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7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
The dragon and tiger are tied to the philosophical concept of yin and yang, which describes opposite but complementary forces. The dragon occupies a tiered background of waves and mist. Its luminous head emerges from the darker passages, and its narrow twisting body is serpent-like. By contrast, the close-up view of the tiger emphasizes its bulk. The tiger bends its head to lick its paw while its tail curls in the foreground. <br><br>In their original Chan Buddhist context, this pair of scrolls likely flanked a central image, like the Bodhisattva Guanyin. The silk has darkened over the centuries, and the slight reddish shading in the tiger’s tongue and nose has faded.
China, Southern Song dynasty (1127-1279)
Hanging scroll; ink and slight color on silk
Painting: 125.2 x 57.2 cm (49 5/16 x 22 1/2 in.); Overall with knobs: 227.1 x 78 cm (89 7/16 x 30 11/16 in.)
Did you know...
Fachang Muqi's ink paintings, like this pair, were highly appreciated and collected in Japan.
Purchase from the J. H. Wade Fund
During the 1860s, Boudin executed many paintings and watercolors representing well-to-do tourists and vacationers enjoying seaside resorts in Normandy, principally Trouville and Deauville. In this scene, the informally posed figures suggest a sense of relaxation and intimacy. The overturned chair in the foreground underscores the impression of a casually observed moment, as though a sea breeze or a quick departure by its former occupant has upended it. The majority of Boudin's small oil paintings of beach scenes of the 1860s were executed on wood panel. After laying down a thin white ground, Boudin seems to have begun painting directly, not drawing or laying in guidelines for the forms. The result is a freshness and airiness appropriate to a windy day at the beach.
France, 19th century
oil on wood panel
Framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); Unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.)
Did you know...
Boudin evokes the feeling of wind by painting the fluttering blue dress, the beach walker leaning to the left, the whitecaps on the water, and the angle of the sails on the boat in the distance.
Gift of Mrs. Homer H. Johnson
This steatite scarab is the bezel of a finger ring. Its flat underside is incised with a vertically arranged design of a pair of facing, connected "Udjat" eyes with script signs below. The design of the back of the scarab is simple with short and aligned carved side-notches and a well proportioned layout. The workmanship of the piece is slightly rough and it is not very carefully made.
This scarab originally functioned as an amulet. It should protect the life and regeneration of its owner and provide divine support. The piece was originally mounted or threaded.
The very stylized shape of "Udjat"-eye-pair was common in the late Middle Kingdom and the Second Intermediate Period.
Egyptian
H: 3/8 x W: 11/16 x L: 15/16 in. (0.9 x 1.8 x 2.4 cm)
medium: light brown steatite with green-blue glaze and bronze setting
culture: Egyptian
dynasty: 15th Dynasty
Walters Art Museum, 1931, by bequest.
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This suite of color lithographs collected Pierre Bonnard’s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist’s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard’s favorite subjects, such as the Parisienne—a young, fashionable, modern woman—as well as children and dogs, appear repeatedly throughout the prints in the suite.
France, 19th century
lithograph
Sheet: 40.7 x 53 cm (16 x 20 7/8 in.); Image: 31 x 46.5 cm (12 3/16 x 18 5/16 in.)
Gift of the Hanna Fund
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The mosque and <em>madrasa</em>, school, of Sultan Hassan was built between 1356 and 1363 during the Mamluk period (1250–1517) in Egypt. The prestige of the project attracted craftspeople from across the Islamic world, which likely contributed to its innovative design. It is possible that stone from the Great Pyramid of Giza was used in its construction. This print features the central courtyard (<em>sahn</em>) with ablutions fountain (for washing one’s hands, feet, and face before prayer) and two of four monumental <em>iwans</em>, three-walled, vaulted rectangular halls. The interior walls and floor are covered in lavish stone and marble mosaics.
England
color lithograph
Did you know...
The <em>minbar</em>, a staircase-like pulpit from which a sermon is delivered by the prayer leader, <em>imam</em>, after Friday services, is visible in the hall on the left side of the print.
Gift of J. Byers Hays
The ancient Egyptians believed that the dung beetle, the Scarabaeus sacer, was one of the manifestations of the sun god. Representations of these beetles were used as amulets, and for ritual or administrative purposes.
