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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.
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
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This print of the <em>Nativity </em>is the first of a set of four engravings considered to be an incomplete series of episodes of the Life of the Virgin, which also includes the<em> Adoration of the Magi</em> (1942.1070), <em>The flight into Egypt</em> (1954.260), and <em>The Death of the Virgin</em> (1956.744). Here, Martin Schongauer portrayed the humble and private joy of the Virgin Mary in prayer as she adores the holy infant, who lies on the ground on a corner of her cloak. Joseph gazes tenderly at his wife and holds a lantern. The holy family is joined by the ox and the donkey. The scene takes place in the ruins of a vaulted Gothic edifice, from the top of which jubilant angels sing. From the arched entrance, three shepherds witness the nativity. In the distance, an angel heralds the miraculous birth to one of the shepherds.
Germany, 15th century
engraving
Did you know...
In this example, Martin Schongauer's skill with the engraver's burin is on display in the extensive vocabulary of marks that delineate stones, foliage, vines, garment folds, human hair, and animal fur.
Dudley P. Allen Fund
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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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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The subject of this painting comes from a 10th-century text. It tells of a young nobleman’s journey into the lonely countryside, far from the capital city of Heian-kyō (Kyoto). There he came upon a small stream, the banks of which were covered with blooming irises, on which the artist has chosen to focus our attention. While viewing the beautiful flowers the nobleman composed a poem:<br><br><em>I have a beloved wife, <br>Familiar as the skirt of a well-worn robe, <br>And so this distant journeying <br>Fills my heart with grief. </em>
Japan, Edo period (1615–1868)
pair of six-panel folding screens, ink and color on gilded paper
Overall: 154 x 334.3 cm (60 5/8 x 131 5/8 in.)
Gift of The Norweb Foundation
[url=https://flic.kr/p/2jtx7ui][img]https://live.staticflickr.com/65535/50194730057_bb57a1792b_b.jpg[/img][/url][url=https://flic.kr/p/2jtx7ui]Albert Perikel[/url] by [url=https://www.flickr.com/photos/14298769@N05/]bagheerabe[/url], on Flickr
Although it is impossible to say if it was always part of the artist’s process to execute a preparatory sketch prior to painting each miniature, we do know that John Smart retained many hundreds of these sketches. A group of preparatory sketches—of which this portrait is one—descended through the Smirke family after Smart’s daughter Sarah gave a sketchbook containing preparatory portrait studies to her friend Mary Smirke, sister of the celebrated Victorian architect Sydney Smirke. This book was probably broken up around 1877 when it was divided between Sydney’s daughters Mary Jemmett and Mrs. Lange, whose portions were both sold at auction in 1928.<br>G. C. Williamson was the first to suggest that Smart’s sketches were well known and that they were preparatory studies for the painted miniatures. Williamson listed the names of sitters from the sketches known to him at the time, and they include Lady Oglander. This portrait was assigned the historically colorful but fictitious title of “Duchess of Bourbon” at some point after memory of its true identity had been lost. Giving illustrious titles to portraits of unknown sitters was a popular strategy adopted by dealers during the nineteenth and twentieth centuries, often applied to miniature portraits and, in particular, to Smart’s sketches of women. However, when the paper backing was removed from this miniature, the name Lady Oglander was discovered written twice in graphite on the back. The lower inscription seems to have been reinforced or written later and is probably not in the artist’s hand. <br>Compared to his contemporaries George Engleheart (1752–1829) and Andrew Plimer (1763–1837), whose female sitters were often painted in similar simple white gowns, Smart often lavished more attention on the costumes in his portraits of women, whose dresses incorporated colored silks, printed fabrics, and luxury trimmings like lace and fur, as seen here. The sitter’s head and shoulders face right, and her light hair is dressed high, with flat curls at the back of her head. She has gray eyes and wears a lavender surcoat trimmed with ermine, over a turquoise blue, low-necked dress and white underslip bordered with lace; the ermine trim confirms that the sitter was a titled lady. Smart placed her inside a faintly suggested oval, and the background is unpainted. <br>Sukey, Lady Oglander (née Serle, d. 1805), married Sir William Oglander, 5th Baronet of Nunwell (1733–1806), in 1765. She was the only daughter of Peter Serle of Testwood, Hants, and delighted the Oglander family by bringing £10,000 to the marriage. Sukey had eleven children