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Painted in a style closely related to Chinese painting, two of the eighty-four mahasiddhas (“great perfected ones”) float in a landscape of craggy rocks and stylized trees. In tantric Buddhist traditions, the mahasiddhas are regarded as great adepts who have achieved spiritual powers and enlightenment, sometimes through unconventional means.
In the upper portion of the painting is Shavaripa, who had been a hunter until the bodhisattva Avalokiteshvara showed him and his wife a vision of themselves in hell—their karmic fate, should they continue to kill animals. Shavaripa renounced hunting, and after meditating for twelve years he attained enlightenment, thereafter remaining on earth to teach the path to spiritual liberation. Here, Shavaripa is depicted twice: in the middle of the painting, he carries a slain animal while his wife follows with a quiver of arrows, and at the top of the painting, he appears to levitate against a backdrop of peacock feathers, a reference to another name by which he is known, “Wearer of the Peacock Plume.”
The lower portion of the painting depicts Dharikapa, a king who abdicated his throne to become a disciple of the mahasiddha Luipa. Having renounced all possessions, Dharikapa offered himself in slavery to Luipa in order to cover the fee paid to one’s guru. In time, Luipa sold Dharikapa to a temple dancer named Dharima. After he had served her for twelve years, one day Dharima witnessed Dharikapa sitting on a levitating throne and teaching the tantric path to enlightenment. Begging his forgiveness for his enslavement, she asked to become his disciple. Dharikapa is represented in voluminous robes, holding the vajra-scepter and the bell, while a woman, probably Dharima, stands behind him holding a skull bowl.
Buddhist
H of image: 25 1/2 × W: 15 in. (64.8 × 38.1 cm)
Framed H: 46 3/8 × W: 25 3/8 in. (117.79 × 64.45 cm)
medium: tempera on cloth
culture: Buddhist
given to Walters Art Museum, 2015.
Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this tureen stand, with its acanthus leaves and fluted detailing, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. The arms of the High Sheriff of Yorkshire, Timothy Hutton and his wife Elizabeth Chaytor of Spennithorne Hall in northern England are engraved on this stand by Paul Storr, one of the most prominent London silversmiths of the period.
England, London, 19th century
silver
Overall: 50.8 cm (20 in.)
Did you know...
This is a stand for a tureen. See cover record.
Gift of Thomas F. Grasselli in memory of Thomas S. and Emilie S. Grasselli
This buckle would have been attached to a strip of leather worn around the waist. It was likely both an ornamental statement indicating social rank and a practical accessory. The decorative inlay was applied by forcing silver wire into a pattern engraved into the iron. The condition of the buckle indicates that it was likely excavated, perhaps from a grave.
Frankish, Migration period
iron with silver overlay
Overall: 10.2 x 5.9 cm (4 x 2 5/16 in.)
Gift of the John Huntington Art and Polytechnic Trust
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The chiseling of gun ornament is a task comparable to sculpture on a miniature scale, carried out in an extremely hard material. Since this was usually beyond the skill of most gunsmiths, it was not uncommon for such work to be contracted out as occurred here. While the barrels are signed <em>P. Moretta</em>, the lock plates of these pistols are signed <em>Carlo Lerme</em>, who also chiseled the mounts.
Italy, Brescia, 17th century
steel, chiseled decoration with walnut stock
Overall: 45.1 cm (17 3/4 in.); Barrel: 27.6 cm (10 7/8 in.); Bore: 1.3 cm (1/2 in.)
Did you know...
This type of pistol fired only once before needing to be reloaded, so they were often produced in matched pairs. Even the trigger is decorated on these beautifully ornate weapons. Look closely to compare how a skilled craftsman carefully matched the patterning on these two guns.
Gift of Mr. and Mrs. John L. Severance
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Beautiful artwork at the Diwali celebration at Yahoo. I did not make it early enough to the party. Did they have henna station this year? Hopefully there will be some at YEP~
I never bothered to check this website to see what was so darn important. All I needed to know was that these guys were assholes and, therefore, wrong.
This CreativeMornings/NewYork event was hosted by Cooper Union.
Our speaker was Oliver Jeffers and the theme was Surreal.
Our local partners were Mailchimp, Adobe, WordPress.com, and Noissue.
All photos by Paul Jun | Instagram: @pauljunbear
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A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.
Egyptian
H: 8 3/16 x W: 5 11/16 x D: 2 1/16 in. (20.8 x 14.4 x 5.3 cm)
medium: bronze with gilt, gold inlay
culture: Egyptian
dynasty: 25th-26th Dynasty
Walters Art Museum, 1931, by bequest.
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Ralph Albert Blakelock
1847–1919
5 5/8 x 5 7/8 in. (14.3 x 14.9 cm)
medium: Brown ink and black chalk on off-white and brown mottled wove paper
Metropolitan Museum of Art, New York, NY 1981.212 1981
George A. Hearn Fund, 1981