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In the upper-left corner, the goldsmith and the carpenter have dinner with their wives and children. The greedy goldsmith has robbed the carpenter who, in revenge, abducts the goldsmith’s sons and replaces them with two bear cubs. Below, the bears rub their faces against the goldsmith’s sleeves, proving to the judge that they must be the man’s transformed children.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Painting only: 10.2 x 10.5 cm (4 x 4 1/8 in.); Overall: 20 x 13.7 cm (7 7/8 x 5 3/8 in.)
Did you know...
After the goldsmith returned the stolen goods, his sons were given back.
Gift of Mrs. A. Dean Perry
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374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
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The figure in orange is a magician addressing a seated Brahman—a member of India’s Hindu priestly class—who has come to him for help. He and the princess of Babylon have fallen in love and want to be together, but she is sequestered in the palace harem. The magician transformed the Brahman into a woman, shown at left, walking toward the palace. This is an example of continuous narration, in which two scenes are depicted in the same picture plane. The garden with flowering trees in the background evokes the setting where the Brahman and the princess met and fell in love.
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: 9.7 x 10.2 cm (3 13/16 x 4 in.)
Did you know...
Brahmans wear a sacred thread across their upper bodies, over the left shoulder and under the right arm.
Gift of Mrs. A. Dean Perry
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
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This basalt stone sculpture shows the Aztec deity Macuilxochitl, patron god of gamblers and leader of the group of deities known as “Ahuiateteo.” They reigned over pleasures which in excess could cause problems for humans, such as drinking and gambling. Macuilxochitl is shown in the sixteenth century manuscript known as the Codex Magliabecchiano with elaborate clothing, a headdress of feathers similar to that which the Walters’ sculpture wears, and red body paint. <a href=https://en.wikipedia.org/wiki/Patolli#/media/File:Macuilxochitl_Patolli.png target=”_blank”> In this image, </a> he presides over a group of players and gamblers clustered around a board for the game of “Patolli," very popular among the Aztecs. Players would invoke Macuilxochitl’s name before taking their turn, and representations of the components of the god’s name, “macuilli” (five) and “xochitl” (flower) can be seen above and below the board. This statue was made ca. 1400-1520 near Matlala, in the modern-day state of Puebla, Mexico, and could have been used by a temple dedicated to the deity, or on a ballcourt, where images of Macuilxochitl could frequently be found. It is possible that it was originally covered with a thin layer of stucco, traces of which are still visible, and perhaps with red pigment.
Aztec
H: 35 1/2 in. (90.2 cm)
medium: basalt, shell
culture: Aztec
by bequest to Walters Art Museum, 1931.
[1] Édouard Pingret Notebook, Quai Branly Museum, Pais (MQB 80.2005.8.1, p.17).
[2] "Édouard Pingret, Un Coleccionista Europeo de Mediados del Siglo XIX," Marie-France Fauvet-Berthelot, Leonardo Lopez Lujan, 2012, p.72.
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The scene on this seal features a central motif of a tree. On one side, a bearded hero is holding an inverted bovid; on the other, a bull man is holding an inverted lion. There are cuneiform inscriptions running through the scene in two places.
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.
Akkadian
Diam: 13/16 in. (2.1 cm)
medium: green stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
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
This tapestry (originally even larger) was woven on a single loom for the great hall of a nobleman's estate. It provided insulation against winter cold and decoration for an otherwise austere environment.
Here the young Greek prince Meleager prepares to hunt the Calydonian Boar, a story told by the Roman poet, Ovid. Meleager gathers heroes of ancient Greece - including Jason, Theseus, Nestor, and Peleus - to chase the savage wild boar sent by the goddess Diana to ravage the lands of his father the king of Calydon. In front of the left column is the brave and beautiful Atalanta, later beloved of Meleager. She will kill the boar with a lance (held by an attendant).
Hunting wild boar was a privilege reserved to the nobility and was validated and glorified in the eyes of contemporaries by representations of heroic hunts from the mythic past such as this one.
Medieval / Early Renaissance European
H: 192 15/16 x W:164 3/16 in. (490 x 417 cm)
medium: wool
style: Gothic
culture: Medieval / Early Renaissance European
Walters Art Museum, 1931, by bequest.
This symmetrical oval plaque has icons and inscriptions on both sides. The front depicts an icon and image of King Thutmosis IV (1397-1388 BCE); on the back is a representation of a vulture combined with the royal name. Both sides are executed in sunk relief with deeply incised outlines and finer lines on the inner structures. The sides are smoothed and the layout is balanced. The piece is carefully made.
The plaque functioned as an individualized amulet, and was originally mounted and threaded. The amulet should secure the divinity and royal authority for the king, as well as divine protection; it should provide a private owner with his royal patronage and divine protection.
The figure of the vulture above a cartouche is less common on scarabs; more often are examples displaying the vulture with outstretched wings at the side of the royal name. Oval plaques of this type are typical for the 18th Dynasty, especially for the period of the reign of Thutmosis III (1479-1425 BCE)-Amenophis III (1388-1351/1350 BCE).
Egyptian
H: 3/16 x W: 1/2 x L: 3/4 in. (0.5 x 1.3 x 1.9 cm)
medium: light beige faience with blue-green glaze
culture: Egyptian
dynasty: 18th Dynasty
reign: Thutmosis IV (1397-1388 BC)
Walters Art Museum, 1931, by bequest.
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
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.
Pendant crosses show the inventiveness of Ethiopian metalworkers in embellishing the simple form of the cross with a rich variety of designs. Worn around the neck by the faithful to ward off evil, these small crosses could be made of braided leather, carved wood, or cast metal.
Christian Highland Ethiopian
H: 1 15/16 x W: 1 13/16 x D: 5/16 in. (5 x 4.6 x 0.9 cm)
medium: cast, stamped, and engraved silver alloy
culture: Christian Highland Ethiopian
Walters Art Museum, 1997, by gift.
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
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.
Within a roundel are a pair of mounted Amazons, addorsed and shooting backward at lions, which attack their running horses. The roundel frame is filled with stylized floral motifs and is bordered on the inside by a band of tiny hearts and on the outside by a guilloche. At the four axial points, smaller circles with the same design as the border of the roundel are superimposed. Only a fragment of foliate motif of the interstices remains. The design is ecru on deep bluish-purple.
Egypt or Syria(?)
samite: silk
Overall: 22.2 x 23.5 cm (8 3/4 x 9 1/4 in.); Mounted: 31.1 x 31.8 cm (12 1/4 x 12 1/2 in.)
Purchase from the J. H. Wade Fund
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
William Dunlap
American, Perth Amboy, New Jersey 1766–1839 New York
30 1/8 x 25 in. (76.8 x 63.5 cm)
medium: Oil on wood
Metropolitan Museum of Art, New York, NY 13.217.2 1913
Gift of John A. Church, 1913
Video URL: youtu.be/XxImXhxCiPE
Ek humongous snake🐍, jiske hai paanch sarr, aagaya hai Krishna ke saamne! 😨Kya Krishna apne daring se iss dangerous 😱 creature ko hara paayega?
Watch the battle unfold in Little Krishna only on Pogo. 😍
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