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The openwork design on this tsuba features two figures standing at the right. The one in the rear carries a quiver of arrows and a bow. He is blowing a long horn. The figure in front holds a Chinese style lion-dog ("shishi") on a leash. This animal did not exist, but is derived from Chinese and Japanese interpretations of stories and paintings of lions in India.
Japanese
2 3/4 x 2 11/16 x 3/16 in. (7 x 6.88 x 0.5 cm)
medium: iron, gold, copper, shakudo
culture: Japanese
Walters Art Museum, 1931, by bequest.
the colours on this are bright which looks like they are a god character this also makes it look lIke he is a good character because he has someone next to him whilst he is recovering or lying there dead
England, 18th century
silk embroidery on wool, cross stitch
Overall: 45.7 x 33 cm (18 x 13 in.)
Educational Purchase Fund
Rattles that combine ravens, humans, and frogs are among the best known but least understood of the Northwest Coast object types. They clearly have mythic import and may have originated as shamans’ implements. But historically chiefs used them during secular parts of winter dances.
Colombia
pottery
Overall: 6.4 cm (2 1/2 in.)
Gift of W. A. Price
During the contest between Zeus and the giants (the Gigantomachy), Zeus, shown in his chariot, tramples two giants in human form with serpent legs. The prototype for this intaglio is a gem now in the National Museum of Naples. Both are signed in Greek "Athenion," the name of an ancient gem engraver.
1 7/16 x 1 3/4 in. (3.6 x 4.5 cm)
medium: sardonyx
Walters Art Museum, 1942, by purchase.
This tsuba illustrates a story about the 8th-century Chinese painter Wu Daozi [Tao-tzu], who was said to have painted a picture of a dragon so realistic that it came to life. The tsuba shows the painter in the lower right surrounded by brushes and other tools. The dragon looms over the upper left of the tsuba. On the reverse is a pine tree and bamboo. Both secondary holes have been plugged and the background incising continues across the plugs.
Japanese
2 13/16 x 2 11/16 x 1/8 in. (7.15 x 6.88 x 0.38 cm)
medium: sentoku, gold, copper
style: Shimizu School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Cytises et Digitales, 1898. Maurice Pillard Verneuil (French, 1869–1942). Color lithograph; The Cleveland Museum of Art, Bequest of Elizabeth Carroll Shearer 2016.256
More at clevelandart.org/art/2016.256
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.)
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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
22 1/2 x 23 in. (57.2 x 58.4 cm)
medium: Brass
Metropolitan Museum of Art, New York, NY 22.120.2 1922
Rogers Fund, 1922
At the lower edge of this tsuba is the rim and shoulder of a wicker basket. Emerging from the basket to form the body of the tsuba are grasses, peonies and chrysanthemums. The handles of the basket form the edge of the tsuba.
Japanese
3 1/16 in. (7.7 cm)
medium: iron, gold
style: Sunagawa School
culture: Japanese
Walters Art Museum, 1931, by bequest.
A gemellion (from the Latin geminus, meaning "twin") is one of a pair of basins used for hand washing, either at home or during the Mass. Water was poured from the spouted bowl and was caught in the second bowl placed below. Many gemellions made in the enamel manufacturing center of Limoges, France, were decorated with secular-themed designs of birds, beasts, or courtly scenes. This example shows a knight kneeling before his lady in the central medallion and women holding coats-of-arms on the surround.
French
H: 1 3/8 x Diam: 8 7/8 in. (3.5 x 22.5 cm)
medium: champlevé enamel on copper with gilding
style: Gothic
culture: French
Walters Art Museum, 1931, by bequest.
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.
Dürer conceived this fantastical chariot as part of a larger commission to depict Holy Roman Emperor Maximilian I (reigned 1486–1519) in a triumphal procession. The ruler sits enthroned in the lavish car, as Victory holds a laurel wreath above his imperial crown. Her feathered wings list Maximilian’s military campaigns. Nearly every component of the allegorical pageant—from the entourage of female attendants to the laurel garlands—has a Latin label describing honorable qualities of an ideal prince. The car rolls on wheels of Magnificence, Honor, Dignity, and Glory. Its driver is Reason, who guides a team of 12 horses with reins of Nobility and Power. Virtues of Justice, Strength, Wisdom, and Temperance, stand on pedestals arranged around the emperor. Maximilian died in 1519, before the ambitious commission could be completed. Dürer published The Great Triumphal Car at his own expense with text composed by his friend Willibald Pirckheimer (1470–1530).
Germany, 16th century
woodcut
Dudley P. Allen Fund
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.
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7 3/16 x 9 5/16 in. (18.3 x 23.6 cm)
medium: iron gall ink and wash on slightly textured, medium-weight, cream, wove paper
Walters Art Museum, 1960, by bequest.