Goldweight in the shape of a gun cartridge belt with attached powder bag and horn.
Some of the figurative weights used by Akan-speaking peoples in Ghana and Côte d'Ivoire took the form of important items of regalia, referring to a ruler's spiritual, political or military powers. This weight depicts the elaborately decorated cartridge belt with powder bag and horn worn by the official sword bearers who served Asante rulers. More specifically, it might depict the gun cartridge of the legendary general Akowua, about whom a proverb says: "The gun cartridge-belt of Akowu has never been known to lack bullets" ("Atuduro asa a, nnye Akowua ntoa mu a"). In other words, the proverb, and the goldweight that expresses it in visual form, remind the viewer or listener of the importance of resourcefulness and preparedness.
Light mauve silk with appliqued Saga brocade patches of gold fans with calligraphic poetry on them. The calligraphy has been brushed on paper with gold flecks (sunago). which is the weft of the Saga brocade; brown silk thread is the warp. Partially backed with a different silk, a taupe with deliberately knotted weft; reamainder backed with plain-weave taupe silk.
Saga brocade obi with woven poetry inscribed fan designs.
Beige dupioni (tamaito) silk with hand-painted landscape designs depicted streams and bridges in wooded mountains. Ground fabric possible dyed with tea.
Nagoya obi were first produced at the end of the Taisho era, and are simpler than the more formal fukuro and maru obi. A portion of Nagoya obi fabric is folded and stitched in half, making it easier to tie. Senshô Kasen was the dyeing atelier and Takizawa Kôyû is responsible for the hand-painted designs.
Embroidery on a plain cotton fabric (khaddar). Red-orange khaddar with neon orange, green, white and red accents which make up the bagh tara (four-part flower) design.
The Punjab region is known for these brilliant embroideries that can function as head coverings, wall hangings, or dresses. The name phulkari, meaning “flower working,” was given to them for their beautiful and intricate embroidered designs. A folk art handed down among women for generations, young girls would begin learning phulkari from their mothers, often participating in village stitching circles. Phulkari are embroidered with stylized designs of motifs like flowers and birds with ample space left between them to allow vibrant patches of the base fabric to show through. This is commonly brick red, an auspicious color associated with shakti (power) and the mother goddess. For a momentous occasion like a wedding, the entire surface of the phulkari would be covered with embroidery. This type of phulkari is called a bagh. From the time a young girl begins to learn phulkari, she hones her skills and works towards creating her wedding bagh, and it is said that she stitches into it her hopes and dreams for marriage. Though the tradition of phulkari embroidery nearly disappeared in the late twentieth century, the designs have recently become an international fashion trend.
Seen slightly from below, a woman is seated in a landscape on a hillock. She is holding a dark, fringed parasol and has a shawl wrapped around her shoulders. Her face is partly shaded by the parasol; beside her to the left is a pot or container of some kind. Behind her to the right is a lone poplar tree and behind her to the left are some low buildings and indication of a stand of trees. The foreground is uneven, with tufts of grass standing up between the figure and the viewer.
Drawn directly outside, this work shows Whistler's shared interest in "plein air" sketching and painting. Although Whistler abandoned such a straightforward interpretation of nature, which he believed did not involve creativity, he never lost the ability to quickly seize the essentials of form and light of objects he observed. Later, his work sought to distill everyday scenes around him and transform them into a poetic beauty that he found in such subjects.