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The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject matter. His assimilation and then transmission of these elements had a profound impact on the following generations of ink painters, patrons, and Zen communities throughout Japan. Despite the presence on these byøbu of the name "Sesshp," they are from the hand of another accom-plished but as yet anonymous follower active in the middle of the sixteenth century. Sesshp's name here, as on a handful of similar bird-and-flower byøbu, attests to the master's identification at that time with the colorful mural paintings on the same theme emanating from Ming dynasty China. This genre had heretofore been relegated to hanging scroll compositions, so the intro-duction into temple and daimyo residences of such an attractive theme surely caused considerable excitement in the later fifteenth century, when in all likelihood Sesshp introduced it into the Japanese painting reper-toire. Subsequently, artists of varying backgrounds and training tried their hands at these large, dramatic scenes. From right to left the composition portrays an array of flowering plants in the near distance that indicate the passage of the seasons. Birds, usually paired, occupy this setting, engaged in various activities that lend naturalism and an air of peacefulness. The world they inhabit may be characterized pictorially by expansive middle-ground waterscapes that end where the far distant mountains rise as backdrops. These features appear consistently in other bird-and-flower byøbu attributed to Sesshp. Also noteworthy is the absence of any birds of prey such as the samurai's beloved hawks, emblems of fierceness and graceful strength that appear often in the byøbu of sixteenth-century Kano and Soga school painters.
Japan, Muromachi period (1392–1573)
Six-panel folding screen, ink and color on paper
Image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); Overall: 175.2 x 374.4 cm (69 x 147 3/8 in.)
Gift of Mrs. A. Dean Perry
5 1/4 x 6 3/4 in. (13.3 x 17.1 cm)
medium: Stoneware
Metropolitan Museum of Art, New York, NY 27.17.40a, b 1927
Rogers Fund, 1927
Go to Page 61 in the Internet Archive
Title: Catalogue of artificial teeth, precious metals, stoppings, dental rubbers, furniture, instruments, nitrous oxide gas and ether apparatus, laboratory apparatus, tools and sundries manufactured, imported, and sold by Claudius Ash & Sons, Limited, 6, 7, 8, & 9, Broad Street, Golden Square, London, W [electronic resource]
Creator: Claudius Ash & Sons
Creator: University of Glasgow. Library
Creator: University of Glasgow. Library
Publisher: London : Claudius Ash & Sons
Sponsor: Jisc and Wellcome Library
Contributor: University of Glasgow Library
Date: 1893
Language: eng
Description: Cover title: Claudius Ash and Sons' Dental catalogue. 1893
Includes index
Spine title: Dental catalogue
This material has been provided by The University of Glasgow Library. The original may be consulted at The University of Glasgow Library
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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In addition to his fascination with the classical past, Gérôme was one of the leading painters of "orientalist" subjects-exotic and romantic themes inspired by Napoleonic adventures abroad, romantic literature, and European colonialism. From 1855, Gérôme travelled regularly in Turkey, Egypt, and Asia Minor. Long fascinated by African animals, he sketched lions in the Paris zoo as a student and later hunted them on safari in North Africa.
France, 19th century
oil on wood panel
Framed: 105 x 133 x 13.5 cm (41 5/16 x 52 3/8 x 5 5/16 in.); Unframed: 72.3 x 100.5 cm (28 7/16 x 39 9/16 in.)
Gift of Mrs. F. W. Gehring in memory of her husband, F. W. Gehring
■お名前：のんちゃん
■性別：男の子
■自慢ポイント：8/21で1歳になります。気分屋の甘えん坊さんです。
■オーナー様： 山本 様
■URL :
[うさぎラブWe love bunny] www.kokousa.com/page/328
Chikusai
Japanese, active late 18th–early 19th century
H. 2 3/4 in. (7 cm); W. 1 in. (2.5 cm); D. 1 1/4 in. (3.2 cm)
medium: Wood
Metropolitan Museum of Art, New York, NY 10.211.2362 1910
Gift of Mrs. Russell Sage, 1910
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Trobriand Islanders often travel great distances by canoe to exchange ceremonial objects. Elaborately carved splashboards offered spiritual protection to the voyagers. Stylized frigate birds ornament this example.
Melanesia, Papua New Guinea, Massim Area, Trobriand Islands, 19th century
wood
Overall: 58.7 x 81.9 cm (23 1/8 x 32 1/4 in.)
Gift of Mr. and Mrs. J. J. Klejman
In book two of Virgil's epic poem <em>The Aeneid</em> (29-19 BC), the Trojan hero Aeneas escapes from the burning city of Troy and its Greek invaders with his family. Here the artist shows them making their way through a classical corridor. Aeneas carries his elderly father, Anchises, entrusted with holding their household gods. Aeneas holds the hand of his son, Ascanius, and his wife Creusa follows behind. Creusa's separation from the group alludes to her fate: she will fall behind and not survive their flight. Quick sketches on the right border of the sheet show Barocci practicing the balancing pose of Aeneas as he carries his father, and the stance of Creusa. The drawing relates to a now lost painting by Barocci and was also made into an engraving by Agostino Carracci (see CMA 1963.456). Details in the drawing such as the dog bounding down the stairs and Creusa's flowing hair and head scarf do not appear in the engraving.
Italy, 16th century
Pen and brown ink, brush and brown wash and yellow gouache heightened with traces of white, over black chalk, with stylus (banister); framing lines in pen and brown ink
Sheet: 27.7 x 42.6 cm (10 7/8 x 16 3/4 in.)
Did you know...
This drawing may have been once owned by the painter Peter Paul Rubens (1577–1640).
L. E. Holden Fund