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The monk-painter Sesshp is revered today, as he was in his own time. While he left Kyoto's sophisticated intel-lectual and cultural environment to live in a provincial village in a far western province, he seems never to have severed contacts with the monastic communities of his young adulthood. His residence in Yamaguchi proved fortuitous because his patron, the region's military lord, enjoyed considerable freedom in conducting trade missions overseas with Korea and China. Sesshp went to China in 1467 and traveled about the country, visiting well-known historical sites and Chan (Zen) temples before returning two years later. Thus he became familiar with contemporary painting practices, materials, formats, and subject matter. His assimilation and then transmission of these elements had a profound impact on the following generations of ink painters, patrons, and Zen communities throughout Japan. Despite the presence on these byøbu of the name "Sesshp," they are from the hand of another accom-plished but as yet anonymous follower active in the middle of the sixteenth century. Sesshp's name here, as on a handful of similar bird-and-flower byøbu, attests to the master's identification at that time with the colorful mural paintings on the same theme emanating from Ming dynasty China. This genre had heretofore been relegated to hanging scroll compositions, so the intro-duction into temple and daimyo residences of such an attractive theme surely caused considerable excitement in the later fifteenth century, when in all likelihood Sesshp introduced it into the Japanese painting reper-toire. Subsequently, artists of varying backgrounds and training tried their hands at these large, dramatic scenes. From right to left the composition portrays an array of flowering plants in the near distance that indicate the passage of the seasons. Birds, usually paired, occupy this setting, engaged in various activities that lend naturalism and an air of peacefulness. The world they inhabit may be characterized pictorially by expansive middle-ground waterscapes that end where the far distant mountains rise as backdrops. These features appear consistently in other bird-and-flower byøbu attributed to Sesshp. Also noteworthy is the absence of any birds of prey such as the samurai's beloved hawks, emblems of fierceness and graceful strength that appear often in the byøbu of sixteenth-century Kano and Soga school painters.
Japan, Muromachi period (1392–1573)
Six-panel folding screen, ink and color on paper
Image: 158.5 x 359.4 cm (62 3/8 x 141 1/2 in.); Overall: 175.2 x 374.4 cm (69 x 147 3/8 in.)
Gift of Mrs. A. Dean Perry
James David Smillie
American, New York 1833–1909 New York
9 1/2 x 12 7/8 in. (24.1 x 32.7 cm)
medium: Watercolor and gouache on green-gray wove paper
Metropolitan Museum of Art, New York, NY 67.274 1967
Purchase, Mr. and Mrs. J. William Middendorf II Gift, 1967
This figure comes from the tomb of Duke Philip the Bold from the church of Champmol near Dijon (Burgundy, France). Philip, who founded the monastery and designated it as his burial place, hired the best artists, many of whom came from the Netherlands. While the commission was given in 1381, the work was not completed until 1410, six years after the duke’s death.<br><br>This mourner is unusual for the time because it is not carved as a static low relief on the pedestal of the tomb but interact with the viewers and their fellow procession members. The lifelike quality of the figure is due in large part to the alabaster. Its softness allowed artists to carve details into the material, and the transparent, milky white stone could also be polished to a high gloss.
Netherlands, active Dijon, 15th century
vizille alabaster
Overall: 41.1 x 17.6 x 11 cm (16 3/16 x 6 15/16 x 4 5/16 in.)
Did you know...
The use of alabaster in the late Middle Ages began in the 1300s with court art in the circles of French kings, especially in the field of funerary sculpture.
Bequest of Leonard C. Hanna, Jr.
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Registrations for Miss India worldwide Canada Contest open now. Interested Candidates register on/before july 1st 2019 for more details visit our web site.
