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While the 11th century <em>Tale of Genji </em>is universally regarded as Japan's literary masterpiece, the source for visual imagery in Japanese culture is rivaled by another literary classic, the <em>Tales of Ise</em>. A 10th century anthology of poems interspersed with commentary, the Ise portrays the emotional and geographical journey of a courtier from the capital (Kyoto) into the countryside and beyond. The poems describe features of the natural, untamed terrain, linking them to the rather melancholy state of the traveler. <br><br>Since the <em>Tales of Ise </em>was—and remains today—well read by educated Japanese, a person viewing these folding screens would immediately recognize its subject, organized as a series of discrete scenes read from right to left. Neither a signature nor a seal identifies the artist, but judging from related paintings, the work can be ascribed to an artist working in Kyoto during the first quarter of the 17th century in the manner of the painter Iwasa Matabei (1578–1650). This type of historical narrative composition became quite popular around 1600 among patrons favoring a distinctly Japanese style of painting which employed rich mineral pigments and a liberal use of gold.
Japan, Edo period (1615–1868)
Pair of six-panel folding screens; ink, color, and gold on gilded paper
Painting only: 95.2 x 276 cm (37 1/2 x 108 11/16 in.); Overall: 109.3 x 258.9 cm (43 1/16 x 101 15/16 in.)
Did you know...
Scenes appear amid golden clouds augmented by raised designs formed of a pigment made from crushed shells (<em>gofun</em>). The technique is called <em>moriage</em>, literally “mounding” the pigment.
John L. Severance Fund
At the right of the tsuba is a humble hut. In the hut, a man holds a book near the window. This is the legendary Chinese scholar Shoko. He read by moonlight. The moon and clouds are in the upper left of the tsuba. On the reverse is a waterfall under a pine tree.
Japanese
2 1/2 in. (6.3 cm)
medium: shibuichi, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
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Primarily a painter and draftsman, Albrecht Altdorfer made only nine etchings, which were intended to imitate his drawings. Those he made between 1522 and 1525—printed in very small numbers for a growing market of print collector—are considered the first prints in European art to depict pure landscape without narrative or devotional content. Here, he displayed remarkable freedom of draftsmanship and apparent spontaneity. The site depicted cannot be readily identified, <br>and Altdorfer probably composed it from his imagination. Early etchings, such as this one, were made on iron rather than copper plates, which rendered the lines slightly hazy.
Germany, 16th century
etching
Platemark: 11.8 x 16.3 cm (4 5/8 x 6 7/16 in.); Sheet: 11.8 x 16.3 cm (4 5/8 x 6 7/16 in.)
Did you know...
To make this early etching, the artist used an iron plate rather than the more supple copper, which would shortly come to dominate etching technique.
John L. Severance Fund
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
Muslim weavers in Spain manufactured colorful woolen carpets with patterns derived from native Iberian designs, luxury silks, and imported Turkish carpets, such as this rare example. It is the only known carpet with this pattern of octagons framing a radiating central star. It is related to so-called large-pattern Holbein carpets, named after the Flemish painter Hans Holbein the Younger (1497-1543) who represented them in his paintings. This relatively well preserved 15th-century carpet is said to have come from a convent in Spain.
Spain, Alcaraz?, Mudejar, 15th century
wool, knotted pile: Spanish knot
Overall: 418.8 x 236.1 cm (164 7/8 x 92 15/16 in.)
Purchase from the J. H. Wade Fund
The large panel shown here was probably the end panel of a stall that faced another across the choir of a Gothic church. The panel is carved with the figure of St. Francis of Assisi kneeling in prayer and receiving the stigmata. Two standing figures also appear on this panel: a nun at the left (perhaps St. Claire) and a female martyr at the right. Below is St. Michael and the dragon.
Spain, Catalonia, Monastery of Pedralbes, 14th century
walnut
Overall: 295.8 x 59.1 x 5.8 cm (116 7/16 x 23 1/4 x 2 5/16 in.)
John L. Severance Fund
Edwin Austin Abbey
American, Philadelphia, Pennsylvania 1852–1911 London
54 1/4 x 127 1/4 in. (137.8 x 323.2 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 13.140 1913
Gift of George A. Hearn, 1913
This Late Gothic monstrance (from the Latin monstrare, "to show") is mentioned in the earliest inventory of Saint Blaise as "a large new monstrance containing relics of Saint Sebastian the martyr." Judging from surviving receipts, the reliquary was made by Werner Korff, a local goldsmith, who received payments for silver and gilding at the end of 1484. The reliquary was first displayed on the altar of the church of Saint Blaise in a solemn penitential mass on June 4, 1484, in an effort to ward off the plague. A recent examination revealed that the relic is a human metatarsal bone (one of five long bones of the human foot) and that its owner seemed to have suffered from periostitis, a medical condition that affects the connective tissue surrounding the bone.
Germany, Lower Saxony, Brunswick, Gothic period, 15th century
gilded silver, rock crystal
Overall: 47 cm (18 1/2 in.)
Did you know...
In the Middle Ages, people suffering from diseases might make a journey, or pilgrimage, to venerate relics such as this one. The faithful believed that the remains of saints and holy people like Saint Sebastian could help those seeking aid such as relief from the plague.
Gift of Julius F. Goldschmidt, Z. M. Hackenbroch, and J. Rosenbaum in memory of the Exhibition of the Guelph Treasure held in the Cleveland Museum of Art from 10 January to 1 February 1931
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