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7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
The scene depicted is from a story about the bell at the temple Dôjôji. On right are two monks with prayer beads in the act of praying. At the left, the large bell of the temple is shown fallen from its tower. A jealous woman transformed into a dragon while chasing a monk she thought had promised to marry her. The monks of Dôjôji hid the monk in the bell tower. The bell fell, trapping him under it. The woman, in her dragon form, coiled her body around the bell and breathed flames on it. This killed the monk trapped inside. The story is retold in noh and kabuki plays of the same name. In the plays, a dancer comes to the temple to celebrate the installation of a new bell. She dances under the bell and when it falls on her is transformed into the dragon. A pine tree and stream are shown on the reverse.
Japanese
2 13/16 x 2 5/8 x 3/16 in. (7.13 x 6.64 x 0.5 cm)
medium: sentoku
style: Nara School
culture: Japanese
Walters Art Museum, 1931, by bequest.
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This piece was designed by Louis Comfort Tiffany and executed by Tiffany & Co., the firm established in New York in 1837 by Louis Comfort Tiffany's father, Charles. On Charles's death in 1902, LCT, as he was known, became artist director of the firm. When this piece was shown at the Panama-Pacific International Exposition held in San Francisco in 1915, it was described simply as a "Gold Cup," but the patterns used may have been inspired by Indian metal work, while the technique of transparent enamel was revived in late 19th-century France, and looked back to the art of the Medieval period. "The Jewelers' Circular" described this piece as follows: "cup of 18 karat gold covered with richly chased design of Indian ornament. This cup is elaborately pierced and filled with transparent enamels of rich blue and turquoise, the same tones being repeated on the foot." According to a Tiffany & Co. pattern book, this cup (18194) was completed on 13 July 1913 and the cost of labor and fabrication was $2,500. The pattern book also states that the cup was "enameled at the store," which would indicate that the body of the cup was made in the silver division of the firm in New Jersey and then enameled in New York, under the direction of Julia Munson Sherman, one of a group of so called "Tiffany Girls," who worked at the firm but who was not credited. Sherman left the firm the year after this cup was made when she married, as Tiffany, like many other employers at the time, would not employ women who were enaged to be married or married.
H: 8 11/16 x Diam: 9 13/16 in. (22 x 24.9 cm)
medium: gold, transparent enamel
Walters Art Museum, 1931, by bequest.
After being abandoned in the desert by her cruel husband, Khassa’s daughter is discovered by Khusrau, who is instantly captivated by her religious devotion. He proposes marriage and aptly punishes those who were cruel to her. The brick well that sustained her for many days in the desert is depicted in the foreground.
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: 9.9 x 9.9 cm (3 7/8 x 3 7/8 in.)
Did you know...
The woman kneels on a rug and holds prayer beads, signaling her Islamic faith.
Gift of Mrs. A. Dean Perry
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
John William Hill
American (born England), London 1812–1879 West Nyack, New York
10 3/4 x 13 in. (27.3 x 33 cm)
medium: Watercolor and gouache on off-white laminated paper board (possibly Bristol board)
Metropolitan Museum of Art, New York, NY 1979.452 1979
Maria DeWitt Jesup Fund, 1979
medium: leather, wool, glass, metal, hair, silk
Metropolitan Museum of Art, New York, NY 2009.300.50 2009
Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Museum Expedition 1920 & 1921, Robert B. Woodward Memorial Fund, 1921
The use of Russian hardstones in creating precious objects became a hallmark of design from the House of Fabergé. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Fabergé's workmasters used colorful stones such as agate, lapis lazuli, rock crystal, rhodonite, and nephrite (jade), seen here in this small desk clock, to create and embellish flower studies, animal figures, and all manner of luxurious accessories.
Russia, St. Petersburg
nephrite, gold, enamel, diamonds
Overall: 7.9 x 3.4 x 2.5 cm (3 1/8 x 1 5/16 x 1 in.)
Did you know...
The face of this small luxurious desk clock features tiny pink enameled roses in place of the customary numbers along with hour and minute hands paved in diamonds.
The India Early Minshall Collection
7th MAY, LONDON – The London Pyramid Group meet to discuss URL Dispatch and look at how Pyramid matches URLs to views using simple pattern matching. Then having a look at some basic traversal and resource trees. See future London Pyramid Group meetups at: skillsmatter.com/user-group/ajax-ria/ldn-pyr
The dragon and tiger are tied to the philosophical concept of yin and yang, which describes opposite but complementary forces. The dragon occupies a tiered background of waves and mist. Its luminous head emerges from the darker passages, and its narrow twisting body is serpent-like. By contrast, the close-up view of the tiger emphasizes its bulk. The tiger bends its head to lick its paw while its tail curls in the foreground. <br><br>In their original Chan Buddhist context, this pair of scrolls likely flanked a central image, like the Bodhisattva Guanyin. The silk has darkened over the centuries, and the slight reddish shading in the tiger’s tongue and nose has faded.
China, Southern Song dynasty (1127-1279)
Hanging scroll; ink and slight color on silk
Painting: 125.2 x 57.2 cm (49 5/16 x 22 1/2 in.); Overall with knobs: 227.1 x 78 cm (89 7/16 x 30 11/16 in.)
Did you know...
Fachang Muqi's ink paintings, like this pair, were highly appreciated and collected in Japan.
Purchase from the J. H. Wade Fund