The cup rest is decorated with a lotus medallion with two rows of petals and its edge and foot are also shaped like a flower.The surface is coated with a greenish blue glaze. The edge and foot of the cup stand are decorated with white inlaid chrysanthemum motifs.
Usually accompanied by a matching cup, this type of cup and stand were typically used to hold wine.
This bowl has a very thin body, which flares widely from a small, shallow ring foot, silver mount on unglazed rim. The interior of the bowl is decorated with an incised design of a pomegranate plant. A creamy white glaze of ivory tone is distinctive of Ding ware.
Ding ware was produced in northern China especially for nobility. Because it has a very thin body and the design preference was for a small foot, this bowl and others like it had to be fired upside down in the kiln. Potters left the rim of the bowl unglazed, so that the bowl did not stick to the supporting surface during firing. The interior of the bowl is decorated with an incised design of a pomegranate plant, a symbol of fertility and plenty.
Maribeth Graybill, Senior Curator of Asian Art
Exhibited in "Flora and Fauna in Chinese Art," April 6, 2002 - December 1, 2002.
The Song dynasty (960–1279) in China was a period when the arts of painting, calligraphy, and ceramics reached extraordinary levels of refinement. One of the most celebrated ceramics of the day, produced under the direct supervision of the imperial court, was Ding ware. A creamy white stoneware made at the Ding kiln in northern China, Ding ware was known for its thin walls and elegantly drawn incised designs, such as this bowl with floral design.
Clear glass saucer with milky, iridescent free-standing form in the center shaped like a rabbit.
Inspired by the Art Nouveau movement, which was characterized by organic forms and motifs derived from nature, René Lalique’s works—often featuring various flora and fauna including animals, such as the rabbit seen here—played with the effects of transparency and surface treatment.
Flaring base with spherical food storage bowl on top. The base is cut with evenly spaced rectangular holes. The lid is incised with a repeating design.
Footed bowl was found in the Three Kingdom and Unified Silla. It is one of the ritual vessels. It can be found in every tomb of that age. It is almost grayish-blue stoneware. At the beginning, It didn’t have lid and perforation. From 4C lid and perforation was made. Footed bowl is divided Silla style and Gaya style. The lid and bowl of Silla style are thick and the leg is slim. The perforation is located in altering position. In contrast, the lid and bowl of Gaya style is very flat and the leg is thick. The perforation is positioned in parallel.
This study depicts a rectangular chapel with the side walls bent outward at an angle in order to provide a clearer view of the decoration. The chapel design centers upon a sarcophagus placed beneath a painted altarpiece of the Virgin and Child, which are both set within a semicircular architectural projection that extends dynamically from the wall. On the left the pair of angels that support a large oval-shaped painting reach vigorously outward, their wings overlapping the pilasters. On the right appears another sarcophagus surmounted by a pair of putti. Leaning out from the oval niche above the sarcophagus is a female half-figure—probably a portrait of the deceased—making a gesture of devotion toward the altar.
This study for a chapel in Vienna reveals how Pozzo could orchestrate architecture, sculpture, and painting into a seamless decorative program that could transform an interior space into a dramatic religious spectacle. The compelling power of the visual spectacle derives from his ability to blur the boundary between the artwork and the viewer’s space.