the epithet formula "all foreign countries." The esthetical balance of the signs (four horizontal signs at each side of the cartouche) may have played a role also.
Egyptian
H: 3/8 x W: 9/16 x L: 3/4 in. (0.9 x 1.5 x 1.9 cm)
medium: light beige steatite with green-blue glaze
culture: Egyptian
dynasty: 19th Dynasty
Walters Art Museum, 1931, by bequest.
By the 1800s, the Himalayan foothill region of Kashmir was renowned for distinctive embroideries, and Kashmiri shawls were coveted by women throughout the British Empire. The center of this square shawl is in the form of an eight-petaled lotus, a symbol for the sun, and around it are the elongated forms of slender cypress trees, which became the inspiration for paisley. <br><br>Every space is populated with figures: seated, standing, male, female, or playing musical instruments. Others are winged heavenly figures called <em>peri</em>. Birds are the only animals in these central spaces, suggesting a heavenly realm. In the next concentric ring riders in an equestrian procession alternate with flying birds. In the spandrels, the triangular sections between the circle and the square, are gatherings under a tent with animals. Some local Himalayan animals can be identified, such as the spotted snow leopard and the snake-eating markhor goat.
India, Kashmir
Silk and silver filé, wool: chain stitch embroidery
Overall including fringe: 212.1 x 212.1 cm (83 1/2 x 83 1/2 in.)
Bequest of James Parmelee
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
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: 31 cm (12 3/16 in.)
Gift of Mr. and Mrs. John L. Severance
The striking, large-scale figure shown on this tunic has an elaborate, monkey-like tail as well as head appendages that mark the creature as supernatural. This tunic, a relatively rare type, was made not on a loom but rather by working the yarns into loops with a needle. It is made entirely with camelid fiber, which can readily be dyed in a range of vivid colors. The fiber comes from one of the four camels (camelids) native to the Andes Mountains—the alpaca and llama, both domesticated, and the wild guanaco and vicuña. On the coast, it represents a prestige import.
Peru, South Coast, Ica Valley, Ocucaje site?, Paracas people
looped camelid fiber
Average: 94 x 82.6 cm (37 x 32 1/2 in.)
Did you know...
The red dyes in this tunic likely come from madder root.
The Norweb Collection
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
Durga is the name of the goddess who personifies the sum total of the powers of all the male gods combined. When she vanquishes the fierce buffalo demon named Mahisha, she is described as having many arms, each holding a different weapon: bow and arrow, trident, discus, shield, sword, mace, and the conch shell that sounds the start of battle. The horizontal lines on her arms are sectarian markings. At the moment depicted in this painting, she has succeeded in beheading the buffalo demon and shooting arrows into his true form that climbs from its neck. Artists in the foothills of the western Himalayas, where this work was made, depicted Durga’s mount as a tiger—lions and tigers had synonymous meaning throughout India as emblems of shakti, or divine creative energy.
India, Pahari Hills, Nurpur school, early 18th Century
Gum tempera and gold on paper
Overall: 15.5 x 21.2 cm (6 1/8 x 8 3/8 in.)
Mr. and Mrs. William H. Marlatt Fund