View allAll Photos Tagged URL
Naturalistic scarabs, which exhibit a beetle-formed underside instead of a flat bottom with additional motifs, became popular in the late Third Intermediate and Late periods. They were attached to the mummy bandages and were part of the amulet set. There are two varieties of such scarabs: red carnelian and blue-green faience scarabs. It is likely that the blue-green scarabs focus only on the renewal aspect, while the red carnelian scarabs were related to the sun rise/set aspect and gave special protection at the critical transition phase.
Egyptian
H: 7/16 x W: 3/4 x L: 1 1/8 in. (1.1 x 1.9 x 2.8 cm)
medium: Egyptian faience with blue-green glaze
style: Saitic
culture: Egyptian
dynasty: 26th Dynasty
Walters Art Museum, 1931, by bequest.
Do you know call to action is the key to engagement and conversion. Follow these best tips from URL shortening service to convert your link into attractive call to action.
This leaf from a 1315 Syrian copy of Ibn al-Razzāz al-Jazarī’s <em>The Book of Knowledge of Ingenious Mechanical Devices</em>, written in 1206, depicts a peacock basin automaton for ritual hand washing. There are 15 surviving manuscript copies of al-Jazarī’s work, ranging from the early 13th to the late 19th century. An engineer from upper Mesopotamia, al-Jazarī was in the service of King Nasrī al-Dīn when he completed his masterwork, an anthology of automated devices including clocks, trick vessels for drinking sessions, devices for washing, fountains, water-raising machines, and measuring instruments. His designs clearly illustrate that automata were not innovations from Western Europe, but they stemmed from a tradition known in the ancient, Islamic, and Byzantine worlds. We do not know with certainty that al-Jazarī’s device was ever actually constructed.
Syria, Damascus, Mamluk Period, 14th Century
opaque watercolor and gold on paper
Overall: 31.3 x 21.5 cm (12 5/16 x 8 7/16 in.)
Did you know...
The mouth of the peacock acts as a spigot pouring water; the figure emerged from a small door and offers soap to the hand washer.
Purchase from the J. H. Wade Fund
This seal, depicting a human-headed griffin attacking a horse, has the detailed modeling of musculature characteristic of Middle Assyrian period art. The use of an empty background highlights the drama of the contest and marks a turning point in Assyrian art later expressed on a large scale in carved palace reliefs. The cuneiform inscription records the owner's name: "seal of Silliya."
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Assyrian
H: 1 9/16 x Diam: 9/16 in. (3.9 x 1.5 cm)
medium: violet and white stone
culture: Assyrian
Walters Art Museum, 1931, by bequest.
Pierre Jean David d'Angers
French, Angers 1788–1856 Paris
Diameter: 3 3/4 in. (9.5 cm)
medium: Bronze, brown patina, hollow cast
Metropolitan Museum of Art, New York, NY 98.7.48 1898
Gift of Samuel P. Avery, 1898
As the sun sets on the thirty-seventh of fifty-two nights, Khujasta speaks with Tuti the talking parrot. The parrot begins to tell her a tale about the son of the Emir of Sistan, who became the servant of a snake. The story conveys a moral about the importance of companionship and devotion.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 9 x 10.1 cm (3 9/16 x 4 in.)
Did you know...
Along with the parrot’s cage, Khujasta’s terrace pavilion contains a ewer and basin used for ablutions.
Gift of Mrs. A. Dean Perry
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
URL ameblo.jp/gundambar-siegzeon/
住所 名古屋市中区大須3丁目22-12第二大東ビル3F
TEL/FAX 052-784-6866
営業時間：18:00～26:00 定休日：月曜日
【場所】上前津駅徒歩7分
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
H. 5/8 in. (1.6 cm); W. 3 3/4 in. (9.6 cm); D. 2 11/16 in. (6.8 cm)
medium: Nephrite, white with greenish-gray tint
Metropolitan Museum of Art, New York, NY 02.18.559 1902
Gift of Heber R. Bishop, 1902
The elegant works of Jean-Marc Nattier exemplify mid 18th-century French portraiture. Although he was admitted to the Académie Royale (Royal Academy) as a painter of historical subjects (then ranked as the highest category of painting), Nattier specialized in the less prestigious genre of portraiture. Though he worked at the court of Louis XV, he broke with the baroque tradition of grandiose portraits. Instead, he produced naturalistic paintings of Queen Marie Leszczynska and her daughters, as well as Madame de Pompadour and other members of the nobility.
The subject of this light-hearted, informal portrait is currently unknown. Previous scholarship, however, identified the young woman as the wife of Antoine-René de Voyer d'Argenson, marquis of Paulmy, who was minister of war under Louis XV and French ambassador to Poland. The museum continues to research this painting and its sitter.
H: 39 15/16 x W: 31 11/16 in. (101.5 x 80.5 cm)
medium: oil on canvas
reign: Louis XV (1715-1774)
Walters Art Museum, 1931, by bequest.
Street Scene (recto); Sketches (verso), c. 1848–49. Gustave Doré (French, 1832–1883). Pen and brown ink and gray wash with white (recto); graphite (verso); sheet: 25.2 x 40.4 cm (9 15/16 x 15 7/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.448
More at clevelandart.org/art/2015.448
Storage Vessel, 1400s. Japan, Muromachi period (1392–1573). Stoneware with natural ash glaze (Echizen ware); diameter: 51 cm (20 1/16 in.); overall: 55.7 cm (21 15/16 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III 2015.485
More at clevelandart.org/art/2015.485
A sheet of vellum (animal skin) folded down the center to create two leaves, or folios, is called a bifolium (plural: bifolia). This pair of bifolia originally were to have been inserted one inside the other, forming part of a large psalter, or book of the psalms. The small paintings, called miniatures, decorating each leaf are subdivided into four small panels and illustrate the life of Christ. This particular format, along with the style of decoration, tells us that the psalter was made in North Germany, in the Diocese of Hildesheim. In northern Europe, after 1050, a tradition emerged of illustrating psalters with scenes of the life of David (the author of the Psalms) and the life of Christ. This juxtaposition implied a shared ancestry, since Christ was a descendant of the House of David. In the parent volume these miniatures may have been accompanied by a David cycle.
Germany, Lower Saxony (Diocese of Hildesheim), Braunschweig(?), 13th century
tempera, and gold on vellum
Sheet: 31 x 22.5 cm (12 3/16 x 8 7/8 in.); Framed: 48.3 x 63.5 cm (19 x 25 in.); Overall: 30.7 x 45.2 cm (12 1/16 x 17 13/16 in.); Matted: 40.6 x 55.9 cm (16 x 22 in.)
Purchase from the J. H. Wade Fund
A range of techniques were used to create textural variation in this lace cloth: <em>buratto</em>, bobbin, and crochet. Figural motifs appear within the inserted buratto bands. Different birds, with crosses visible on their chests, crowned double-headed eagles, and feline figures facing a vessel may allude to the heraldic symbols of a particular family.
Italy, 19th century
Needle lace, burato (twined ground and darned in two directions), bobbin lace insert and edging, and crochet insert; bleached linen (est.)
Overall: 62.4 x 132.3 cm (24 9/16 x 52 1/16 in.)
Did you know...
This cloth was given to the museum by Louise Tifft Brown, a native Clevelander who became an expert in lace while living in Venice for 35 years.
Bequest of Louise Tifft Brown