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Shiva tenderly places an arm around his wife, the goddess Uma (also called Parvati), in a gesture that is familiarly human. Both rest their weight on one hip, their bodies complementing one another. Shiva’s front hand gestures in reassurance, while Uma’s would have held flowers offered by priests and devotees.
Depending on their wealth, temples might have dozens of processional sculptures in various forms to be paraded around for different occasions. This image of a loving couple would be suitable for celebrating a marriage ceremony. Like the bride and bridegroom, the sculpture itself would have been adorned with beautiful jewelry: necklaces, crowns, diadems, ear ornaments, and rings, donated by royalty, wealthy landowners, and merchants.
Widely admired today for their craftsmanship, this festival bronzes was produced in southern India, mostly in the state of Tamil Nadu, during the Chola dynasty (9th–13th century). The Chola kings and their people spoke Tamil; the language continues to be used in southern India. Part of a rich and still living tradition of casting solid metal sculpture in South India, this image was made using the lost-wax casting technique. First, a model of the final sculpture is created from a mixture of wax and resin. Every detail that is seen in the cast metal sculpture is captured in this wax-resin model. The model is then encapsulated in a mold, leaving an opening at its base. The mold is heated, which solidifies the mold material, while the wax within is melted and poured out. The mold is then inverted, metal is melted in a crucible, and the molten metal is poured into the void left by the melted wax. Once cooled, the mold is broken, revealing the cast metal sculpture.
H: 16 7/8 x W: 11 5/8 x D: 6 1/2 in. (42.9 x 29.5 x 16.5 cm)
medium: copper alloy
given to Walters Art Museum, 2005.
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
Parshva stands in a yogic posture of meditation, bearing the hardship of the elements, unmoved. When stormwaters threatened his life, serpents shielded him so that he could complete his meditations and reach liberation. One cobra stretched his seven-hooded canopy over his head like an umbrella, while a serpent king and his wife praise him. The abstract gold lines on the blue background represent the waters that rose to the level of his shoulders. In this painting, the image of Parshva wears a white lower garment, which indicates that this manuscript was made for the prominent branch of Jainism that allows monks and nuns to wear white robes.
Western India, Gujarat, late 15th-early 16th century
Gum tempera, ink, and gold on paper
Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.)
Edward L. Whittemore Fund
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Cistae were containers used to safeguard precious objects, including mirrors, perfume flasks, and cosmetics. A particular type of cista was made during the 4th to 3rd centuries BCE in Praeneste, a site in Latium (the region around Rome) that was heavily influenced by Etruscan culture. The elaborately engraved scenes are thought to imitate famous, but now lost, Greek wall-paintings. The ancient metalworker often pressed a white substance into the engraved lines in order to accentuate the decoration. The handles commonly take the form of human figures. Many artists in other early Italian cultures similarly incorporated figures of humans in functional objects.
Praenestine
H: 20 1/4 x Diam: 10 7/16 in. (51.5 x 26.5 cm)
medium: bronze; incised
culture: Praenestine
Walters Art Museum, 1931, by bequest.
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.
Esteve y Marques enjoyed a successful early career as a court painter and society portraitist, working as an assistant to the Spanish painter Francisco de Goya before becoming court painter to King Charles IV. The young subject of this portrait is Juan Maria Osorio, one of three sons of Don Vicente Osorio Moscoso Fernandez de Cordoba, the 13th count of Altamira, who also commissioned multiple family portraits from Goya. Esteve and Goya often shared aristocratic patrons, and there are also portraits of the count and his wife attributed to Esteve. The portrait of Juan Maria is somewhat static in execution, the subject lacking vigor and psychological intensity in Esteve's depiction. Yet some of the stiffness of the Cleveland portrait may be due to the fact that this work was probably a posthumous portrait of Juan Maria, who died in 1785 at the age of five.
