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This scarab has a flat underside without a bottom design. The design of the back is very detailed with fine incised hatch marks and shoulder marks, and irregular line flow. The proportions of the top are well balanced. The workmanship is excellent and the piece is elaborately made.
The scarab functioned as a funerary amulet with a renewal connotation, and could have been an inlay of a pectoral or a heart scarab. The piece was originally mounted or threaded.
Egyptian
H: 1/2 x W: 7/8 x L: 1 1/4 in. (1.3 x 2.3 x 3.1 cm)
medium: dark green jasper
culture: Egyptian
dynasty: 26th-27th Dynasty
Walters Art Museum, 1931, by bequest.
Long-armed gibbons form a chain to reach down from a tree, hoping to touch what they believe is the moon. In fact, the orb remaining beyond their grasp is the full moon’s reflection in the still surface of a pond or lake. The image is a common metaphor for the deluded mind in Buddhist thought. Gibbons do not live in Japan but were known to Japanese painters of the premodern era through paintings brought from China.
Japan, Edo period (1615–1868)
Hanging scroll; ink and light color on silk
Painting: 170 x 33.9 cm (66 15/16 x 13 3/8 in.); Overall with knobs: 234 x 40.1 cm (92 1/8 x 15 13/16 in.)
Gift from the Collection of George Gund III
Thomas Seymour
1771–1848
111 3/4 x 21 1/4 x 9 3/4 in. (283.8 x 54 x 24.8 cm)
medium: Mahogany, mahogany veneer,
maple with white pine
Metropolitan Museum of Art, New York, NY 1998.12 1998
Purchase, Anthony W. and Lulu C. Wang Gift, 1998
Animals were popular motifs in the Geometric period. Bird ornaments often decorated horse trappings.
Greek
2 3/8 x 3 x 1 1/8 in. (6.1 x 7.6 x 2.8 cm)
medium: hollow-cast bronze
culture: Greek
Walters Art Museum, 1954, by purchase.
Thomas Campbell
died before 1851
5 3/16 x 5 11/16 in. (13.2 x 14.4 cm)
medium: Black wax crayon on off-white wove paper
Metropolitan Museum of Art, New York, NY 26.216.16 1926
Gift of James C. McGuire, 1926
Wearing one lotus in his headdress and holding another in his hand, this pot-bellied figure personifies the lotus (padma) of the god Vishnu. Carved to stand alongside a larger-scale image of Vishnu, he would have tilted his head toward the god. As a flower that rises above the mud from which it grows, the lotus is a symbol of purity and is associated with creation and renewal.
H: 20 1/4 × W: 8 1/4 × D: 5 1/8 in. (51.5 × 21 × 13 cm)
Base H: 2 3/8 × W: 9 1/16 × D: 5 9/16 in. (6 × 23 × 14.2 cm)
medium: sandstone
Walters Art Museum, 2008, by gift.
This delicate casket may have been intended for jewelry, cosmetics, or other personal items. The scenes combine four episodes from the life of the Virgin on the lid (Annunciation, Visitation, Nativity, and Adoration of the Magi) with four episodes from the life of Saint Margaret on the side panels. Margaret was a Christian virgin who refused to accept the advances of a Roman official, Olybrius, for which she was tortured and finally beheaded. On the front, she is shown being judged by Olybrius; on the right end panel, she is being whipped; on the left end panel, she is shown in prison overcoming a dragon set loose to devour her; and on the back, she is decapitated.
French
H with lock: 1 7/8 x W: 4 5/16 x D: 3 1/16 in. (4.8 x 11 x 7.7 cm)
medium: ivory, silver and enamel mounts
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.