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This plate is decorate with plum blossoms reserved in white against a deep cobalt blue ground which is said to resemble the cracking of an icy river at the end of winter. The sprigs of plum blossoms on the "cracked ice" ground symbolize the passing of winter and the approach of spring. This motif began in the reign of Kangxi (1662-1722) and would continue to be produced on nearly all forms of porcelain for the entirety of the Qing dynasty and especially on plates in the 18th century.
The year 1683 during the Kangxi reign (1662-1722) marks the return of the Imperial production of porcelain and the reinstitution of the Imperial kilns at Jingdezhen. A revival of imperial blue and white porcelain resulted in superbly crafted porcelains with well combined body, glaze, cobalt pigment, and skillful decoration. Refined blue cobalt allowed for inventive and varied painting techniques.
Chinese
10 1/4 in. (26 cm) (w.)
medium: porcelain with underglaze blue
culture: Chinese
dynasty: Qing Dynasty
reign: Kangxi (1662-1722)
by bequest to Walters Art Museum, 1931.
Both continuity and change are reflected in this portrait bust initially carved for a ruler of the Middle Kingdom and then re-carved for a New Kingdom monarch. There was a marked change between the way late 12th Dynasty and mid 19th Dynasty kings were represented. The pharaohs of the 12th Dynasty wished to present an experienced and careworn expression. This is conveyed by heavy eyelids, wrinkles, and a firm set to the mouth. The pharaohs of the 19th Dynasty, however, wanted their images to suggest youth, vigor, and confidence. To transform a Middle Kingdom royal image into a New Kingdom one, sculptors re-carved the face. The eyes, nose, and forehead of this sculpture show evidence of reworking to erase signs of age, while the corners of the mouth were deeply drilled to make the cheeks appear rounder and to bring the lips closer to the slight smile typical of 19th Dynasty royal sculpture.
Egyptian
8 11/16 x 7 5/16 x 4 5/16 in. (22 x 18.5 x 11 cm)
medium: anorthosite gneiss
culture: Egyptian
dynasty: 12th Dynasty, 19th Dynasty
reign: Sesostris III-Amenemhat III, Ramesses II
Walters Art Museum, 1931, by bequest.
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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: 31.1 x 41 cm (12 1/4 x 16 1/8 in.); Overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.)
Leonard C. Hanna, Jr. Fund
The frontispiece of this sutra, a sacred Buddhist scripture, illustrates episodes mentioned in the Buddha’s teaching. The sutra begins with a description of the historic Buddha Shakyamuni’s assembly on Vulture Peak. <br><br>On the right, the Buddha sits amid members of his congregation: lohans (or arhats), bodhisattvas, gods, and other beings. The narrative proceeds from right to left. Heavenly light emanates from Shakyamuni’s brow to “illuminate the eighteen thousand worlds to the east.” Illustrated immediately below the ray is the sutra’s promise that if anyone carves or paints images of the Buddha “they will achieve the Buddha path.” <br><br>The female figures in the frontispiece point to another promise made in this popular Mahayana school sutra, namely that female devotees and nuns who read the sutra are promised Buddhahood and salvation.
China, Song dynasty (960-1279)
handscroll, gold ink on indigo sutra paper
Image: 27.8 x 81 cm (10 15/16 x 31 7/8 in.); Inscription overall: 27.9 x 1044.9 cm (11 x 411 3/8 in.)
John L. Severance Fund
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
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Isis stands holding a rearing serpent in each hand; the serpents wear discs on their heads and their tails curl around her arms. The goddess' garment is long and pleated with a knot in the front. Her crown, with uraei, horns, feathers, a disc, and serpents sits atop her wig and vulture cap.
Egyptian
H: 11 3/4 in. (29.8 cm)
medium: bronze
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
Rousseau is regarded as a major pioneer in the renewal of French glass design during the 19th century. In this example, a Japanese lady wearing a kimono and carrying a fan is posed against an oval doorway.
9 1/16 in. (23 cm)
medium: layered lass, lacquer, red enamel
style: Japonism
Walters Art Museum, 1931, by bequest.
The style and quality of this manuscript's decoration is typical of deluxe Parisian books made for aristocratic or royal patrons. Most of the book's decoration appears to be the work of the Master of the Boqueteaux, an artist active at the court of King Charles V (died 1380). His style was apparently shared by a number of book illuminators working in and around Paris. It is very possible that the <em>Gotha Missal</em> belonged to Charles V, but is not provable because the manuscript has no royal portraits and lacks a colophon. Given the book's magnificent decoration, however, it would seem that it was produced for a Valois prince, if not for the king himself. The manuscript receives its name from the German dukes of Gotha, its later owners.
France, Paris
ink, tempera, and gold on vellum; blind-tooled leather binding
Codex: 27.1 x 19.5 cm (10 11/16 x 7 11/16 in.)
Mr. and Mrs. William H. Marlatt Fund
This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.
France, Paris
ink, tempera, and gold on vellum
Codex: 20.3 x 15.7 x 7 cm (8 x 6 3/16 x 2 3/4 in.)
Mr. and Mrs. William H. Marlatt Fund