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H: 7 11/16 x W: 12 11/16 in. (19.5 x 32.2 cm)
medium: watercolor over graphite underdrawing on moderately textured, moderately thick, cream wove paper
Walters Art Museum, 1931, by bequest.
[1] sold for $425 (annotated auction catalog, WAM library)
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This box is a "pandan," a container for "betel"- thin slices of the nut of the areca palm mixed with spices and lime paste made from ground seashells and wrapped in a leaf of the betel tree. Betel, chewed after meals to help with digestion, was very popular in the Punjab region. This box is inscribed with the name of its owner, Abu'l-Kharid Nur al-Hasan Khan.
H: 3 3/4 × W: 6 × L: 6 7/8 in. (9.5 × 15.3 × 17.5 cm)
medium: brass
Walters Art Museum, Baltimore, 1988, by purchase.
These screens recall a painting style so closely identified with Ogata Kōrin (1658–1716) that it is called Rinpa, or “Rin School,” after the ideograph “rin” in his name. The highly stylized background accentuates floral groupings that have been groomed so as to appear utterly artificial, like the synthetic arrangements available today. Kōrin's genius derived in large measure from natural phenomena painstakingly observed and then manipulated to create compositions of startling refinement and sparkling isolation. This process may have grown out of Kōrin's early immersion in the family textile business, a medium that encourages such dramatic distillations of form: the stream's gold-crested waves bring to mind traditional kimono robe designs of Kōrin's era. Works with the signature seen on this painting, including a style name, or persona suggested to Kōrin by his brother Kenzan (1663–1743), are sometimes considered to have been produced either in the last year of his life, when he was very ill, or after his death. In both scenarios, the lion’s share of the work would have been done by studio assistants, but little is truly known of his studio practice. Given the regularity of the gold waves on the stream, and the tension in the arrangement of the chrysanthemums, it is also possible that the screens were made in emulation of Kōrin's designs by a later artist.
Japan, Edo period (1615–1868)
One of a pair of six-panel folding screens; ink and color on gilded paper
Image: 163.2 x 369.9 cm (64 1/4 x 145 5/8 in.)
Did you know...
The signature used on these screens may indicate paintings made in the last year of the artist's life, or works completed by his studio after his death.
Gift of the Hanna 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
As a religious procession approaches a church, a scuffle between two lantern-bearers ensues in which the elder is left sprawled on the ground clutching the shattered shaft of his light. Varying degrees of consternation are expressed by onlookers. An acolyte struggling with his heavy silver candlestick turns away, while a mother clutching her children scurries off to the right. Swaying over the throng are a banner, a lantern, and the "pasos" of the Via Crucis and the Mater Dolorosa.
Scholars have attributed this painting to a follower of Lucas rather than to the artist himself, noting the picturesque quality of the scene and the lack of vigor in its execution.
H: 26 1/2 x W: 35 1/16 in. (67.3 x 89 cm)
medium: oil on canvas
Walters Art Museum, 1931, by bequest.