Wolfgang Grosschedel
German, Landshut, active ca. 1517–62
Wt. of man's armor approx. 55 lb. 11 oz. (25.25 kg); Wt. of horse armor with saddle 65 lb. 7 oz. (29.69 kg); helmet (a): H. 15 1/2 in. (39.4 cm); W. 9 1/2 in. (24.1 cm); D. 13 5/8 in. (34.6 cm); Wt. 7 lb. 9.8 oz. (3454 g); gorget (b): H. 7 1/8 in. (18.1 cm); W. 12 3/4 in. (32.4 cm); D. 10 3/4 in. (27.3 cm); Wt. 3 lb. 4.2 oz. (1479 g); breastplate (c): H. 14 1/16 in. (35.7 cm); W. 14 1/8 in. (35.9 cm); D. 9 3/8 in. (23.8 cm); Wt. 8 lb. 1.4 oz. (3669 g); lance rest (d): H. 2 7/8 in. (7.3 cm); W. 6 1/8 in. (15.6 cm); D. 3 3/8 in. (8.6 cm); Wt. 13.9 oz. (394 g); tasset (e): H. 11 in. (17.9 cm); W. 18 1/2 in. (47 cm); D. 19 1/4 in. (48.9 cm); Wt. 3 lb. 7.6 oz. (1575 g); backplate (f): H. 15 1/4 in. (38.7 cm); W. 14 3/16 in. (36 cm); D. 7 1/8 in. (18.1 cm); Wt. 5 lb. 10.05 oz. (2553 g); right pauldron (g): H. 11 in. (27.9 cm); W. 12 1/2 in. (31.8 cm); D. 12 1/8 in. (30.8 cm); Wt. 3 lb. 4.95 oz. (1500 g); left paudron (h): 12 1/4 in. (31.1 cm); W. 11 3/4 in. (29.8 cm); D. 11 7/8 in. (30.2 cm); Wt. 3 lb. 15.55 oz. (1802 g); right vambrace (arm defense) (i): H. 19 5/16 in. (49.1 cm); W. 7 5/16 in. (18.6 cm); D. 5 in. (12.7 cm); Wt. 2 lb. 10.8 oz. (1213 g); left vambrace (j): H. 18 11/16 in. (47.5 cm); W. 7 5/8 in. (19.4 cm); D. 5 1/16 in. (12.9 cm); Wt. 2 lb. 6.5 oz. (1091 g); right gauntlet (k): H. 11 3/4 in. (29.8 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 2.3 oz. (518 g); left gauntlet (l): H. 11 7/8 in. (30.2 cm); W. 4 3/16 in. (10.6 cm); D. 4 in. (10.2 cm); Wt. 1 lb. 3.5 oz. (552 g); right upper cuisse (thigh defense) (m): H. 9 1/4 in. (23.5 cm); W. 7 1/8 in. (18.1 cm); D. 7 1/2 in. (19.1 cm); Wt. 1 lb. 4.85 oz. (591 g); left upper cuisse (thigh defense) (n): H. 8 13/16 in. (22.4 cm); W. 7 1/16 in. (17.9 cm); D. 7 5/16 in. (18.6 cm); Wt. 1 lb. 4.85 oz. (591 g); right lower cuisse (thigh defense) and poleyn (knee defense) (o): H. 9 7/8 in. (25.1 cm); W. 6 in. (15.2 cm); D. 6 5/8 in. (16.8 cm); Wt. 1 lb. 6.4 oz. (635 g); left lower cuisse (thigh defense) and poleyn (knee defense) (p): H. 10 1/8 in. (25.7 cm); W. 5 15/16 in. (15.1 cm); D. 6 11/16 in. (17 cm); Wt. 1 lb. 6.85 oz. (647 g); right greave (lower leg defense) and sabaton (foot defense) (q): H. 18 3/4 in. (47.6 cm); W. 5 3/4 in. (14.6 cm); D. 12 1/4 in. (31.1 cm); Wt. 2 lb. 10.7 oz. (1210 g); left greave (lower leg defense) and sabaton (foot defense) (r): H. 18 3/4 in. (47.6 cm); W. 5 7/8 in. (14.9 cm); D. 12 in. (30.5 cm); Wt. 2 lb. 13.9 oz. (1300 g)
medium: Steel; leather, copper alloy, textile
Metropolitan Museum of Art, New York, NY 23.261 1923
Fletcher Fund, 1923