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Every night for 52 nights the sly domesticated parrot encourages his master's wife Khujasta to meet her lover under cover of darkness. Just before she leaves, he mentions a topic from a tantalizing tale; she becomes so curious that she cannot go out before hearing the whole story. By the time the story ends, dawn breaks, and it is too late for her to go out unnoticed. The gold sky and geometric tile patterns are derived from Persian sources while Khujasta's figure shown in profile and style of dress are purely Indian. The artist has chosen to tilt the carpet up in defiance of realistic perspective to show off the fine arabesque motif. The checkered bedspread calls attention to the empty bed and Khujasta's longing to be with her lover.
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: 9.1 x 10.3 cm (3 9/16 x 4 1/16 in.)
Did you know...
The gauzy fabric that Khujasta wears over her sari is called an <em>odhani</em>.
Gift of Mrs. A. Dean Perry
Portable altars were used by Christians to celebrate the Mass while traveling. On one long side is depicted the Baptism of Christ, attended by a veiled woman, possibly representing the Church, and Christ in Majesty, surrounded by Evangelist symbols. On the other long side, John the Baptist and the Holy Women at the Tomb are shown. Originally, the figure of John the Baptist was part of the Baptism scene, but he was mistakenly placed with the Holy Women when the 11th-century plaques (perhaps from an altar panel) were reused in the 12th century to make this portable altar. A pair of apostles decorate both short sides. The rough, square opening at one end was made later, to remove the relic once sealed inside.
German
Overall: H: 7 1/2 × W: 13 3/8 × D: 7 5/8 in. (19 × 34 × 19.3 cm)
medium: gilded copper, enamel, porphyry
style: Romanesque
culture: German
Walters Art Museum, 1931, by bequest.
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Guanyin is a bodhisattva, a divine being who has attained enlightenment but chooses to stay in the world to help others. Guanyin (an abbreviation of Guanshiyin: “Perceiver of the World’s Sounds”) responds to the calls of those in peril.
Here, Guanyin sits in an attitude of tranquil ease, an arm resting on one knee while gazing at the moon’s reflection in the water below; the bodhisattva’s rippling garments puddle downward in a seemingly liquid cascade. In China, devotion to Guanyin, who came to be represented as an androgynous or female being, was popularized through sacred texts ("sutras"), miracle tales, and legends by which the deity became associated with natural elements, such as water and the moon, that evoke themes of impermanence and change.
The sculpture is a technical marvel. The entire figure, down to the slender fingers, is hollow and made in a technique similar to papier-mâché. Layers of cloth soaked in lacquer, derived from a tree resin, were wrapped over an internal clay support that was removed after the lacquer had hardened. X-radiography shows that the hollow interior was covered in a pigment containing red mercury, called cinnabar, that may have had both sacred and preservative functions.
Chinese
H: 50 x W: 34 1/4 x D: 22 5/8 in. (127 x 87 x 57.5 cm)
medium: dry lacquer, gold, and paint
culture: Chinese
dynasty: Ming [Ming] Dynasty
given to Walters Art Museum, 2006.
Go to Page 98 in the Internet Archive
Title: A treatise on the science and practice of midwifery [electronic resource]
Creator: Playfair, W. S. (William Smoult), 1836-1903
Creator: King's College London
Publisher: London : Smith, Elder & Co.
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1893
Language: eng
Description: King’s College London
Vol. 1: xviii, 430, [2] p. ; vol. 2: xiv, 443 p
Final [2] p. of vol. 1: publisher's advertisements
With frontispiece plates
With half-title pages
Includes bibliographical references. Index in both volumes
First edition published in 1866
This material has been provided by King’s College London. The original may be consulted at King’s College London
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
These panels reproduce the upper two tiers of the screen (known as the iconostasis) that separates the nave from the altar in Orthodox churches. Such sets, of which this is one of the earliest known, were used by priests for makeshift altars and by lay people for personal prayer. In the upper row, the Virgin and Child are surrounded by Old Testament prophets who hold scrolls with passages foretelling Christ's birth: Habakkuk (?), Micah, Jeremiah, Moses, Daniel, David, Solomon, Jonah, Jacob, Isaiah (?), Gedeon, and Zechariah. Below, the adult Christ is seated on the throne of judgment, flanked by holy persons who entreat him to forgive our sins. On his right are the Virgin, St. Peter, Metropolitan Peter of Moscow, St. Sergius of Radonezh (a famous Russian hermit), and St. George. On his left stand John the Baptist, St. Paul, Metropolitan Alexis of Moscow, St. Cyril of Belozersk (another renowned Russian monk), and St. Demetrius.
