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This circular element called a roundel that originally decorated a curtain displays a perfectly interlaced knot, a design believed to provide protection from harm. Curtains were often used as modular walls in houses, theaters, and Christian churches during the late Roman and early Christian periods.
Egypt, Byzantine period
plain weave ground with tapestry weave and supplementary weft wrapping; undyed linen and dyed wool
Overall: 45.2 x 47.7 cm (17 13/16 x 18 3/4 in.); Mounted: 64.1 x 64.1 x 2.5 cm (25 1/4 x 25 1/4 x 1 in.)
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The purple color was achieved with kermes, a dye derived from the dried bodies of insects of the same name.
Gift of Henry Hunt Clark
網誌一覽Background背景stage-design婚嫁場所WEDDING-decoration@christy-florist婚禮場地佈置WEDDING&EVENT-Decorations@裝飾POSTER婚慶Ideas宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場地場合擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|繄蘼鮮花批發花店TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽CHRISTY-FLORIST_VENUS_EVENT_DECORATIONS繄蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374 敬請預約
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Two double rows of inscription run in the warp direction of the textile, the dark lettering oriented at right angles to the warp. In the center is a floral medallion with pendants. The design is woven in golden brown, gray brown, and dark blue-green (all now faded) against a dark golden tan ground. Both selvages are preserved.
Iran, in the style of the Buyid period (945–1055)
Silk: lampas weave
Overall: 69.8 x 55.3 cm (27 1/2 x 21 3/4 in.)
Purchase from the J. H. Wade Fund
A panel from the "predella," or illustrated base, of an altarpiece dedicated to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization, or declaration of sainthood, by Pope Gregory IX in 1228. The saint's body lies on a bier surrounded by a mourning crowd. The crowd includes fashionably dressed young men along with the lame and blind, who seek a miraculous cure by touching the saint's dead body. To the right, the seated pope writes the decree of canonization. The careful attention to fashion, vivid colors, and animated expressions are characteristic of the international, courtly trends encountered mostly in Northern Italy.
Painted surface H: 9 3/8 x W: 19 7/16 in. (23.8 x 49.3 cm)
Panel H including strips on both sides 9 15/16 x WL 20 x D: 1 9/16 in. (25.2 x 50.8 x 3.97 cm)
Framed H: 13 3/4 x W: 23 3/4 x D: 2 3/4 in. (34.9 x 60.4 x 6.95 cm)
medium: tempera on wood
style: Gothic
Walters Art Museum, 1931, by bequest.
We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
Argentina, Santamariana
earthenware
Diameter: 25 cm (9 13/16 in.); Overall: 13.4 x 26.9 cm (5 1/4 x 10 9/16 in.)
Gift of Katherine C. White
Cornelius Kierstede
1674–ca. 1757
8 3/16 x 5 1/8 x 5 1/8 in. (20.8 x 13 x 13 cm); 17 oz. 2 dwt. (532.6 g)
medium: Silver
Metropolitan Museum of Art, New York, NY 23.80.21 1923
Gift of Mr. and Mrs. William A. Moore, 1923
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Horus the Child is depicted standing with his left leg forward. He wears the side lock of youth and the crown of Upper Egypt.
Egyptian
H: 9 1/16 in. (23 cm)
medium: cast bronze, electrum inlay
culture: Egyptian
dynasty: 22nd Dynasty
Walters Art Museum, 1931, by bequest.
Florence MacKubin was born in Florence, Italy, though had Baltimore connections. She exhibited internationally after studying in Paris and Munich, and went on to paint many miniatures of society women in New York, Boston, St. Louis and Washington D.C..This portrait of the Baltimore bishop who was created cardinal by Pope Leo XIII was shown at the Royal Society of Miniature Painters in London in 1907, and at the Paris Salon of 1909. A numbers of works by the artist can be found in the Maryland State Art Collection.
Cardinal Gibbons is seated, facing three-quarters left, with his chin resting on his right hand. The miniature is in a carved ebony frame.
H: 4 x W: 2 15/16 in. (10.1 x 7.4 cm)
medium: watercolor on ivory
Walters Art Museum, 1931, by bequest.
To make this monumental woodcut—considered one of the most ambitious prints of the Renaissance—Titian probably drew directly on the wooden blocks, after which a skilled cutter completed the blocks. The size rivals that of a painting, and the composition would have hung on a wall. Titian’s bold vision presents nature as a vehicle of God’s mercy and wrath. Moses, at right, having parted the seas for the Israelites to pass, commands them to close over the Egyptian forces (Exodus 14:21–31). Titian propelled the narrative with remarkable unity, dedicating entire blocks to the turbulent sea and rolling clouds that culminate in a magnificent cliff and Renaissance city. Some have interpreted the scene as an allegory of Venice’s troubles with the League of Cambrai, a military alliance that threatened the island city.
Italy, Venice, 16th century
woodcut
Unframed: 41 x 54.9 cm (16 1/8 x 21 5/8 in.)
John L. Severance Fund
Japan, Shōwa period (1926–89)
Woodblock print; ink and color on paper
Sheet: 27.6 x 41.1 cm (10 7/8 x 16 3/16 in.)
Gift of the Artist
This early cylinder seal is inscribed with hieroglyphic signs that spell the personal names Nefer-Maat-Ked and Nefer-Sobek, as well as some enigmatic titles. Although the original context of this seal is unknown, several examples of sealings and seals that include the name of an official Nefer-Maat-Ked have been excavated in multiple sites across Egypt. Nefer-Maat-Ked seems to have been an official under several kings, including Khasekhemwy (ca. 2649 BCE), the last king of the Second Dynasty, and Third Dynasty king Djoser, the builder of the Step Pyramid at Saqqara (ca. 2667-2648 BCE). This cylinder seal acted as an administrative tool, connecting its owner with the central royal authority.
Egyptian
H: 3/4 × W: 1 1/4 in. (1.9 × 3.2 cm)
medium: granodiorite
culture: Egyptian
dynasty: Twelfth Dynasty
Walters Art Museum, 1931, by bequest.
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.
Egypt, Old Kingdom (2647–2124 BCE), Dynasties 6–8
bone
Diameter: 3.2 cm (1 1/4 in.)
Gift of the John Huntington Art and Polytechnic Trust
This miniature "oinochoe," known more particularly as a "chous" ("choes" in the plural), dates to the last decade of the 5th century BCE. As is most often the fashion with small "choes," this example features scenes of children, their accoutrements, and their play. This "chous" depicts two boys. One rides on a goat; the other stands nearby holding out a bunch of grapes to his companion. Both boys are crowned, and the standing boy, who also holds a toy cart on one shoulder, is adorned with protective amulets.
Greek
3 9/16 x 2 3/4 in. (9.1 x 7 cm)
medium: terracotta, wheel made; red-figure with white paint
style: Attic
culture: Greek
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
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