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Rousseau is regarded as a major pioneer in the renewal of French glass design during the 19th century. In this example, a Japanese lady wearing a kimono and carrying a fan is posed against an oval doorway.
9 1/16 in. (23 cm)
medium: layered lass, lacquer, red enamel
style: Japonism
Walters Art Museum, 1931, by bequest.
Iran, early Islamic period
bone, incised
Overall: 0.5 x 2.1 x 2.1 cm (3/16 x 13/16 x 13/16 in.)
Gift of Edward Gans
This scroll is part of the 600-volume <em>Great Perfection of Wisdom Sutra</em>. The sacred text addresses the perfection of wisdom and the nonsubstantiality of all phenomena, or the emptiness of all things. It takes the form of Shakyamuni Buddha’s preaching at four locations. This scroll is from the <em>Perfection of Wisdom in 100,000 Lines</em>, which occupies the first 400 volumes. At one time, religious clergy kept all the scrolls in a lacquered wood repository on view nearby. They are now too fragile to open and we will conserve them over time.
Japan, Heian period (794–1185)
Handscroll; ink and gold on dyed paper
Anonymous 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
Andrew Fisher Bunner
1841–1897
12 15/16 x 9 3/4 in. (32.9 x 24.8 cm)
medium: Black ink and graphite traces on off-white wove paper
Metropolitan Museum of Art, New York, NY 99.38.25 1899
Gift of Mrs. Andrew Fisher Bunner, 1899
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference.
"The scene of the sketch is on the Platte," wrote Miller, "at night the Buffalo come to the River banks in legions, to quench thirst and refresh themselves by swimming." Miller, like all other artists to visit the West, was amazed at the buffaloes and recorded many details of their activities: "Two things are essential to the well-being and comfort of this animal- he must have his water bath, which he usually takes at night, and his earth bath, with which he solaces himself during the day." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).
In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.
H: 8 11/16 x W: 13 9/16 in. (22 x 34.5 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
James McNeill Whistler
American, Lowell, Massachusetts 1834–1903 London
8 1/2 x 4 7/8 in. (21.6 x 12.4 cm)
medium: Watercolor and gouache on white wove paper
Metropolitan Museum of Art, New York, NY 17.97.4 1917
Harris Brisbane Dick Fund, 1917
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This rare leaf comes from a cantatorium or gradual, a book containing the chants to be sung during the Mass. Other leaves from the same book survive in Berlin and Trier. A bifolium, or double-leaf, does not contain decorated letters but rather "emphasized" letters. These were enlarged and pushed out into the margins to call attention to the eye. Such emphasized letters originated in late classical times and were the precursor to the decorated initial developed by medieval scribes. The purple-stained vellum (now faded to a deep pink) with its text written in gold and silver inks (now turned black) suggested great luxury with its sumptuous appearance. In Mediterranean regions, the purple dye was obtained from murex, a shellfish dye. In northern Europe, plant dyes were used as an alternative. Combined with the use of gold and silver ink a spectacular appearance was achieved that is traceable back to classical antiquity.
Germany or Northeastern France, 9th century
gold and silver ink on purple parchment
Sheet: 29 x 10 cm (11 7/16 x 3 15/16 in.); Framed: 39.4 x 52.1 x 3.2 cm (15 1/2 x 20 1/2 x 1 1/4 in.)
Purchase from the J. H. Wade Fund
<em>Views of Tiger Hill </em>depicts a historic site a few miles northwest of Suzhou. The scenes simulate a visit from arriving by boat at the foot of the mountain to climbing to Cloudy Cliff Monastery. Representations of the artist’s mature style, Shen Zhou included views in subtle colors in the suite of monochrome scenes. <br><br>A Suzhou native, Shen Zhou was supported by family wealth and rejected an official career in favor of life as a retired scholar. Turning to painting in midlife, he is regarded as the founder of the Wu School of painting, with its center in Suzhou.
China, Ming dynasty (1368–1644)
Album leaf; ink on paper or ink and slight color on paper
Image: 31.5 x 41.4 cm (12 3/8 x 16 5/16 in.); Overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.)
Did you know...
The Five Sage Terrace marks the top of Tiger Hill.
Leonard C. Hanna, Jr. Fund
Zhao Zhong's flowers, each paired with a poem, echo the fine-style colored flowers of the academic tradition, but instead he used only ink. Fine lines define the contours of each plant, as well as the veins within each petal and leaf. Careful ink washes give subtle modeling to the forms. <br><br>The combination of lily, narcissus, and peony is unusual as the three belong to no known seasonal or symbolic system popular in the fourteenth century. Zhao’s medical training may have influenced the selection. Powdered lilies, for example, were prescribed to dispel grief, while the bark of tree peony roots was used as a treatment for various blood disorders.
China, Yuan dynasty (1271-1368)
Handscroll; ink on paper
Overall: 31.8 x 153.2 cm (12 1/2 x 60 5/16 in.)
Did you know...
This handscroll is a very rare example of ink flowers in the linear <em>baimiao</em> style of the fourteenth century.
John L. Severance Fund