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Three Amazons on this black-figure lekythos face right, and appear to march one after the other. Their skin is white, but their facial features, eroded or rubbed away, are indistinguishable. Each wears a helmet, holds a long spear and has a horizontal quiver. The middle figure holds both hands near her waist; the other two have one hand raised.
Amazons are first mentioned in the "Iliad" (6.186) as allies of the Trojans; later authors emphasize their fearlessness and their status as foreigners. They were introduced on Attic vases in the early 6th century BC, and quickly became a popular subject. Early black-figure depictions of Amazons resemble Greek warriors, with one notable difference-their white skin color, which identifies them as "women." In red-figure vases, the Amazons acquire more feminine features and bodies, and their foreigness is emphasized by their attire: Scythian or Thracian clothing and subsequently Persian garb.
In some places in Greece, Amazons were the object of cult. Jennifer Larson (1995, 111-16) has suggested that despite the fact that they were considered hostile to the Greeks, their complete otherness from the Greek way of life also gave them protective powers and entitled them to be worshiped as heroines.
Greek
H: 8 1/16 x Diam: 2 3/8 in. (20.5 x 6 cm)
medium: terracotta, wheel made; black figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
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Japanese
H: 2 13/16 x W: 1 15/16 x D: 1 1/4 in. (7.2 x 5 x 3.1 cm)
medium: sperm whale tooth (?)
culture: Japanese
Walters Art Museum, 1931, by bequest.
Here, Vishnu, preserver of cosmic order, wears a tall crown and royal dress while holding his radiant conch shell and discus; his lowered hand once rested on his club. The small triangle on his chest, called a "shrivatsa," signals the presence of Shri (also called Lakshmi), Vishnu’s consort and goddess of wealth. Many devotees of Vishnu—especially in southern India, where this sculpture was made—believe that Shri dwells within Vishnu and mediates between him (the supreme god) and human beings.
Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image of Vishnu was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.
H: 27 3/4 × W: 12 3/16 × D: 7 7/8 in. (70.5 × 31 × 20 cm)
medium: copper alloy
given to Walters Art Museum, 2004.
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Luxurious personal objects were an essential part of a privileged wardrobe during the 1700s and early 1800s, emphasizing their owner’s refinement and wealth. Especially popular were <em>étuis</em>, small ornamented cases containing miniature sewing, writing, or grooming implements that hung at a woman’s waist from an ornate clasp, known as a <em>chatelaine</em>. Despite its glittering surface, this small expensive set disguised a system based on the labor and suffering of enslaved or indentured people, whether in gold and stone mines or the shop where it was made.
England, 18th century
Did you know...
Stored inside this case are grooming and writing instruments such as a clasp knife, scissors, an ivory tablet, a pencil, a threading needle used for lacing corsets, and an ear scoop.
Gift of Mr. and Mrs. J. H. Wade