Russian
In Frame H: 13 1/4 × W: 32 × D: 1 1/4 in. (33.7 × 81.3 × 3.2 cm)
Small Side Panels W: 2 5/8 in. (6.7 cm)
Central Panel W: 5 5/16 in. (13.5 cm)
medium: tempera on panel
style: Byzantine
culture: Russian
dynasty: Rurikid Dynasty
Walters Art Museum, 1931, by bequest.
The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The practice of wearing icons of the Virgin as pendants is documented in written sources as early as the fifteenth century. The main scene on this doubled-sided pendant commemorates the feast of Däbrä Metmaq. According to the "Miracles of Mary," this feast was instituted to celebrate an event that occurred annually in the church of Dayr al-Magtas, Egypt. For five days each spring, Mary miraculously appeared inside the cupola of the church, bathed in light and surrounded by angels. The main panel of this icon captures the visionary character of this event by enclosing the Virgin in a band of yellow light. Seraphim surround the outer border of red. The archangels Michael and Gabriel, depicted on the inside cover, evoke the heavenly hosts that accompanied the Virgin. By representing the major figures, the painter recreated the miraculous apparition in miniature for the pendant's owner. As the Festival of Däbrä Metmaq was especially important to women, and as the reverse of the pendant also bears the likenesses of two female martyr-saints, the patron of this work might have been female. The legend of the 15th-century saint Krestos Sämra describes how Christ bequeathed to her a painting, which he hung pendant-like around her neck. The delicately carved, painted covers transformed the closed pendant into a cherished object of personal devotion.
Christian Highland Ethiopian
H open: 4 3/8 x W: 10 1/8 in. (11.11 x 25.7 cm)
H closed: 4 3/8 x W: 3 5/8 in. (11.11 x 9.2 cm)
Panel H: 3 3/16 x W: 3 1/4 in. (8.09 x 8.25 cm)
medium: tempera on panel
culture: Christian Highland Ethiopian
Walters Art Museum, 1996, by purchase.
Three Amazons on this black-figure lekythos face right, and appear to march one after the other. Their skin is white, but their facial features, eroded or rubbed away, are indistinguishable. Each wears a helmet, holds a long spear and has a horizontal quiver. The middle figure holds both hands near her waist; the other two have one hand raised.
Amazons are first mentioned in the "Iliad" (6.186) as allies of the Trojans; later authors emphasize their fearlessness and their status as foreigners. They were introduced on Attic vases in the early 6th century BC, and quickly became a popular subject. Early black-figure depictions of Amazons resemble Greek warriors, with one notable difference-their white skin color, which identifies them as "women." In red-figure vases, the Amazons acquire more feminine features and bodies, and their foreigness is emphasized by their attire: Scythian or Thracian clothing and subsequently Persian garb.
In some places in Greece, Amazons were the object of cult. Jennifer Larson (1995, 111-16) has suggested that despite the fact that they were considered hostile to the Greeks, their complete otherness from the Greek way of life also gave them protective powers and entitled them to be worshiped as heroines.
Greek
H: 8 1/16 x Diam: 2 3/8 in. (20.5 x 6 cm)
medium: terracotta, wheel made; black figure with white paint
style: Attic
culture: Greek
Walters Art Museum, 1931, by bequest.
This wall painting fragment has a block border at the left. The piece has been repaired and repainted, and is from a tomb at Western Thebes. This man (with red flesh) was the last in a row of offering bearers. Facing right, he wears a kilt extending to the ankles that was perhaps worn under a white short-sleeved garment. He has a black coiffure covering the ears. He carries a table with a basket of red fruit (possibly pomegranates) from which flowers hang.
Egyptian
H at right: 15 11/16 x W: 11 13/16 in. (39.8 x 30 cm)
medium: black, red, white and green paint on mud coated with white plaster
culture: Egyptian
dynasty: 18th-19th Dynasty
Walters Art Museum, 1931, by bequest.
This cross consists of rock crystal pieces drilled through their centers and fastened together with a golden rod. Where they join, the pieces of crystal are bound with decorative bands of painted gold. Venice was one of the most important centers of rock crystal cutting at the end of the 1200s. The cross was undoubtedly intended for prominent display on an altar and may have also been used in liturgical processions. The cross was at one time in the Royal Treasury of Saxony and purportedly first belonged to Rudolph I of Habsburg (reigned 1273–91).
Italy, Venice, late 13th century
rock crystal, painted gold mounts
Overall: 70.2 x 52.2 x 6.6 cm (27 5/8 x 20 9/16 x 2 5/8 in.)
Purchase from the J. H. Wade Fund