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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.
After dreaming of its famous bell, a grieving mother seeks her lost child at Mii Temple. She arrives on the night of a full autumn moon, wearing a traveler's hat and grasping a branch of bamboo, a symbol of female frenzy. In an emotion-filled dance, the woman begs the priests to let her ring the bell, which is represented on stage by a miniature construction. At its sound, the child recognizes his mother immediately.
Japanese
H: 9 13/16 x W: 14 5/8 in. (25 x 37.2 cm)
medium: pigments on mulberry paper
culture: Japanese
Walters Art Museum, 1989, by gift.
[url=http://airforceshooting.org/bouchee.html]SMSgt Dan Bouchee[/url] receiving his General Twining Award
The artist who painted the first two scenes rendered the pit as a structure made of bricks. Peering over the edge is a Brahmin, a member of the Hindu priest class, wearing white. In the first painting he holds the bracelets given to him by the jinn princess to pay off his gambling debts; in the second he holds a text. In the pit, the jinn princess has been waiting for 70 years for her beloved to find the courage to pass through the cauldron of boiling oil in order to become purified enough to be with her––a jinn, who is a being of light, like a genie. Hearing of this predicament from the Brahmin, the King of Kings, wearing orange, provided a salve that protects the wearer from the harm of the hot oil, so the old man could safely pass through the boiling cauldron, which restored his youth. The artist Banavari, whose name is inscribed on the margin of the third page, went on to become a prominent artist in Akbar’s atelier. This painting may be the earliest surviving example of his work.
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: 11.3 x 10.1 cm (4 7/16 x 4 in.)
Did you know...
The old man emerges from the boiling oil eighteen years old and beardless.
Gift of Mrs. A. Dean Perry
Thomas Kelah Wharton
American (born England), Hull 1814–1862 New Orleans, Louisiana
5 13/16 x 7 7/16 in. (14.8 x 18.9 cm)
medium: Black ink (or watercolor) applied with pen or brush on off-white wove paper
Metropolitan Museum of Art, New York, NY 1994.187.12 1994
Purchase, Mrs. Louis Marx Gift, 1994
7 Signs That Adrenal Fatigue is Behind Your Anxiety, Sleep Problems And Joint Pain
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Go to Page with image in the Internet Archive
Title: Des différentes formes dâÂÂostéo-arthrites tuberculeuses, de leur traitement par la méthode sclérogène pure ou combinée àlâÂÂarthrectomie précoce et répétée (curettages et résections atypiques) surtout chez lâÂÂenfant. (Méthode du professeur Lannelongue)
Creator: Mauclaire P. (Placide), b.1863
Creator: Royal College of Physicians of Edinburgh
Publisher: Paris : G. Steinheil
Sponsor: Jisc and Wellcome Library
Contributor: Royal College of Physicians in Edinburgh
Date: 1893
Language: fre
Description: This material has been provided by the Royal College of Physicians of Edinburgh. The original may be consulted at the Royal College of Physicians of Edinburgh
Royal College of Physicians of Edinburgh
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.
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Stylized waves with foam highlighted in gold fill the tsuba. This is part of a mounted set.
Japanese
H: 2 3/16 x W: 1 11/16 x D: 1/4 in. (5.6 x 4.3 x 0.6 cm)
medium: silver, shibuichi, gold
culture: Japanese
Walters Art Museum, 1931, by bequest.
<em>Kamānche</em> is a Persian term first used in the 10th century to describe an instrument that is sounded with a bow. From there, bowed instruments spread to Byzantium, Central Asia, the Far East, and then to Europe. In Egypt, it is known as the <em>rabāb</em>, a term known throughout the Islamic world from North Africa to Southeast Asia.<br> <br>The names of musical instruments often reveal origin, context, or musical function. In Europe, North Africa, and Asia where contact with Middle Eastern culture occurred, variations of Arabic and Persian terms for instruments are widespread. Usually, related names refer to similar instruments; however, this is not always true. Among these "floating terms" are the names <em>zūrna</em>, rabāb, <em>kāmanja</em>, <em>nāy</em>, and <em>dombak</em>.
Northern Iran (Caucasian, maybe Azerbaijan, or Kashmir)
Wood, hide, and bone
Overall: 58.5 x 26.8 cm (23 1/16 x 10 9/16 in.)
Did you know...
The instrument's spike would be placed on the ground or today, on the knee, when it was played.
The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr.