Standing male figure with bushy beard wearing a robe and black boots, decorated with red and black pigment.
It was common for Chinese military officials to adorn their tombs with sculpted figures of both imported horses and their red-haired, bearded Sogdian grooms. The Sogdians (a people of ancient Central Asian kingdoms in the region of modern Uzbekistan) were important in the commerce of the Silk Road between the fourth and ninth centuries.
Signed by the artist at the lower left: Utamaro hitsu, artist's seal partially superimposed over the last character;
Signed by the calligrapher at the upper left: Tokyo Santo Kyoden;
Utamaro's seal at the lower left: Utamaro; Kyoden's seals: Kikuken, Ha Sanjin;
Kyoden's kyoshi (comic poem) inscribed above the figures: Nebiki no kogane wa Amadani no kikusui o hakari Tsukidashi no sakazuki Sumida no morohaku o kumeri For the gold of redemption, the sweet valley's Chrysanthemum Water is measured out. From the proffered sake cup, the best wine of Sumida is drunk. Kyoden then caps the poem with a satire haiku: Saigyo mo Even Saigyo hasn't yet seen Mada minu hana no Such a flower of the brothel. Kuruwa kana
This is a portrait of courtesan and her attendant. The courtesan wears a kimono with overall cherry blossom patterns and a darker color cloak with fan, plover and wave design lining with overall cherry blossom design silk; the cloak is slipping from her right shoulder. Her obi is draped in front; it has overall hollyhock pattern. Her face is white; Her hair is sculpted like a balloon on the top and has broad wings to the side. Tortoise-shell comb and multiple hairpins adorn the hair. She is strolling toward the right. Her attendant is walking behind her, her face and body partially hidden by the courtesan. She wears the matching kimono with plover and wave design; her kimono has long sleeves (furisode), whose openings are tied with ribbons. Her obi, with peony and geometric design, is tied at the back. Her hair is in the similar shape as the courtesan but not too exaggerated. But she wears an enormous hair accessory consisting of cherry blossoms and tassels, made of silver. Her face is also in white. The painting is accompanied by poem written by Santô Kyôden with his signature and two seals. On the lower left, there are the artist's signature and seal. The mounting is made of silk brocade with embroidery in the design of clematis and millets.
Utamaro evokes for us the haunting beauty of a young courtesan— probably Hanaôgi of the Ôgiya—on the day of her formal debut, as she promenades under the cherry blossoms on Yoshiwara’s main avenue, with a child attendant in tow. The promenade was an annual ritual where Yoshiwara’s denizens stepped out in their finest robes to display their beauty and fine taste. Utamaro has chosen a subtle palette of white, black, and shades of gray, which captures our attention all the more for being unexpected. The only color comes from the red lips of the two and the dazzling brocade that frames the painting, a fragment of a courtesan’s kimono that is original to the work. It is tempting to think that it belonged to Hanaôgi, and thus completes her portrait.
Senatus populusque Romanus / monumenta marmorea magistratuum / triumphorumque ab urbe condita ad / tempora divi Augusti ruderibus in foro / egestis eruta impensa Al ex(andri) Farnesii card(inalis) / Pauli III Pont(ificis) Max(imi) nepot(is) in Capitolio p(osita), from Piranesi's Lapides Capitolini (1762)
Large double-folio print, with fold marks. Contains various monuments and their text from ancient Rome. Title plate beneath print indicates that the fragments were from ancient Rome and found in various ancient ruins, with the exception of fragment XLIX, currently (at time of print) in the collection of the Collegio Romano, a building then housing the Jesuits' Rome seminary.
Print is patched. Separate plate marks are visible between image and inscription. The image is patched from four segments, while the text below is patched from two segments. Paper bears no watermark. Folio fold marks are noted on copy in file. Large text portions read as follows:
Inscription 1 (in image plate, center): senatus populusque Romanus / monumenta marmorea magistratuum / triumphorumque ab urbe condita ad / tempora divi Augusti ruderibus in foro / egestis eruta impensa Al ex(andri) Farnesii card(inalis) / Pauli III Pont(ificis) Max(imi) nepot(is) in Capitolio p(osita)
Inscription 2 (in separate text plate attached at bottom): Lapides Capitolini / Sive Fastorum fragmenta, quos Verrius Flaccus, Caii et Lucii, Augusti Nepotum, praeceptor ase dispositos in inferiore fori parte conlocaverat, nunc primum edita prout cermuntur in Capitolio servata / nempe characteris et Lapidum forma, additis ad ornatum degantioribus aliquot veteribus sigillis, et anaglyplus / Fragmentum XLIX in Collegio Romano Patrum Societatis Jesu adservatum
Monuments erected in ancient Rome, and their inscriptions. Text reads: X.
It has deep cylindrical bowl supported by a little flared pedestal foot. Five raised band lines encircle the middle of the bowl. A single handle is attached to the body of the bowl. The foot is separated into two parts and has a lot of rectangular holes located in altering position. There is no design on the surface of the bowl and foot.
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.
Tall hourglass-shaped stand. Composed of three separate parts: two bowls and a connecting cylinder. The pieces are unified with appliquéd bands encircling the cylinder horizontally as well as evenly spaced cut-out shapes of rectangles and triangles leading up the stand vertically in lines.
Possibly for Shamanistic rituals or funeral offerings.
Brightly colored painting with three primary registers. The uppermost and smallest register contains a poem. The lower two are larger and similar in size. The bottommost depicts stairs, architectural structures, snakes, and flowering plants. Above, the middle register frames a seated man under a canopy-like architectural form, who reaches out to grasp the wrist of a woman. Behind her is a flowering tree, and and the far right, and open door.
According to the poem in the top register, this is a scene of two potential lovers meeting. The pair do not clasp hands or embrace, but the male appears to be forcibly grabbing the wrist of the woman. They are separated by an architectural structure: He remains in his room, seated on his bed, while she holds her hand up to her mouth, unsure and hesitant.
The fertile flowering bush behind the woman may suggest his romantic overtures will be successful.
The lower register shows a pair of snakes, one emerging for an analogous architectural canopy-like structure. Another snake, on the stairs above. is separated from the one below by what may be a palm tree, and two flowers on either side leaning slightly in opposite directions. It has been suggested that these snakes, in contrast to the man and woman above, will meet an obstacle in their pairing.
A scene takes place in a red box, lined with black and red diamond and triangle designs for borders. In the center, a woman sites with a child in her lap. She wears a spotted dress, her hair up, and a nose ring and bindi. The child reaches one hand and places it atop her head, and the other down towards her own upward hands. Surrounding them are seven other figures. One kneels before them, offering his hands up, and another fans the woman from behind. The remaining five figures seem to play together in front of the throne on which the woman and child sit.
Gadhari, daughter of the King of Gandhar and wife of Dhritarashtra, was blessed by Rishi Vyasa to have 100 sons. She was pregnant for two years, and finally gave birth to a mass of flesh. Vyasa instructed her to cut the flesh into 101 pieces and places them in jars, one for each of 100 sons and one for a daughter. In two more years, the jars provided her with her 101 children of the Kaurava clan.
48.26 cm x 15.24 cm x 12.7 cm (19 in. x 6 in. x 5 in.)
Chinese ceramic Sancai figure of a man in robe and tall hat, standing on an octagonal platform. The figure is colored; his robes are green, while his sash, end of sleeves and collar are a reddish/oragne color, which also corresponds to the colors on the platform. His tall hat is colored black. The head of the figure is detachable from the body of the figure.