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<em>Views of Tiger Hill </em>depicts a historic site a few miles northwest of Suzhou. The scenes simulate a visit from arriving by boat at the foot of the mountain to climbing to Cloudy Cliff Monastery. Representations of the artist’s mature style, Shen Zhou included views in subtle colors in the suite of monochrome scenes. <br><br>A Suzhou native, Shen Zhou was supported by family wealth and rejected an official career in favor of life as a retired scholar. Turning to painting in midlife, he is regarded as the founder of the Wu School of painting, with its center in Suzhou.
China, Ming dynasty (1368–1644)
Album leaf; ink on paper or ink and slight color on paper
Image: 31.5 x 41.4 cm (12 3/8 x 16 5/16 in.); Overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.)
Did you know...
The Five Sage Terrace marks the top of Tiger Hill.
Leonard C. Hanna, Jr. Fund
John William Hill
American (born England), London 1812–1879 West Nyack, New York
1 11/16 x 4 3/8 in. (4.3 x 11.1 cm)
medium: Watercolor and gum arabic on off-white wove paper
Metropolitan Museum of Art, New York, NY 82.9.3 1882
Gift of J. Henry Hill, 1882
John Opie's working-class roots made him sympathetic to the plight of the laborer. This painting demonstrates his interest in an honest portrayal of British street life, a sympathy rarely seen in the work of other British artists of his generation, who often presented lower classes more coldly. Much of Britain's population at this time was poor, but beggars and street vendors had a particularly low status. Street singers were often sellers of goods. By focusing the composition tightly on the woman and not including any wares, Opie makes the viewer recognize her humanity; moreover, he emphasizes the connection between mother and child. The singer is working to feed her baby, evoking sympathy from the viewer.
England, 18th century
oil on canvas
Framed: 100 x 87.5 x 11 cm (39 3/8 x 34 7/16 x 4 5/16 in.); Unframed: 76.5 x 64.3 cm (30 1/8 x 25 5/16 in.)
Gift of Mr. and Mrs. J. H. Wade
This dagger is decorated with an incised human face and a geometric pattern.
Melanesia, Papua New Guinea, Sepik River region, 19th century
cassowary bone
Overall: 33.6 x 4.6 cm (13 1/4 x 1 13/16 in.)
Gift of Mrs. Charles E. Roseman
This kozuka was made in Nagasaki, the main port during Japan's period of restricted foreign interchange between the 1630s and the 1850s. Most of Japan's foreign trade during that time occurred through Nagasaki. The large boat in the center is a Dutch ship. The flag at its left is either the Dutch tricolor or the flag of the Dutch East Indies Company, which used the tricolor as a background. The two boats on the right are Chinese junks. Five other small boats are in the water between the large ships. These boats are tied to together and are pulling the large boat into port. Part of the port can be seen behind the small boats.
Japanese
3 7/8 in. (9.8 cm)
medium: shibuichi, gold, silver, copper
style: Ishiguro School
culture: Japanese
Walters Art Museum, 1931, by bequest.
This statue of Maitreya has an ushnisha. The left arm and head are broken off and the head has been cemented back on. There is a Manushhi Buddha on the back of the halo.
Chinese
H: 15 1/2 in. (39.3 cm)
medium: stone with traces of color
culture: Chinese
dynasty: Tang [T'ang] Dynasty
Walters Art Museum, 1931, by bequest.
Originally part of a large equestrian monument, this head allows us to imagine what was a common sight for the ancient viewer: imposing public statuary that embodied the civic values of imperial Rome. Military officials were often depicted on horseback, and the rider that was represented on the monument was likely a member of the imperial family. Such statues contained large amounts of bronze, and most were melted down for reuse in weapons and other implements in later times of crisis.
Roman
H: 24 x W: 17 15/16 x D: 7 in. (61 x 45.6 x 17.8 cm)
medium: gilt bronze
culture: Roman
dynasty: Julio-Claudian
Walters Art Museum, 1931, by bequest.