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AN EGYPTIAN POLYCHROME LIMESTONE USHABTI OF DJEHUTY-MOSE (TOTHMES), OVERSEER OF THE CATTLE IN THE TEMPLE OF AMUN, 19TH DYNASTY, 1292-1190 B.C.
holding a djed-pillar and Knot of Isis, and wearing a pleated shirt and kilt with overfold, a ba-bird with wings outstretched on the chest, broad beaded collar, short beard, and double wig of echeloned and zig-zag curls bound in a headband, his face with full outlined lips indented at the corners, straight nose, and large eyes with long eyebrows and cosmetic lines painted in black, columns and lines of inscription on the kilt.
MEASUREMENTS
height 12 3/8 in. 31.5 cm.
PROVENANCE
Omar Pacha Sultan, Cairo, 1920s
Mathias Komor, New York [E.724], June 30th, 1975
LITERATURE AND REFERENCES
Collection de feu Omar Pacha Sultan, Le Caire. Catalogue descriptif. Vol. 1: Art égyptien, Paris, 1929, no. 303, pls. XLII (Vitrine 2 bis) and XLV
Jacques-F. and Liliane Aubert, Statuettes égyptiennes. Chaouabtis, ouchebtis, Paris, 1974, p. 89
Jacques-F. Aubert, "Les statuettes funéraires de la Collection Omar Pacha," Chroniques d'Égypte, vol. LI, 1976, no. 303
CATALOGUE NOTE
The present ushabti is one of a very small group of private ushabtis (all for different owners) inscribed with the hallowed Khamuas formula: others are in Leiden (3.2.1.31 and 3.2.1.19), Cairo (47220 and JE 11092), London (33921), and Vienna; another was sold at Sotheby's, London, December 3rd, 1973, no. 37 (see Aubert, op. cit., 1974, cover illus). The Khamuas formula takes its name from the ushabtis of prince Khamuas or Khaemwaset, a son of Ramesses II on whose ushabtis this magical spell appears for the first time. As an antiquarian and magician Khaemwaset is thought to have devised the formula himself in order to facilitate the entry of the deceased into Roset-au (the domain of Osiris), the freedom to move within its boundaries, and the securing of land and workers therein. The spell, which the owner speaks to the ushabti, usually runs as follows: "May your face be opened so that you see the sun-disk and that you adore the Sun in life. May you be summoned in Roset-au, and circle the mound of Tja-mut, traverse the valley of Upper Roset-au and open the Secret Cavern. May you take place upon your seat which is in Ta-djeser, like the great crew members who are in Re." (H.H. Schneider, Shabtis, Part I, Leiden, 1977, p. 285); the author notes that the formula is "especially composed to raise the owner of the shabti to a higher, divine level, and to make him a citizen, as it were, of the sacred region of Roset-au."
SNY12071027
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Nativity (Guatemala), 18th century, polychrome wood, gilt silver, glass, Jesus 24.4 cm, Angel 45.7 cm, Mary 50.8 cm, Joseph 52.7 cm (The Metropolitan Museum of Art)
Polychrome #iznik #walltiles #decoration #polychrome #topkapipalace #istanbul #turkey #architecture #interiordesign #detail #craft #cobaltblue #nikoncoolpixs8000
Alexander McQueen
Dress, autumn/winter 2006-7
Cream and polychrome silk brocade
On background of Portobello Wallpaper
On electrum gilded paper by the de Gournay
Taken in the 'China: Through the Looking Glass' exhibition (May-September 2015).
This exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.
From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.
The exhibition features more than 140 examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.
[Exhibition description]
In the Metropolitan Museum of Art, 5th Avenue, New York
Alexander McQueen
Dress, autumn/winter 2006-7
Cream and polychrome silk brocade
On background of Portobello Wallpaper
On electrum gilded paper by the de Gournay
Taken in the 'China: Through the Looking Glass' exhibition (May-September 2015).
This exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.
From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.
The exhibition features more than 140 examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.
[Exhibition description]
In the Metropolitan Museum of Art, 5th Avenue, New York
Nativity (Guatemala), 18th century, polychrome wood, gilt silver, glass, Jesus 24.4 cm, Angel 45.7 cm, Mary 50.8 cm, Joseph 52.7 cm (The Metropolitan Museum of Art)
Etruscan polychrome terracotta antefix (ornaments at the eaves of a building), in the form of a woman. Five of them were on display in the Museo dell’Arte Salvata (Museum of Rescued Art - looted art returning home to Italy), each with different patterns and colors in their clothing and diadems. At the time I took this photo (October, 2022), it was unclear as to which museum would take these figures. Perhaps Cerveteri?
Dated from the beginning of the 5th century BCE.
