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[url=http://www.airforceshooting.org/hays.html]Col Hays[/url] receiving the [url=http://www.odcmp.com/NM/Trophies/PT_Gen_Curtis_LeMay.htm]General LeMay award[/url]
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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.
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.
a) W. 7 in. (17.8 cm)
b) H. 1 3/4 in. (4.4 cm); W. 5 3/4 in. (14.6 cm)
c) H. 1 1/2 in. (3.8 cm); W. 4 3/4 in. (12.1 cm)
d) H. 1 1/2 in. (3.8 cm); W. 4 3/4 in. (12.1 cm)
e–k) each: H. 1 5/8 in. (4.1 cm); W. 2 3/8 in. (6 cm)
medium: Gold, gilded metal, kingfisher feathers, glass, and semiprecious stones
Metropolitan Museum of Art, New York, NY 15.95.181a–k 1915
John Stewart Kennedy Fund, 1915
[url=https://flic.kr/p/BFsns5][img]https://c1.staticflickr.com/6/5630/23418975292_bf1d3caee6_b.jpg[/img][/url][url=https://flic.kr/p/BFsns5]Tom Zé – Postmodern Platos Remixes (1998 Luaka Bop)[/url] by [url=https://www.flickr.com/photos/24205602@N02/]Greg(ory)[/url], on Flickr
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
The landscape depicted in this pair of screens follows a seasonal progression from right to left, starting with the blossoming plum of early spring and ending with late autumn peonies. A variety of smaller birds are positioned throughout the scene, and a trio of swimming ducks is bracketed by early summer irises and early autumn bellflowers at the center. While some raptors (birds of prey) terrorize a pheasant and an egret (a waterfowl) to the right, a peacock and peahen converse to the left. Hawks are associated with military prowess, while the peafowl suggest cultural prestige.
Japan, Momoyama period (1573–1615)
One of a pair of six-panel folding screens; ink, color, and gold on paper
Image: 155.9 x 339.4 cm (61 3/8 x 133 5/8 in.); Overall: 168.5 x 352.2 cm (66 5/16 x 138 11/16 in.); Closed: 172.5 x 61 x 11.3 cm (67 15/16 x 24 x 4 7/16 in.); with frame: 171.7 x 355.4 cm (67 5/8 x 139 15/16 in.)
Did you know...
Military class patrons frequently requested scenes depicting predation, such as hunting scenes that were inserted as additional subject matter in otherwise tranquil vistas celebrating flora and fauna.
Gift of William G. Mather
This statuette of a male figure has his arms by his sides and his left foot forward in the manner of a Greek Kouros, a type of statue that depicts a nude youth. This statuette is considered the earliest of the surviving bronzes from a large deposit of votive objects (including over 600 bronzes) found in 1838 on Mount Falterona at a site known as the Lake of Idols.
Etruscan
H: 4 11/16 x W: 1 7/16 x D: 1 3/16 in. (12 x 3.7 x 3 cm)
Mount H: 7/8 x W: 1 15/16 x D: 1 7/8 in. (2.2 x 4.9 x 4.8 cm)
medium: bronze
culture: Etruscan
Walters Art Museum, 1931, by bequest.
This is a small statuette of Pharaoh Ramesses II and a goddess made of carnelian. Both the goddesses Hathor and Isis are mentioned in the inscription on the back pillar. The piece is inscribed in two columns of text on the back pillar and the cartouche of the Ramesses II inscribed under the base. The two figures stand against a wide back pillar, on a low base. The goddess stands on the proper left with her arm around the shoulders of the king. The right half of her face and her left foot have been broken away. She wears a low modius crown, tripartite wig and a sheath gown which is trimmed at the ankle and belted at the waist. The top of the king's head is level with the top of the crown of the goddess. He is depicted as a youth with a side lock and the index finger of his right hand raised to his lips. He wears a pleated mid-calf length kilt with a pendulous sash. Both figures are adorned with a uraeus, bracelets and armbands. Although the face is quite small, the typical smiling mouth of Ramesses II is visible.
Egyptian
H: 1 5/8 x W: 7/8 x D: 3/16 in. (4.2 x 2.15 x 0.51 cm)
Mount H: 3/16 x W: 1 1/4 x D: 3/4 in. (0.53 x 3.23 x 1.83 cm)
medium: carnelian
culture: Egyptian
dynasty: 19th Dynasty
Walters Art Museum, 1931, by bequest.
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