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Arabic calligraphy, the art of beautiful writing, was elevated above all other art forms in the Islamic world because Allah, or God, revealed the divine word of Islam to the Prophet Muhammad (570–632) in the Arabic language. This Qur'an page is considered one of the most splendid examples of Arabic calligraphy. Based on the proportions of Arabic letters, majestic eastern Kufic script features attenuated letters with long upstrokes and low strokes swaying to the left. Contours echoing the letters separate the sacred text from the lively arabesque background. This vertical layout on paper replaces the earlier horizontal format on parchment.
Seljuk Iran
opaque watercolor, ink, and gold on paper
Overall: 32 x 21.3 cm (12 5/8 x 8 3/8 in.); Text area: 23 x 16 cm (9 1/16 x 6 5/16 in.)
Did you know...
Calligraphers and poets enjoyed higher status than painters and architects in Islamic countries.
Purchase from the J. H. Wade Fund
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund
This panel appears to be the only extant painting signed by the artist known as Giovanni d'Alemagna (meaning Giovanni from Germany) alone and therefore is critical for an assessment of his oeuvre. The shape of the panel suggests that it is from a larger altarpiece rather than being a stand-alone devotional painting. The artist was the brother-in-law and partner of the painter Antonio Vivarini in Venice. In 1447 they moved to Padua. They jointly signed several paintings that are extant today, for example a magnificent triptych that includes a similar figure of St. Jerome, painted in 1446 for the Scuola Grande della Carita and now in the Accademia, Venice. It has been difficult to ascertain Giovanni's personal style and many works attributed to him are quite different in style from the present work. The painting is signed and dated on front of the marble step in the foreground: ICCCC | 44o | ADI OTTO ... LUIO | IOHANES | PINXIT...; [Translation] "1444 on the eighth of July, Johannes painted [this]."
Painted surface H: 37 5/8 x W: 16 5/16 in. (95.5 x 41.5 cm)
Panel H: 38 3/8 x W: 16 5/8 x D: 5/8 in. (97.4 x 42.3 x 1.6 cm)
medium: oil on wood panel
Walters Art Museum, 1931, by bequest.
Veyrassat painted with watercolor in a way that has become popular today. He applied transparent washes of color to the page in a looser style than many of his contemporaries. He may have seen early 19th-century watercolors by British artists who experimented with this technique. This scene of ferry horses recalls the compositions of the English romantic painter John Constable. British art was very influential, especially on French landscape painting, in the decades after the defeat of Napoleon in 1815.
H: 6 7/16 x W: 11 3/4 in. (16.3 x 29.9 cm)
medium: watercolor with graphite underdrawing on cream, moderately thick, slightly textured wove paper
by bequest to Walters Art Museum, 1931.
Christ, seen in the pose of the Just Judge, holds a Gospel book open to John 7:24: "Do not judge by appearances, but judge with right judgement." Above and below are bright red seraphim, while at the sides are the venerating figures of Sts. Peter, Paul, and two archangels. Surrounding them is a rich, gilt silver revetment (cover), densely patterned with scrolls and leaves. This vividly colored icon forms the center of a Deesis, a composition in which the figure of Christ is flanked by panels of the Virgin on the left and John the Baptist on the right.
Russian
H: 12 1/16 × W: 9 5/16 × D: 1 9/16 in. (30.7 × 23.7 × 4 cm)
medium: tempera on wood panel with silver gilding
culture: Russian
by bequest to Walters Art Museum, 1930.
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt 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
Helmets of this shape were inspired by European helmets. This example suggests a snow capped Mt. Fuji. It has 65 plates and pointed rivets; the metal bars ("yokodate") at either side were probably added in the 19th century for attaching parade ornaments. The helmet has an inscription by Myochin Munesuke (1642-1735) or a follower spuriously dating it to 1186.
Japanese
8 3/4 in. (22.2 cm)
medium: iron with lacquer
style: Namban Style; Saotome School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Ashley Dawn Duffield serves as Mariak Industries’ sales development manager for apparel printing. ashley-duffield.livejournal.com/
The second scene in the series depicts Pius VI celebrating mass in the Basilica of Santi Giovanni e Paolo, one of the largest churches in Venice and the pope’s residence during his stay. The mass included a performance of the Te Deum, a prayer of thanksgiving set to music by the Venetian composer Antonio Vivaldi (1678–1741). Traditionally, the Te Deum was recited in thanks to God for a special blessing, including a papal election or a royal coronation, and thus was appropriate for this historic papal visit.
Italy, 18th century
oil on canvas
Framed: 69.2 x 87 x 11.4 cm (27 1/4 x 34 1/4 x 4 1/2 in.); Unframed: 51.4 x 68.8 cm (20 1/4 x 27 1/16 in.)
Gift of the Hanna Fund