Nativity (Guatemala), 18th century, polychrome wood, gilt silver, glass, Jesus 24.4 cm, Angel 45.7 cm, Mary 50.8 cm, Joseph 52.7 cm (The Metropolitan Museum of Art)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Saint Anne with the Madonna and Child, Hispano-Flemish School, Carved polychrome wood, first quarter of 16th century, Museum of Pilgrimage, Santiago, Spain
Polychrome tomb figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome tile decoration inside Qavam House in Eram Garden, a historic Persian garden and now designated UNESCO World Heritage site, situated in Shiraz, the capital of Fars province of Iran.
Eram Garden (Bagh-e Eram), also known as Paradise Garden, located along the northern shore of the Khoshk River in Shiraz, is one of the most famous and beautiful Persian gardens in all of Iran. It should be noted that the word ‘Eram’ is the Persian version of the Arabic word ‘Iram’ which means heaven in Islam’s most holiest of books, the Qur’an. With its beautiful grounds, lush plant life and aesthetic attractions, it’s easy to see why Eram evokes such a description.
© All rights reserved. You may not use this photo in website, blog or any other media without my explicit permission.
SAINT GEORGE PALACE OF CARVAJAL. A polychrome carving dated from the 16th century and has the particularity of showing the saint on foot, without his inseparable horse. Measuring 112x42x35cm, it is in a clear French Gothic style, with the figure in a relaxed posture, sweet, almost feminine features, which contrasts with the violent character of the dragon. It is a carving of great harmony and mastery that was acquired outside the country by the previous owner of the Palacio de Carvajal, D. Álvaro de Cabestani y Anduaga at the end of the 50s of the last century. It is currently exhibited at the entrance of said palace behind a necessary, but annoying glass, which protects this valuable sculpture.
The palace
Located on Calle Amargura, it was erected between the 15th and 16th centuries. This building has Gothic and Renaissance elements.
Its main façade follows the typology of most Cáceres palaces, with granite masonry highlighting the semi-circular arched doorway, large voussoirs reaching to the ground , a large image of Carvajal’s coat of arms framed in an alfiz, and a corner balcony under a pointed arch.
Inside the house, there is a rectangular cloister with arcades on columns.
Its twelfth-century round tower made of rough ashlars also stands out. At its base you will find the palace chapel, decorated with some interesting frescoes.
Recommendations: You must visit the garden, with a spectacular fig tree--a clear example of the interior green spaces that can be found today in these buildings in the Historic Centre.
Maya Culture polychrome vase
Late Classic period (600-900 CE)
Tikal Maya citadel
Guatemala City: Museo Nacional de Arqueología y Etnología (Museum of Archaeology and Ethnology)
"Parable" Susan Roth 2015 Lexan powdercoated steel and acrylic , in situ in our home
This sculpture has improved with age as is the case with challenging art. Roth has been challenging conventions her whole career, every bit as much as Stella, Chamberlain and Gottlieb added to the polychrome sculpture before her. These days with so many followers, it gets confusing where it was first stated, but as is often the case, one sees the power of the statement increasing over time and that often confirms the insight and inspiration as well as execution of the expression. This piece is awesome though even these many views is not close to experiencing it mano a mano.
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Hellenistic period, ca. 200-130 BCE
From Myrina (see Myrina/Sebastopolis on Pleiades)
In the collection of, and photographed on display at, the University of Missouri Museum of Art and Archaeology, Columbia, Missouri, USA
At the time the museum was located at Mizzou North
Inv. 81.2 (Gift of the MU Student Fee Capital Improvements Fund)
maacollections.missouri.edu/ArgusNET/Portal.aspx?lang=en-...
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
441 Main Street, Orwell, Vermont USA • The First National Bank of Orwell (1878) is the smallest bank in Vermont, and thus one of the smallest in the United States. • Victorian Gothic style, brick, flat roof, 1 story. Features: lintels, polychrome slate, cornice arcading, distinctive door, round arch window, distinctive interior. • Here's a nice article on the bank and it's history.
☞ This structure is listed on the Vermont State Register of Historic Places. Source: Data excerpts from "The Historic Architecture of Addison County: including a listing of the Vermont State Register of Historic Places"; Vermont Division of Historic Preservation; Curtis B. Johnson, Editor; © 1992.
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
"Parable" Susan Roth 2015 Lexan powdercoated steel and acrylic , in situ in our home
This sculpture has improved with age as is the case with challenging art. Roth has been challenging conventions her whole career, every bit as much as Stella, Chamberlain and Gottlieb added to the polychrome sculpture before her. These days with so many followers, it gets confusing where it was first stated, but as is often the case, one sees the power of the statement increasing over time and that often confirms the insight and inspiration as well as execution of the expression. This piece is awesome though even these many views is not close to experiencing it mano a mano.
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychrome figures (Sancai), 618–907 C.E. (Tang Dynasty), white clay, lead oxide flux and glazes colored with copper, iron, manganese, and cobalt; fired at 800 degrees celsius (Shanghai Museum)
Polychromed and gilt but in need of some expert restoration, which will be undertaken in due course.