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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
Kids that read Succeed! Reading a book is a great excuse for peace and quiet. What will you be reading today on#InternationalLiteracyDay ?
This sculpture is one of a series that depict the Buddha at different scenes in his life. Here, he is at Bodhgaya, the place where he achieved enlightenment. At the top of the composition are the branches of the ficus tree with its heart-shaped leaves, under which he achieved enlightenment. His hand gesture indicates that he is calling upon the goddess of the earth to witness the moment. During the Pala period of the eighth through 12th centuries in medieval India, Buddhism dominated and flourished in major monastic universities. After the fall of the Pala dynasty, the numerous battles between small kingdoms vying for power caused the destruction of the Buddhist monasteries, and Buddhist monks fled with texts and movable art to Nepal, Tibet, and Southeast Asia, so that by the 14th century, Buddhism was eradicated in India.
Northeastern India, Bihar, Tetravan, Pala Period (750-1197)
chloritic schist
Overall: 94 cm (37 in.)
Did you know...
The donors kneel at the lower corners.
Dudley P. Allen Fund
The Passion of Christ was a popular theme for 15th-century altarpieces in northern Europe. It is the story of Christ's suffering-from his arrest to his Crucifixion-although it was often expanded to include earlier and later events, such as the Entombment (see Walters 37.663, 37.664, 37.668, 37.669, 37.670, 37.671, and 37.674). The figures and settings are treated in a life-like fashion to make the events seem real and the message persuasive. The gold-leaf backdrop embossed to look like damask would have suggested to the 15th-century viewer a heavenly light illuminating eternal truths.
When the altarpiece was open, four panels would have been visible on each side of a central carved image, very likely a Resurrection, loosely suggested by the wooden Crucifix hung here. Christ is the central figure in each painting. His serenity and restraint contrast with the undignified agitation of his tormentors, expressed in their grimaces and jerky movements. This use of angularity and exaggeration to generate an emotional response in the viewer is characteristic of German art of this period.
German
Framed H: 50 9/16 x W: 46 1/4 x D: 3 3/8 in. (128.5 x 117.4 x 8.6 cm)
medium: oil on panel
style: Gothic
culture: German
Walters Art Museum, 1931, by bequest.
Ya falta tan poco para salir!! =) aun asi extrañare la U.
YA FALTA POCO!!!
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This covered cylindrical jar with three animal feet is lavishly covered with a cobalt blue glaze in the exterior and an amber glaze in the interior. Of the colored lead glazes of sancai (three-color) ware, blue was preeminent and precious. Imported cobalt from Persia (Iran, Afghanistan) was used as a glaze colorant that yields a rich, brilliant blue of considerable splendor.
China, Tang dynasty (618-907)
glazed earthenware
Overall: 14.4 cm (5 11/16 in.); Diameter of lid: 11.5 cm (4 1/2 in.)
Purchase from the J. H. Wade Fund
23 1/4 x 23 1/2 in. (59.1 x 59.7 cm)
medium: Brass, iron
Metropolitan Museum of Art, New York, NY 46.67.126 1946
Gift of the Members of the Committee of the Bertha King Benkard Memorial Fund, 1946
The elaborate craftsmanship of this sculpture exemplifies the high standard to which Indian, Nepalese, and Tibetan artists aspired when creating a devotional image. Maitreya, a bodhisattva, is the Buddha of the future who dwells in a Buddhist heaven. Here, wearing a strikingly intricate headdress, Maitreya rests on a multi-layered lotus pedestal, gazing outward through eyes inlaid with silver. Copper and silver inlay enhance the jewelry that adorns his body and the textile pattern that covers his garment.
The sculpture was made for the monk Sadhurakshita, whose name is inscribed on the base.
H: 7 5/16 × W: 5 9/16 × D: 3 1/4 in. (18.5 × 14.1 × 8.2 cm)
Statue H: 4 13/16 × W: 3 1/4 × D: 2 1/8 in. (12.2 × 8.3 × 5.4 cm)
Base H: 3 1/8 × W: 5 9/16 × D: 3 1/4 in. (8 × 14.1 × 8.2 cm)
medium: copper alloy with silver and copper inlay
given to Walters Art Museum, 2009.
Kode produk : S 492
Brand : Garsel shoes
Kategori : Olahraga
Keterangan : Kanvas
IDR : 225.000
Kode SMS : S 492 / 36 / Tan / 1 pcs
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Both continuity and change are reflected in this portrait bust initially carved for a ruler of the Middle Kingdom and then re-carved for a New Kingdom monarch. There was a marked change between the way late 12th Dynasty and mid 19th Dynasty kings were represented. The pharaohs of the 12th Dynasty wished to present an experienced and careworn expression. This is conveyed by heavy eyelids, wrinkles, and a firm set to the mouth. The pharaohs of the 19th Dynasty, however, wanted their images to suggest youth, vigor, and confidence. To transform a Middle Kingdom royal image into a New Kingdom one, sculptors re-carved the face. The eyes, nose, and forehead of this sculpture show evidence of reworking to erase signs of age, while the corners of the mouth were deeply drilled to make the cheeks appear rounder and to bring the lips closer to the slight smile typical of 19th Dynasty royal sculpture.
Egyptian
8 11/16 x 7 5/16 x 4 5/16 in. (22 x 18.5 x 11 cm)
medium: anorthosite gneiss
culture: Egyptian
dynasty: 12th Dynasty, 19th Dynasty
reign: Sesostris III-Amenemhat III, Ramesses II
Walters Art Museum, 1931, by bequest.