The bottom of this scarab displays the figure of kneeling prisoner with his arms fettered behind the back. He wears a headband with curled ends, a collar around his neck, and a short kilt with belt; a large nfr-sign is placed in front of him. The figure of the captive dominates the scene, but the size and placement of the nfr-sign, which counterbalances the fettered arms of the captive, clarifies that he is part of a perfectly controlled situation. The highest point of the back is pronotum (dorsal plate of the prothorax) and elytron (wing cases). Both parts have incised borderlines, a thick, curved partition line, and a thick line between the wing cases. The semicircular head is flanked by triangular eyes; the plates are irregularly trapezoidal, and clypeus has two very small central base marks.
The proportions of the top are slightly unbalanced, the head and clypeus slightly short, and the pronotum large in comparison to the elytron. The slender extremities have natural form, and diagonal hatch lines on the frontlegs for the tibial teeth. The oval base is somewhat asymmetrical and smaller at the head part.
The scarab is longitudinally pierced, was originally mounted or threaded, and probably served as an amulet. It refers to perfect control of chaotic elements (enemy), and is possibly a statement of the victory over the Kerma Empire. Such an amulet should protect its owner from danger. It is imaginable that the soldiers who protected the southern borders or participated in military campaigns to the south used it. The iconography of the prisoner makes it possible that he represents a man from Kerma, the southern enemy of the Egyptians. The understanding of the figure as hieroglyph for "enemy, rebel" is also possible, but it is more likely that it is a specific icon for the enemies of Kerma, who are now "perfect," because Thutmose I had defeated them.
Egyptian
H: 9/16 x W: 7/16 x D: 1/4 in. (1.4 x 1.1 x 0.6 cm)
medium: light beige steatite with green glazing
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmose I (1504-1492 BC)
Walters Art Museum, 1931, by bequest.
Madrazo reached the pinnacle of his success at the 1878 Exposition Universelle, where he was proclaimed the successor to his brother-in-law Mariano Fortuny as the foremost contemporary Spanish painter. In this work, he displays his dramatic sense of color, mastery of atmospheric effects, and technical skill.
This painting explores the inequalities of modern life; the population of 19th-century European cities ballooned as rural workers migrated to urban environments looking for employment. The artist highlights the social and economic disparities that resulted. As wealthy, fashionably dressed women leave a church, they pass numerous men and women seated on its steps who have no source of income and are asking them for money.
H: 25 3/16 x W: 39 3/8 in. (64 x 100.01 cm)
Framed H: : 37 13/16 × W: 51 15/16 × D: 4 15/16 in. (96 × 132 × 12.5 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.
This squat lekythos depicts Eutychia, Eunomia, and Paidia. On the left Eutychia stands frontally, looking right. She holds a chest on her left forearm at waist level; her right hand hangs down by her side holding a necklace. She wears a girded peplos, diadem, necklace, earring, and bracelets. Next is Eunomia who walks solemnly to the right, holding a necklace between her outstretched hands. She wears a girded peplos, necklace, bracelets, earring, diadem and a decorated band which holds her hair in place. On the right Paidia stands turned partially to the left, holding a chest. She wears a girded peplos, necklace, earring, and bracelets; her hair is tied in back. A diphros with a thick, patterned cushion stands beside her.
The personifications on this vase, from left to right are to be understood as Good Luck, Good Order, and Games and Play. They are depicted as normal Athenian women and do nothing which might associate their actions with the literal meanings of their names.
Greek
H: 8 x Max. Diam: 4 1/2 in. (20.3 x 11.4 cm)
Diam at mouth: 1 11/16 in. (4.3 cm)
Diam at foot: 3 5/16 in. (8.4 cm)
medium: terracotta
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
In creating luxurious accessories for a desk or tabletop, Fabergé often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Fabergé and his craftsmen brought them to life, turning milky agate into a begging poodle or green and black jasper into this parrot. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.
Russia, St. Petersburg
jasper, agate, emeralds
Overall: 15.3 x 7.4 cm (6 x 2 15/16 in.)
Did you know...
This parrot is part of a figure that includes a perch for the bird to sit upon.
The India Early Minshall Collection
This small-scale panel painting depicts the Virgin and Child flanked by the Archangels Michael and Gabriel who guard the mother and child with swords and shelter them with their wings. Below are the Ethiopian Saint Iyalot, her son Saint Qirqos (Saint Cyriacus) who holds the Virgin Mary’s wrist and converses with her, Saint Gebre Krestos, and Saint Ab Nob the Martyr. In an unusual detail, both Mary and Iyalot hold hand crosses, similar to those used by Ethiopian Orthodox clerics (see
Christian Highland Ethiopia
H: 10 7/16 x W: 7 3/8 in. (26.5 x 18.8 cm)
medium: tempera on wood
culture: Christian Highland Ethiopia
Walters Art Museum, 2002, by purchase.