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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.
The game of backgammon has a long and popular history which can be traced back many centuries. The version of the game as it is played in modern times first appeared in the 1400s under various names. Its current appellation was coined around the same time as the date of this painting. Backgammon was exceptionally popular in the 1600s, and was often played for money or other wagers. The two men on the left side of this painting are clearly involved in a high stakes game of backgammon. A three-man cluster has gathered to watch them lay their bets, while another tallies their points on a scoreboard. The young lady in the right corner of the room otherwise surrounded by men and the older women who looks down on the game of backgammon from a window, both indicate that the interior presented in this painting is probably the gaming room of a brothel. Courtesans often worked out of such game rooms, providing further entertainment for men. Depictions of games, like procurement scenes, often symbolized moralizing virtues. Games were considered at best folly and at worst immoral. Backgammon was often used to represent the foolishness or wickedness of betting and wasting one's time.
Flanders
oil on wood, transferred to canvas
Framed: 82 x 102 x 9 cm (32 5/16 x 40 3/16 x 3 9/16 in.); Unframed: 59 x 80.6 cm (23 1/4 x 31 3/4 in.)
Gift of Mr. and Mrs. Samuel D. Wise
The Nine-Dragon Falls 구룡포 is one of the popular tourist sites at the Diamond Mountain 금강산 in North Korea. Its V-shaped valley that opens into a rushing white waterfall is its major attraction, allowing visitors to experience the powerful forces of nature. In this painting, two excited scholar tourists accompanied by a Buddhist monk are enjoying both the spectacle and the roar generated by the cascading waterfall.
Korea, Joseon dynasty (1392–1910)
ink and color on paper
Overall: 71 x 40.7 cm (27 15/16 x 16 in.); Painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in.)
Did you know...
The Nine-Dragon Falls, the main subject of this painting, is about 240 feet (74 meters) high.
Gift of the John Huntington Art and Polytechnic Trust
medium: [no medium available]
Metropolitan Museum of Art, New York, NY 07.138a, b 1907
Gift of Mrs. William E. Vanderbilt, 1907
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The narrative on this basin tells the story of Saint Ursula and her 11,000 companions, who embarked on a pious journey from England to the Continent only to be met by the Huns in Cologne and slaughtered in 383 CE. Ursula was warned of her impending doom, according to the legend, but willingly accepted martyrdom to join the kingdom of heaven. The narrative is executed in a simple, engaging manner. The movement of Ursula and her companions is echoed in the narrative progression around the bowl as one turns it to follow the story. The kinetic dimension of the display would likely have made this manner of recounting the saint's legend more memorable than simple recitation. Indeed, some scholars have suggested that bronze vessels of this type might have been used for teaching, while others maintain that they might have played a role in liturgical hand-washing performed by nuns. In the latter instance, the swirling ocean crossed by Ursula must have looked quite realistic when seen through the rippling water that filled the bowl.
German
H: 2 9/16 x Diam: 11 5/16 in. (6.5 x 28.7 cm)
medium: copper alloy
style: Romanesque
culture: German
Walters Art Museum, 1931, by bequest.
Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.
"This once powerful and ambitious tribe has dwindled away to a mere shadow of what it was at the time of the Revolution. During the war between the French & English for predominance in America, each of these parties made every effort to engage this tribe as an ally." 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: 12 11/16 x W: 10 in. (32.3 x 25.4 cm)
medium: watercolor on paper
Walters Art Museum, 1931, by bequest.
Originally part of a large equestrian monument, this head allows us to imagine what was a common sight for the ancient viewer: imposing public statuary that embodied the civic values of imperial Rome. Military officials were often depicted on horseback, and the rider that was represented on the monument was likely a member of the imperial family. Such statues contained large amounts of bronze, and most were melted down for reuse in weapons and other implements in later times of crisis.
Roman
H: 24 x W: 17 15/16 x D: 7 in. (61 x 45.6 x 17.8 cm)
medium: gilt bronze
culture: Roman
dynasty: Julio-Claudian
Walters Art Museum, 1931, by bequest.