Spain, 18th century
oil on canvas
Framed: 143.8 x 107.6 x 6.4 cm (56 5/8 x 42 3/8 x 2 1/2 in.); Unframed: 120 x 84 cm (47 1/4 x 33 1/16 in.)
Did you know...
The boy holds a string attached to a linnet, a type of finch popular as a pet.
Gift of the Hanna Fund
Pissarro, son of the French Impressionist artist Camille Pissarro, moved to England in 1890. By 1894 he and his wife, Esther Bensusan Pissarro, had bought a printing press and established the Eragny Press. Influenced by William Morris, they were involved in every step of the production process: designing, cutting the woodblocks, setting type, and printing. The first book published by Ergany Press, The Queen of the Fishes, is based on an old fairy tale in which a peasant boy and girl escape the hardships of their lives by fantasizing that they have been turned into a giant oak and a splendid fish, respectively.
England, 19th century
woodcut printed in gray
Book page: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.)
Gift of Henry H. Hawley for the fiftieth anniversary of The Print Club of Cleveland
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This sculpture is carved in the round and painted. It depicts a nude male with black hair and black and white painted eyes. His arms are joined at the shoulders; both hands are closed at his sides. His feet are made separately, in one with the base. There is black paint on top of the base, and red on the edges. The base does not belong to this piece.
Egyptian
H with base: 8 13/16 in. (22.4 cm)
medium: wood with black, white, and red paint
culture: Egyptian
Walters Art Museum, 1931, by bequest.
The woman stands frontally with her hands clasped calmly in front of her. Her face is slightly raised, and she wears a serene expression. Her mantle wraps around her torso and is tucked under her left arm. Under the mantle, she wears a long peplos or chiton, the vertical folds of which contrast to the horizontal and diagonal folds of the mantle. Extensive traces of white paint are visible. The statuette stands on a square base.
Although generally referred to as Tanagra figurines after the most famous findspot, Tanagra (modern Schimatari) in Boeotia, Greece, statuettes of this type have been found at other sites in the ancient world, including Myrina and Smyrna (modern Izmir) in Asia Minor. The most common forms of the statuettes depict young women sitting, standing, or in the process of graceful movement, but there are also examples showing men or children. The statuettes were used as grave offerings, votives, decorative objects, and perhaps toys. The hair, clothing, skin, and jewelry of the pieces were originally painted, although most of the colors are presently faded.
Greek
7 7/8 x 2 5/8 x 1 7/8 in. (20 x 6.6 x 4.7 cm)
medium: terracotta, mold made; traces of paint
style: Hellenistic
culture: Greek
Walters Art Museum, 1931, by bequest.
This tsuba is a depiction of the sky filled with clouds. At the upper left, the moon appears with the depiction of a rabbit pounding rice for sweet rice cakes. This is the figure that the Japanese see in the moon. This tradition may have developed in part because the word for rice cake ("mochi") can also mean "full moon."
Japanese
H: 2 13/16 × W: 2 11/16 × D: 3/16 in. (7.2 × 6.9 × 0.5 cm)
medium: shibuichi (silver-copper alloy), silver, and gold
style: Kii School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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يتيح لك قصرلي تقصير الروابط الى روابط اقصر منها لتكون منا سبة للنشر على المواقع الاجتماعلة
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~
This CreativeMornings/Oklahoma City event was generously presented by Artspace at Untitled, KLLR Coffee, Guernsey, Roast Scout, Clover Partners, and The Treasury.
Ronn Burton was our speaker.
The event was sponsored by Adobe, MailChimp, Shutterstock and Wordpress.
All photos by Magnolia Adams Photography www.magnoliaadams.com/
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.
Byzantine
H with loop: 2 3/8 x W: 1 1/4 x D: 1/2 in. (6 x 3.2 x 1.3 cm)
H without loop: 2 1/8 x W: 1 1/4 x D: 1/2 in. (5.4 x 3.2 x 1.3 cm)
medium: bloodstone
culture: Byzantine
Walters Art Museum, 1931, by bequest.
url: www.kt-aa.com/
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