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Carved from a single piece of sandstone, this Buddha is cloaked in a sheer robe that falls from his broad shoulders, revealing his arms, torso, and knees. The Buddha’s spiritual strength is expressed by his erect posture and frontal pose. The size of his hands is exaggerated, as they communicate important information to the devotee: the Buddha’s open right hand with palms facing outward is a hand gesture (or "mudra") that signals the bestowal of grace.
The figure’s head and feet would have been carved from the same block of sandstone and were likely lost when this image was removed from its original temple context.
Thai
Object H: 45 × W: 17 × D: 6 1/2 in. (114.3 × 43.18 × 16.51 cm)
Base H: 26 1/2 × W: 17 × D: 11 1/2 in. (67.31 × 43.18 × 29.21 cm)
Overall H with base: 71 1/2 in. (181.61 cm)
medium: sandstone
style: Dvaravati
culture: Thai
by bequest to Walters Art Museum, 1992.
[1] "from Phra Pathom. Dug up at Nak[h] Pathom"
[2] Presented to the Breezewood Foundation, December 1959, inv. no. 115
This ceremonial axe (<em>gano</em>) showcases its maker’s skill in using different materials. The crescent-shaped blade was likely locally forged; braided wires and a Swiss pocket watch fragment on the handle were imported. Like the headrest nearby, gano were gendered female; a small headrest is carved at top. Too fine for battle, a man may have held it as a status or ancestral symbol during rituals or dancing. Though made for centuries, religious use of knives and axes waned due to early 20th-century Christianity and government laws. Rising independence-era Zimbabwean nationalism (1960s–70s) revived tradition-based religion and associated objects like the gano.
Southern Africa, Zimbabwe, Shona-style blacksmith-carver
Iron, wood, and metal
Overall: 15.8 cm (6 1/4 in.)
Did you know...
This ceremonial axe has a half-moon piece of metal nailed to it, marked "EKB Depose." It is part of the mechanism for a pocket watch made by Edward Kummer of Bettlach, whose Swiss factories marked watches with his initials between 1888 and 1932.
Gift of the African Art Sponsors of Karamu House
IM STRAPPED IN WITH A QUARTER POUND – SMACK/URL
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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.
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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
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This drawing records a grand procession through Venice's Piazza San Marco on the penultimate day of the 1782 celebrations for the visit of the Russian Grand Duke Paul (Pavel) Petrovitch and his wife Maria Feodorovna. Francesco Guardi was likely commissioned by the Venetian state to document the ducal visit. Drawing from the vantage point of the Procuratie Nuove (a palace on one side of the piazza), Guardi sketched five carriages festooned with allegories, which were meant to celebrate the governments of Catherine the Great and Venice. In order to include as much of the procession as possible, he manipulated the perspective of the buildings on the right side of the square.The loose handling and lively immediacy of the pen work suggests he executed it on the spot. One drawing (Museen Preußischer Kulturbesitz, Berlin) and two oil paintings (private collections, Venice and Milan) of the same scene survive. Cleveland’s sheet likely preceded these more detailed and polished compositions.
Italy, Venice, 18th century
pen and brown ink with brush and brown wash
Sheet: 25.9 x 36.8 cm (10 3/16 x 14 1/2 in.)
Did you know...
Before entering the museum's collection, this sheet may have been cut on the left, possibly to eliminate a sixth carriage that does not appear in Guardi’s other representations of the procession.
John L. Severance Fund
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The figure on this kozuka bears a strong resemblance to 13th-century paintings of the historical Buddha made in both China and Japan. In these paintings, Buddha is shown coming down from a mountain after six years of fasting. The figure on the kozuka can be recognized as Buddha because of his robes, the slight protuberance at the top of his head and his halo. The kozuka is signed on the lower edge.
Japanese
3 3/4 in. (9.6 cm) (l.)
medium: sentoku, shakudo
style: Hamano School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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
Rattles that combine ravens, humans, and frogs are among the best known but least understood of the Northwest Coast object types. They clearly have mythic import and may have originated as shamans’ implements. But historically chiefs used them during secular parts of winter dances.
Colombia
pottery
Overall: 6.4 cm (2 1/2 in.)
Gift of W. A. Price
Nattier was regarded as one of the foremost portrait painters at the court of Louis XV (reigned 1715-1774). He occasionally turned to miniature painting, as demonstrated by this likeness of Cassini de Thury (1714-1784), a distinguished astronomer and director of the Paris Observatory, shown seated at his desk taking a pinch of snuff from a gold box.
The composition for this miniature was taken from a 1745 pastel portrait of Louis Duval de l'Épinoy by Maurice-Quentin de La Tour (Museu Calouste Gulbenkian, Lisbon). Only the face has been altered. Recently both the 19th-century identification of the sitter and the attribution to Nattier have been questioned.
French
3 1/8 x 2 11/16 in. (8 x 6.9 cm)
medium: watercolor on ivory
culture: French
Walters Art Museum, 1931, by bequest.
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