View allAll Photos Tagged URL
One of the main duties of the Egyptian king was to perform rituals for the gods. There are many representations which show him either standing or kneeling with offerings in his hands, or in a gesture of adoration. This kneeling king is dressed in the royal Nemes headdress, a royal kilt, and an elaborate collar. The figure has lost the inserted cobra serpent above the forehead, the arms, and the offerings in his hands.
Egyptian
8 1/8 x 1 15/16 x 3 9/16 in. (20.6 x 5 x 9 cm)
medium: bronze
culture: Egyptian
dynasty: Twenty-second Dynasty
Walters Art Museum, 1931, by bequest.
High demand for shawabtys in the Late Period, a time when as many as 400 or more shawabtys were placed in the tomb with the deceased, gave rise to a specialized container for storing them: the shawabty box. This example is inscribed for the lady of the house, Ditamenpaankh, and was probably one of a pair originally made for her. The single-masted boat on the box's lid is perhaps an allusion to the pilgrimage of the deceased to the holy city of Abydos, the cult city of Osiris, king of the dead. The shawabtys inside are crude, mass-produced examples cast in an open mold. Made of terracotta, their blue paint imitates more costly shawabtys made of faience. As for the shawabty spell, it has been removed from its traditional location on the shawabty's front and relocated onto the sides of box, where it needed only to be written once, thus expediting production.
Egypt, Late period (715–332 BCE), Dynasty 25
faience
Overall: 5.7 x 1.8 x 1.5 cm (2 1/4 x 11/16 x 9/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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
地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
Www.facebook.com/florist.christy
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
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
地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
Www.facebook.com/florist.christy
http//www.flickr.com/photos/94503374/
//blog.xuite.net/wedding_decorations/hkblog
http//www.weshare.hk/94503374decoration
http//christyflorist.tumblr.com/
http//eventdecoration.pixnet.net/blog
http//plus.google.com/106737217008195886143
//youtu.be/W1AXoqcKAZA //
youtu.be/VNilzfUuWwQ?t=1m49s
www.youtube.com/watch?v=e0lR1RKfTcw
www.flickr.com/photos/wedding-decoration
eventdecoration.pixnet.net/blog/
//printing-style.blogspot.hk/
[url=http://www.flickr.com/photos/75453791@N05/6813603531/][img]http://farm8.staticflickr.com/7143/6813603531_63ebd9f6b1_b.jpg[/img][/url]
[url=http://www.flickr.com/photos/75453791@N05/6813603531/]Vagonite/feito por mamis[/url] por [url=http://www.flickr.com/people/75453791@N05/]Titapandolfi1[/url], no Flickr
William Trost Richards
American, Philadelphia, Pennsylvania 1833–1905 Newport, Rhode Island
12 7/8 x 9 7/16 in. (32.7 x 24 cm)
medium: Watercolor, gouache, and graphite on light tan wove paper.
Metropolitan Museum of Art, New York, NY 67.55.140 1967
Bequest of Susan Dwight Bliss, 1966
Natural forms and brilliant colors of silk thread radiate in this embroidery. The refined floral sprays are offset in successive rows and repeated every sixth row. Flies, moths, and other insects are scattered among them, and a seated squirrel eats a hazelnut. The profusion of flowers and plants, such as thistles, hazelnuts, and foxgloves, were probably copied from pattern books that were increasingly available to embroiderers. Only a master embroiderer could have created such splendor evidenced here.
England, James I Period, early 17th century
Silk, linen; plain weave, embroidery: couch and stem stitches
Overall: 67.3 x 79.1 cm (26 1/2 x 31 1/8 in.); Mounted: 78.7 x 90.8 cm (31 x 35 3/4 in.)
Purchase from the J. H. Wade Fund
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
This panel, most likely one of five narrative scenes representing the Passion of Christ, comes from a now dismembered altarpiece. The central panel was undoubtedly a scene of the Crucifixion. Such carvings in alabaster were frequently painted in vibrant colors with added gilding. The flesh areas of the figures were often left unpainted, with the exception of villains and executioners whose faces were "blackened," as in this example, a convention that may derive from the medieval stage. English alabaster sculptures were in high demand throughout Europe during the 1300s and 1400s, and exported to Portugal, Spain, Scandinavia, Iceland, and other countries. A soft stone suitable only for interior sculpture, English alabaster was highly prized for its creamy translucency. Of the English quarries, those near Nottingham in the Midlands were the most active.
England, Nottingham, 15th century
painted and gilded alabaster
Overall: 47 x 28.3 cm (18 1/2 x 11 1/8 in.)
Andrew R. and Martha Holden Jennings Fund
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 9 11/16 x W: 7 5/16 in. (24.6 x 18.6 cm)
medium: watercolor with gum heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163). This watercolor was likely hanging in Walters' Baltimore townhouse from 1885 (“The Walters Art Collection, Recent Additions – Barye, Millet, Bonnat – Bonvin’s Water Colors,” Baltimore Sun, 1 February 1886, p. 4.), described in R.B. Gruelle's catalogue of the gallery "Notes Critical and Biographical" (1895), p. 190.
URL Born Legacy 4 Pushed Back! Jc vs QP! Choking In Battles Rant!!!
battledomination.com/url-born-legacy-4-pushed-back-jc-vs-...
Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.