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Wearing one lotus in his headdress and holding another in his hand, this pot-bellied figure personifies the lotus (padma) of the god Vishnu. Carved to stand alongside a larger-scale image of Vishnu, he would have tilted his head toward the god. As a flower that rises above the mud from which it grows, the lotus is a symbol of purity and is associated with creation and renewal.
H: 20 1/4 × W: 8 1/4 × D: 5 1/8 in. (51.5 × 21 × 13 cm)
Base H: 2 3/8 × W: 9 1/16 × D: 5 9/16 in. (6 × 23 × 14.2 cm)
medium: sandstone
Walters Art Museum, 2008, by gift.
Albert Bierstadt
American, Solingen 1830–1902 New York
Cover: 4 3/4 x 7 1/2 x 7/16 in. (12.1 x 19.1 x 1.1 cm)
Sheets: 4 5/8 x 7 1/2 in. (11.7 x 19.1 cm)
medium: Drawings in graphite on off-white wove paper, bound in a leather cover
Metropolitan Museum of Art, New York, NY 1995.379.4 1995
Bequest of Marguerite H. Rohlfs, 1995
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Me llamo Gottfried Hainsfurth
vivo en Manizales / Colombia
Calle 69#8-56 Apto 801B
Conjunto Cerros de Niza
Titled Kuba men and prominent women wear the <em>laket</em>, a small ornate dome-shaped hat. An essential fashion item of adult men in good social standing, it focuses special attention on the head as a significant marker of individual identity, ethnic affiliation, status, and role in society. This prestige object is secured on the crown of the head with a nine-and-a-half-inch metal pin that pierces through the hat onto a clump of hair. The laket is made from undyed raffia palm fiber that was then coiled into threads and woven. There are two examples of the laket: the plain type with the flat top, and the more elaborate type called the<em> laket mishiing</em>.
Africa, Central Africa, Democratic Republic of the Congo, Kuba-style maker
Raffia, metal, and dye
Overall: 10.8 x 16.8 cm (4 1/4 x 6 5/8 in.)
Educational Purchase Fund
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.
This cast silver amulet with a poor surface represents the great national god Amun, standing with the left foot directly in front of the right. The lines of his short kilt, necklace, armlets and bracelets are indicated by incision. There is a large suspension loop behind the (broken) plume on his cap. The heavy-featured face suggests this may be a provincial piece.
Egyptian
H: 1 7/16 x W: 3/16 x D: 5/16 in. (3.58 x 0.44 x 0.81 cm)
medium: cast silver
culture: Egyptian
Walters Art Museum, 1931, by bequest.
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