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The kozuka is designed in the shape of a man lying on his stomach smoking. His feet are at the top of the handle and his head is near the blade.
Japanese
3 7/8 in. (9.8 cm) (l.)
medium: shakudo, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
The Virgin kneels on a crescent moon with her hands in an attitude of prayer. Her head is uncovered, and her hair falls down her back and in tresses over her shoulders. In rendering the folds of the garments, little concession has been made to anatomy.
This piece, like 71.342, was apparently carved in the Portuguese colony of Goa, on the west coast of the Indian subcontinent by a native artist.
Devotional statuettes carved in ivory celebrating the immaculate purity of the Virgin were popular in the 1600s in Europe and this taste spread to the colonies established by Catholic countries in Asia and the Americas. The three most important locations for production of these ivories were the portuguese colonies on the Indian subcontinent (Goa, where the present piece as well as Walters 71.407 were made), the island of Sri Lanka (see Walters 71.341) and the Spanish colony of the Philippines (see for example Walters 71.322).
A square paper label with blue borders on the under surface of the statuette is inscribed in ink: "123."
H: 5 3/16 in. (13.2 cm)
medium: ivory, traces of gilding
Walters Art Museum, 1931, by bequest.
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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
Mather Brown
American, Boston, Massachusetts 1761–1831 London
6 1/4 x 7 11/16 in. (15.9 x 19.5 cm)
medium: Pen and iron-gall ink and graphite on off-white wove paper
Metropolitan Museum of Art, New York, NY 53.226.2 verso 1953
Rogers Fund, 1953
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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 entire pictorial surface of this dish on a low foot consists of a bust of Mary Magdalene, identified by her long flowing hair and the ointment jar she carried to the tomb to anoint Christ’s dead body. She has brown eyes, and wears a blue dress. Her head is turned three-quarters to the right, with curling locks over both shoulders. Representations of Mary Magdalene were extremely popular in Italy during the Renaissance period, not only on maiolica wares, but also in paintings and sculptures (for example see 37.509). According to the Western Church tradition, Mary Magdalene was a prostitute who repented from her sinful ways upon meeting Christ. Artists thus often chose to represent her as a beautiful, sexually attractive woman, while still maintaining the work’s religious subject matter. The image is actually quite similar to dishes such as 48.1358 that celebrate idealized, presumably virtuous beauty of a beloved. The maker of this dish has not been identified. This dish is painted in blue, yellow,ochre, brown, black and opaque white.The back is bluish-white with one yellow circle near the rim. For more information on ‘maiolica,’ see 48.1336.
2 5/8 x 9 1/8 in. (6.7 x 23.1 cm)
medium: earthenware with tin glaze (maiolica)
Walters Art Museum, 1931, by bequest.