The dark color pallette and black strip across the top indicate that the image is set at night. A mountain with pine trees and steps leading to the top loom over the image. The sea appears behind the mountain in the distance.
The sword is long and slightly curved; the metal smith's name is engraved on the metal handle.
Long swords (tachi) were the most important belongings for samurai, almost as equal to their lives; as many tragic stories attest, samurai could commit suicide when his sword was taken, stolen, or lost.
A naked Jina sits on a throne with a naked monk to his left offering praise. A devotee sits in a lotus pond that is surrounded by flames, yet his face appears serene ans he holds his rosary. Two cobras appear next to the flames, with a three in the background.
This is an illustration in a Digambara Jain manuscript of verse 40-41 of the hymn Bhaktamara Stotra.
This illustration seems to combine ideas in verses 40 and 41, which describe the miraculous benefits of the hymn, although it corresponds very closely to the illustration for verse 40 in the manuscript with text. Verse 40 tells us that a violently raging fire is turned into a cool lotus pond by the power of the hymn, while verse 41 says that the name of the Jina is like a magic herb that quiets the most violent cobra when it is poised to attack. The illustration shows the Jina and M?natu?ga in the upper register. Below we see the worshipper holding a rosary, engulfed in flames but seated calmly in a lotus pond. The snake is shown twice, first as it attacks and then as it is turning back.
plate 34 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
Small white blossom in the bottom left portion of the print. The bloom itself is a long and vertical flower growing on the ground, which is covered in dried leaves. The foreground and the flower are in focus, while the background is dark and out of focus.
An abstracted image of a milkweed plant. Two blossoms in the center, facing opposite directions, create white halo-like shapes around their dark, oblong centers. The bottom of the image has a white streak, while the rest of the print is composed of dark, ink-like background speckled with yellow and reddish out of focus shapes.
This painting depicts a solitary bird perched on a tropical banana plant. There are inscriptions and signature of the artist on the upper left-hand corner: "A farewell gift for Mr. Katsuizumi, as he goes south. Baishi."
In 1922, a friend persuaded Baishi to submit paintings to a Sino-Japanese art exhibition in Japan. It was a spectacular success: his paintings sold for far higher prices than he had been earning in China and several were chosen for an exhibition in Paris, which led to international fame. The Japanese remained some of Baishi’s most eager customers, although he increasingly refused their requests after Japanese incursions into China in the early 1930s.
However, this painting was a gift for the artist's Japanese friend. The artist inscription indicates that it was a farewell gift for his Japanese friend Katsuizumi Sotokichi when he left Beijing for a more southerly post.
It perhaps anticipates that Katsuizumi would be lonely in his new environment. Made in probably the 1920s, it quietly bears witness to an earlier and more congenial phase in Chinese-Japanese relations.
Inscription of artist in upper right corner: Conversing in the midst of the autumn mountains, painted for Mr. Po-an (Ch'iu-luo hua shan-yao hua-wei Po-an nien-wêng). Seals of artist in upper right corner: Cha Chi-tso yin, I-huang shih.
A small gathering of buildings is nestled at the bottom of a tall, rounded mountain range. Slightly above the settlement, two travelers make their way along the mountain path. A few trees crow up out of the mountains. The mountain range near the small village cuts diagonally across the picture plane, from bottom left to middle right. The top left of the image also contains mountains, taller still. Across from these on the top right is calligraphic text and two seals.
Zha Jizuo, from the southeastern province of Zhejiang, was a scholar and much-sought after educator. His work, which is quite rare, reveals his deep veneration for the Yuan dynasty literati master, Huang Gongwang (1269–1354). Huang championed a simple aesthetic (as opposed to the flashy or slick) for scholar-artists, and Zha’s landscape is faithful to his artistic values. Zha painted this work for a friend, Zhou Lianggong (1612–1672), who rescued Zha from imprisonment by the Manchu government after Zha had been falsely accused of inciting rebellion. The two tiny figures on a half-blocked, rocky path on the hill could very well represent the artist and his ally.
signed lower right in pencil. embossed signature on lower left and circular embossed stamp in center "Archival Print Don Worth", artist negative number in pencil and print dates on back in pencil 1-96-18 1975/2005 / Plate 30
27.62 cm x 35.24 cm (10 7/8 in. x 13 7/8 in.)
An overhead view of the center of a flower with dark petals and white tips. The flower encompasses the entire image.
Among Akan-speaking peoples of Ghana and Côte d'Ivoire, merchants and traders used weights to weigh golddust, by placing an amount of golddust on one scale of a hand-held balance, and a weight such as this one on the other. All traders used to have their own set of weights, and for a transaction, each trader would weigh the golddust using his own weights. There were no fixed shapes or forms to represent a particular weight (or amount of gold dust), but each trader would have weights in a variety of shapes and sizes and would know the mass of all the weights in his own collection.