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We all learned that the heart is a pump that sends blood through vessels to nourish the body. That pump needs direction as to when and how fast to work.12.
In the foreground, the distraught young man stands at the edge of the rushing river. Desperate for money, he has sold his lover, a slave girl, but finds himself destitute again. A group of onlookers watch the distressed man from the courtyard in front of the mosque. They will jump into the water to save him before he can drown.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Overall: 20.3 x 14 cm (8 x 5 1/2 in.); Painting only: 11.7 x 10.1 cm (4 5/8 x 4 in.)
Did you know...
Gigantic fish and a crocodile lurk in the swirling waters of the Tigris.
Gift of Mrs. A. Dean Perry
William Johnston
1732–1772
30 x 25 in. (76.2 x 63.5 cm)
medium: Oil on canvas
Metropolitan Museum of Art, New York, NY 64.114.1 1964
Anonymous Gift, 1964
This masterfully composed landscape in light colors and delicate brushwork is an image of the water-rich Jiangnan region in southeast China, where Wu Bin was active as an artist. Embedded in rolling hills along lakesides and streams nestle cityscapes hosting numerous spring festivities. Lantern displays and street performances in the villages salute the New Year, and are interwoven with scenes of farming, fishing, and silk making. In one scene in the middle ground, an ox made of clay under a canopy is lead in a procession to an architectural compound, a ceremony known as <em>whipping the spring ox</em> in hope for a good harvest. This handscroll bears five collector seals by the Qianlong emperor indicating his appreciation for the painting.
China, Ming dynasty (1368–1644)
handscroll; ink and light color on paper
Image: 34.3 x 252.8 cm (13 1/2 x 99 1/2 in.); Overall: 35 x 1022.2 cm (13 3/4 x 402 7/16 in.)
Purchase from the J. H. Wade Fund
Standing, carrying a patera in the right hand and an eagle on the left wrist. The god wears not only a himation which passes under his right arm and over his left shoulder, but also a chiton. He has a very long beard. His hair is bound by a plain band; at the front, small lumps represent curls. The complete drapery is unusual and may be due to provincial origin. There is no sign of tooling after casting.
H: 3 1/8 in. (8 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
Study of a Tulip (Wit en root boode), c. 1645. Pieter Holsteyn II (Dutch, c.1612–1673). Point of brush and transparent and opaque watercolors with traces of graphite and gum glazing on antique laid paper; sheet: 31.2 x 20.6 cm (12 5/16 x 8 1/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.130
More at clevelandart.org/art/2020.130
The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.
Iran, Shiraz, Timurid period (1370-1501)
Opaque watercolor, ink, gold, and silver on paper
Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)
Did you know...
The painting on this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama </em>(Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.
John L. Severance Fund
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