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Wu Li, a native of Jiangsu province, was a talented painter, poet, and calligrapher. He studied painting with Wang Jian (1598–1677) and Wang Shimin (1592–1680), two of the “Four Wangs,” leaders of the Orthodox school of painting in the early Qing period. Through them, he also absorbed styles of earlier Ming dynasty masters.<br><br>Wu was highly praised by his contemporaries and his paintings were in demand, but his interest in philosophy and religion curtailed his painting activities later in life. Wu Li converted to Christianity and in 1688 was ordained as one of the first 3 Chinese Jesuit priests. He spent the final 30 years of his life primarily in missionary work with the poor.<br><br>Although this painting is undated, the sooty blackness of the ink tones and the easy self-confidence with which they are set down on paper echo recognized late works.
China, Qing dynasty (1644-1911)
Hanging scroll; ink and light color on paper
Image: 109.5 x 25.9 cm (43 1/8 x 10 3/16 in.); Overall: 207 x 44.9 cm (81 1/2 x 17 11/16 in.)
Did you know...
A figure carrying a <em>qin</em>, zither, walks between the buildings, perhaps intending to play music for the two men seated beneath the pines.
John L. Severance Fund
89 1/2 x 42 x 24 1/2 in. (227.3 x 106.7 x 62.2 cm)
medium: Mahogany, satinwood, ebony with white pine, cedar
Metropolitan Museum of Art, New York, NY 46.67.89 1946
Gift of the Members of the Committee of the Bertha King Benkard Memorial Fund, 1946
H: 5 1/4 x W: 3 15/16 in. (13.4 x 10 cm)
medium: watercolor on ivory
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 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
Many of Goryeo period spoons like this one feature a curved handle that splits into a jagged fishtail design. This fishtail design is not unique to Korea; it was also widely used in the area under the rule of two non-Han Chinese states: Liao (907–1125) and Jin (1115–1234). These seemingly ordinary objects testify to exciting material interactions between the Goryeo dynasty and non-Han Chinese northern states, which were often omitted from the official records.
Korea, Goryeo dynasty (918–1392)
bronze
Overall: 33.6 cm (13 1/4 in.)
Did you know...
Bronze spoons are the most common burial item. This particular example bears an inscription at the back of the handle end.
General Income Fund
As early as the seventh century, the practice of drinking tea and wine became an important part of elite culture in Korea. Elites of the Goryeo period commissioned a variety of types of utensils and vessels including this elegant tea bowl not only to make their drinking experience more exciting, but also to show their appreciation of nature.
Korea, Goryeo dynasty (918–1392)
pottery
Diameter of mouth: 17.1 cm (6 3/4 in.); Overall: 5.4 cm (2 1/8 in.)
Did you know...
The floral pattern of this bowl was created by a mold with carved patterns.
Gift of John L. Severance
Sixteenth-century Spanish hunters armed with spears and accompanied by dogs attack a wild bull. It is a dangerous pursuit, and one of the men has fallen backward over his collapsed horse. The dogs are in peril as well. Barye had access to the duke of Orléans's extensive library containing books devoted to history and travel. It was from such sources that he might have derived inspiration for his subjects. This unique lost-wax cast originally was placed next to the plinth carrying the central "Tiger Hunt" (Walters 27.176) in the Duke d'Orleans' celebrated table centre-piece.
H: 18 1/16 × W: 25 9/16 × D: 11 5/8 in. (45.8 × 65 × 29.5 cm)
medium: bronze lost-wax cast with brown varnish patina over yellow bronze with minute traces of gilding
Walters Art Museum, 1931, by bequest.
These works by the French sculptor Claude Michel, called Clodion, show a pair of young satyrs. Clodion was fond of depicting characters from classical antiquity in his work, and the subject of child or baby satyrs in Bacchanalian celebrations appears often in the work of Rococo artists. The female satyr wraps a plump arm around a nest filled with baby birds, while her male counterpart holds an owl. Balancing on one foot, the two flee the scene of their theft.
France, 18th century
terracotta
Overall: 32.1 x 14.8 x 18.1 cm (12 5/8 x 5 13/16 x 7 1/8 in.); with base: 45.1 cm (17 3/4 in.)
The Elisabeth Severance Prentiss Collection
During the early 1600s, Dutch merchants were in Moscow actively pursuing the Russian fur trade. They brought gifts for the court that apparently included Dutch metalwork, which influenced the style of local craftsman. Their work, in turn, would have been prized as gifts to be taken back to Holland. This characteristic "bratina" (from the Russian "brat," meaning brother) was to be passed around at feasts. The embossed, chased decoration with masks and flowing forms draws on the work of Dutch silversmiths at mid-century, epitomized by Johannes Lutma.
Russian
H: 3 11/16 × Diam: 4 1/16 in. (9.4 × 10.3 cm)
medium: partially gilded silver
style: Baroque
culture: Russian
Walters Art Museum, 1931, by bequest.
This is an imaginary portrait of the mother of the Zen master Hottō Enmyō Kokushi (1203–1298), whose sculptural portrait (1970.67) can be seen in gallery 235B. That image was carved soon after the master's death. His mother's image, however, was completed several hundred years later, so the likeness is doubtful.
Japan, Edo period (1615–1868)
wood with polychromy and inlaid crystal and stone eyes
Overall: 60.3 cm (23 3/4 in.)
Edward L. Whittemore Fund
Each of the four gospels in this book opens on a page with brilliantly illuminated borders depicting the author of the text as well as birds-principally peacocks, symbols of the immortality of the soul-and fountains, representing the fountain of life and the salvation of the soul. This volume consists of 428 leaves with texts in Greek. Its level of sophistication suggests that it was probably written and decorated in a monastery in Constantinople.
Byzantium, Constantinople
ink, tempera, and gold on vellum; leather binding
Sheet: 28 x 23 cm (11 x 9 1/16 in.)
Did you know...
Gospel Books were carried in procession through Byzantine churches.
Purchase from the J. H. Wade Fund
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In AD 41, the debauched Roman emperor Caligula was murdered. Gratus, a member of the Praetorian, draws a curtain aside to reveal the terrified Claudius who is hailed as emperor on the spot. Beneath the herm in the background, lie the bodies of Caligula, his wife Caesonia, their young daughter and a bystander. The blood stains on the herm denote the struggle that has transpired as well as the setting, the Hermaeum, an apartment in the Palace where Claudius had sought refuge.
Opus LXXXVIII
H: 33 7/8 x W: 68 5/8 in. (86 x 174.3 cm)
Framed H: 50 3/4 x W: 86 x D: 5 1/2 in. (128.9 x 218.4 x 14 cm)
medium: oil on canvas
by bequest Walters Art Museum, 1931.