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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.
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
Dimensions unavailable
medium: Wood, oak, pine
Metropolitan Museum of Art, New York, NY 36.127 1936
Munsey Fund, 1936
This broadsword or basket-hilted sword is a type that was often carried by the bodyguards of the Doge of Venice who came from the Dalmatian Coast of present-day Croatia and were then called Schavoni in Venice. The complex barred guard slopes forward and protects the hand.
Italy, Venice, 18th century
steel, brass, leather and wood
Overall: 100.3 cm (39 1/2 in.); Blade: 84.4 cm (33 1/4 in.); Grip: 10.5 cm (4 1/8 in.); Guard: 14.8 cm (5 13/16 in.)
Did you know...
This sword has what is known as a "cat's head" pommel, a spherical knob that serves as a counterweight at the opposite end of the sword from the point.
Gift of Mr. and Mrs. John L. Severance
For parrying, rapiers were often made with accompanying daggers as a matched set. The aristocracy's taste for rich and intricate styles of decoration led to extravagant gilding, chiseling, piercing, enameling, and silvering. The more costly or unusual these weapons appeared, the more they were desired by the clientele who commissioned them, not only for dueling but also as the ultimate accessory.
Spain, Toledo, 17th century
Pierced and chiseled steel;
Overall: 122.9 cm (48 3/8 in.); Quillions: 26.7 cm (10 1/2 in.)
Did you know...
The guard is richly decorated with chiseled and pierced arabesques, an ornamental design consisting of intertwined flowing lines.
Gift of Mr. and Mrs. John L. Severance
The original owner of this exquisite book of hours was Queen Isabella of Spain, who sponsored Christopher Columbus's exploratory voyage to the Americas. Eventually this book found its way to the New World and was acquired by the Cleveland Museum of Art in 1963.
Flanders, Bruges and Ghent
ink, tempera, and gold on vellum
Codex: 23.5 x 17.3 x 4.8 cm (9 1/4 x 6 13/16 x 1 7/8 in.)
Did you know...
Isabella’s book of hours may have in its margins one of the first depictions of a daffodil in manuscript painting.
Leonard C. Hanna, Jr. Fund
Lions are often depicted on ceiling tiles of this kind, but the stylized frontal view of the animal's head here is quite unusual and was probably influenced by similar images on glazed ceramic dishes. The piece once belonged to the newspaper magnate William Randolph Hearst (1863-1951). Nothing is known about its earlier provenance. Most comparable examples of known origin come from the town of Paterna, evidently the principal center of socarrat production.
Valencian
H: 13 7/8 x W: 17 1/8 x D: 1 in. (35.3 x 43.5 x 2.5 cm)
medium: earthenware with glaze and black paint
style: Gothic
culture: Valencian
Walters Art Museum, 1958, by purchase.
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
From ancient times, a mirror assumed various roles; a ritualistic tool, a diplomatic gift, and a luxury commodity. During the Goryeo dynasty (918-1392), which saw the great advancement of metallurgy, the royal court was the center of distributing sophisticated bronze artifacts. According to historical records, on the 7th day of the Lunar New Year, the king bestowed a bronze mirror inscribed with auspicious symbols upon each court official as part of a ceremony to celebrate the Day of Humans. This explains why a large quantity of bronze mirrors were excavated from elite tombs.
Korea, Goryeo dynasty (918–1392)
bronze
Diameter: 20.7 cm (8 1/8 in.)
Did you know...
Due to its origin as an important tool in religion and politics, mirrors are often mentioned in many Korean proverbs that warn certain behaviors.
Gift of N. M. Heeramaneck
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.
A large crane hovers at the top of this tsuba. Its wings follow the curve of the tsuba body. The depiction of the crane continues onto the reverse, where the crane's legs can be seen. The body of the tsuba is covered in a repeating pattern of small dots known as fish eggs ("nanako-ji"). The crane is a auspicious motif and a sign of longevity.
Japanese
3 1/16 in. (7.7 cm)
medium: shakudo, shibuichi, gold, and copper
style: Sano School
culture: Japanese
Walters Art Museum, 1931, by bequest.
Figures in a Landscape, 1763. Jean-Pierre-Louis-Laurent Hoüel (French, 1735–1813). Black ink and gray wash; framing lines in brown ink; sheet: 17.2 x 27.9 cm (6 3/4 x 11 in.); overall: 21 x 31.7 cm (8 1/4 x 12 1/2 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.49
More at clevelandart.org/art/2018.49
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.