with William, eight of whom survived childhood. The Oglanders were a prominent and well-loved family on the Isle of Wight, their presence on the island first dating from the time of <br>William the Conqueror and lasting until the title expired in 1874 when the last Oglander Baronet of Nunwell died. <br>This preparatory sketch somewhat resembles a miniature on ivory of the same size that sold at Christie’s, London, in 2000. The sitter’s name is unknown, but she wears a nearly identical green wrap gown and underslip and a lavender surcoat, though it is trimmed with brown fur rather than ermine. Her coiffure is similar to that in the preparatory sketch as well, though in the ivory her hair is ornamented with pearls. The facial features, however, differ, with the sketch representing an older woman having somewhat coarser features. While the portrait may have been idealized in the finished ivory version, it is also possible that the sketch was employed primarily for the costume and depicts another sitter entirely. <br>Daphne Foskett lists among Smart’s work portraits of a Dr. John Oglander and a Lady and Miss Oglander. A preparatory sketch by Smart of a Mr. Oglander sold at Christie’s, London, on June 10, 2010. Another preparatory sketch titled Portrait of John Oglander, Warden of New College, Oxford, was sold at Bonhams, London, on October 30, 2001. These sketches are approximately the same size as Cleveland’s Lady Oglander and may have been commissions related by date or patron. The sale of Smart drawings inherited by W. H. Bose and sold at Christie’s, London, in 1937 included a “Head of Miss Oglander,” “sister to Sir John Oglander of the Isle of Wight,” but this lot was not illustrated, and its relationship to the sketch discussed here is unknown. John Oglander, Warden of New College, Oxford, was the brother-in-law of Sukey, Lady Oglander, and Miss Oglander was probably her sister-in-law Susannah Oglander (d. 1816).
England, 18th century
graphite and wash on laid paper
Framed: 7.7 x 6.5 cm (3 1/16 x 2 9/16 in.); Unframed: 5.4 x 3.8 cm (2 1/8 x 1 1/2 in.)
Did you know...
Sketches helped John Smart work out the particulars of a portrait before commencing the miniature on ivory, and they were useful in the event that a duplicate might later be required.
The Edward B. Greene Collection
[url="http://www.livemaster.ru/item/1126743"][img]http://cs1.livemaster.ru/foto/300/14e3645895.jpg[/img][/url]
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Photos from the Defensive Cyber Operations Symposium held June 16-18 at the Baltimore Convention Center.
events.jspargo.com/AFCEAcyberops15/
Full event coverage: url.afcea.org/dcos15coverage
Photographs copyright © 2015 Michael Carpenter, all rights reserved. For high-resolution versions, visit www.michaelcarpenterphotography.com
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.
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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The coffin of Bakenmut is one of the finest examples of painted wooden coffins made for the priests of Amen and their families at Thebes during Dynasty 21 and early Dynasty 22. The pharaohs of this time were no longer buried in the Valley of the Kings, but instead built tombs in the Delta, far to the north, where they resided. Security was lax in the Theban necropolis. The coffins and funerary goods of the wealthy citizens of Thebes were placed in unmarked and undecorated family tombs cut into the cliffs on the west bank of the Nile. All the care and detail that in more prosperous times were devoted to the decoration of the tomb chapel were now lavished on the elaborately painted coffins. Every available surface is crowded with religious scenes, images of funerary gods and goddesses, protective spells, and magical symbols. The deceased appears mummiform. An elaborate floral collar entirely covers the upper body, exposing only the separately attached hands (now lost). A pair of red "mummy braces" are crossed over the chest, their point of intersection marked by a winged sun disk. The lower body is covered with tiny figures modeled in gesso against a yellow background, which gives the effect of gold inlaid with glass or semiprecious stone. The decoration on the interior features two deified dead kings of Dynasty 18. Although these rulers had lived centuries before, memory of their greatness was still very much alive. The main scene near the top depicts Tuthmosis III, the great military pharaoh, who lived 500 years before Bakenmut. Posed as a mummy, the ruler wears a brilliant feathered garment enfolding him with falcon’s wings. The scene below features back-to-back seated images of Amenhotep I, regarded as the patron of the Theban cemetery and worshiped as a local god there.
Egypt, Thebes, Third Intermediate (1069–715 BCE), Dynasties 21–22
gessoed and painted sycamore fig
Overall: 68 cm (26 3/4 in.)
Did you know...
Originally another smaller coffin was placed inside this outer coffin and in that the deceased with a mummy board would have rested.
Gift of the John Huntington Art and Polytechnic Trust