Krishna, in blue, and Balarama are portrayed in identical poses and wearing peacock-feather headdresses. The paunchy bearded figure at right is their mentor, Sandipani. Two other, older students appear at left. They are seated, approximately equidistantly spaced, in an architectural structure that organizes the space.
The Bhagavata Purana is one of the major sources of tales about Krishna, a human incarnation of Vishnu. In this scene, from one of the earliest extant illuminated manuscripts of the tale, Krishna and his brother Balarama are shown as schoolboys at their lessons.
Stylistically, this work represents an important moment in the history of north Indian painting. Its antecedents can be found in the Jain Kalpasutra folios of the fourteenth and fifteenth centuries: the composition is still compartmentalized into units of pure, bold colors that silhouette the gestures of the figures, but here the convention of the extended “further eye” has been abandoned for a profile view. In turn, the conventions developed by this time would become the basis for much later Rajput painting.
Two seals of the artist at lower left, following signature:
(a) Rai Jô no in (seal of Rai Jô)
(b) Rai shi shisei (successful scion of the Rai family)
One seal at upper right: undeciphered.
The wooden box for this painting is important because it bears an authentication by San'yô son. On the outside, an inscription reads, "Callligraphy by the late elderly San'yô. A poem in seven-character lines, [his] true brushwork." The inscription continues on the Inside of box lid: "Spring day of the mizunoe horse year (1882). Examined and certified by Rai Fuku." [Fuku is another name for Rai Shihô (1823-1889).]
This is a hanging scroll. It is mounted on olive green fabric and includes a poem in Chinese calligraphic text about nature. Has three red seals: two in the lower left side, one in the upper right corner.
This is the poem:
The sounds of rustling leaves and the voices of talented men;
by the window of the mountain villa, a man plays go [Chinese chess] with another on a fine autumn day.
The sun in the forest begins to set and the match breaks up;
the shadow of a tree reaches from the bamboo blind to the catalpa chess-board.
Three dark female figures are suspended in purgatory, with clasped hands in front of a triangular shaft of light that projects down from the top.
Pechstein's "The Lord's Prayer" series of woodcuts mixes the text of the prayer with images of human wretchedness and spiritual need that draw on the Christian tradition to comment directly on the suffering and despair experienced by many Germans in the aftermath of the First World War and the economic crisis that followed.
This sheet of the portfolio depicts souls in purgatory, experiencing the dread of being kept from heaven by their sins, the fear of God, and the desperate hope of salvation.
This work is a double-sided page from a bound album. The painting, depicting a Hindu ascetic walking with his dog in a pastoral landscape, has been placed in a border, decorated with a floral scroll painted in gold on a blue or pale orange ground; a similar border surrounds a calligraphy panel on the reverse side. The border and the calligraphy panel are both somewhat later in date than the painting itself.
The painting of the ascetic and his dog is pasted onto an album page. It is surrounded by a series of gold floral borders alternating blue and saffron-colored backgrounds. Wearing a brown poncho-like garment and carrying a fan in his right hand and a bag of his belongings, the lead attached to his white dog, and some tools in his left, he strides through the landscape. He wears sandals and has long brown matted locks of hair and a graying beard. The landscape consists of intersecting rounded forms in shades of green and yellow, surmounted by trees along the top and with a larger blue-foliaged tree to the right near the horizon. At the bottom a diagonal of yellowish rise of land with clumps of grass suggests some depth and a foreground, but the figure is quite flat in the middle ground.
On the back of the page is a Panel of calligraphy consisting of a quatrain in Shah Jahan's handwriting signed "Sultân Khurram [his given name before he took the name Shah Jahan upon becoming emperor" and dated 1020/1611-12. This is also surrounded by elaborate borders.
A Hindu ascetic, walking with his dog in an idealized landscape, with city buildings visible on the horizon.
This work dates to a pivotal moment in the history of Mughal painting: the year when Jahangir replaced his father, Akbar, as emperor and chief patron of the imperial painting atelier. Both father and son were fascinated by Hindu ascetics, and frequently commissioned their artists to paint their portraits. In this unsigned work, an unnamed ascetic garbed in a flowing brown robe is seen striding purposefully through a landscape of gently rolling green hills, accompanied by his dog. Portraiture featuring a single figure shown in profile is a type that emerged under Akbar (r. 1565–1605), but it was under Jahangir (r. 1605–27) that it acquired greater psychological depth.
Every element of this naturalistic portrait demonstrates the skill and sensitivity of the Mughal artist, from the careful study of foreground plants to the dignity of the saint-like figure and the silhouettes of trees in the distance. The blue and green hues of the landscape are ultimately derived from Persian painting, but the treatment of light and shadow and the close observation of nature have been learned from European art, brought to the Mughal court by Jesuits, diplomats and traders.
This black and white print depicts a scene with groups of figures separated compositionally by a large wooden post that is placed in the foreground of the composition, just left of center. Four male figures on the left look toward the scene on the right where a woman kneels in prayer before a child accompanied by two angels and a haloed man feeding hay to a donkey.
Adoration of the Shepherds: Virgin and Child in foreground at center right of composition with angels, Joseph and a donkey; shepherds are arranged on the left.
A narrative scene in which the Buddha Amitabha (Ch. Amitofou) rescues sailors at sea; an extensive inscription includes a title and long text. Above the framed narrative is an image of the Thousand-Armed Avalokitesvara (Ch. Guanyin), seated on a lotus dais, within a moon-shaped halo.
44.45 cm x 25.4 cm x 11.43 cm (17 1/2 in. x 10 in. x 4 1/2 in.)
A glass sculpture of a figure. The background is rectangular in shape and there is a man standing in front holding a sign. The pieces of metal are imbedded in the glass and have colors of blues, reds, blacks, purples and pinks.
This marble statue depicts a standing male figure, who holds a closed book in his left hand and makes what appears to be a gesture indicating speech with his right. The curls of his flowing beard and long hair are echoed in the gentle curving folds and undulating edges of his long robe and mantle. He turns his head downward and to his left
This standing apostle, produced in the Belgian city of Liege, formerly stood in the interior of a church, where he would have appeared in a niche above eye level as part of a larger sculptural ensemble that probably included the other apostles and religious figures.