Goldweight in the shape of a small ball with a short, slightly curved, angular tail or handle attached to it.
This small representational goldweight might represent two distinct natural forms. First, it could be a seed pod-- in line with the representations of plant life that are quite frequent in Akan goldweights of Ghana and Côte d'Ivoire. Secondly, it could be a calabash-- in this case, the natural form would refer to a particular cultural practice in the various Akan-speaking kingdoms, where, in the past, calabashes were used to store the gun and cannon powder used in war.
Horizontal landscape of a misty harbor view with several small boats in distance near center
Quickly executed oil sketch depicting Jamaica Bay, a shallow inlet of the Atlantic on the southwestern shore of Long Island between the New York City boroughs of Brooklyn and Queens.
While the simplicity of the composition may arise from the informal nature of the sketch itself, it also reflects the shift in taste at that time away from the elaborate, minutely detailed, and geographically specific landscapes for which Church is best known.
plate 29 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.)
A yellow flower, still not yet in bloom. The flower and its stem, entering the image from the bottom right, are the only plants in focus. The background is made up of out of focus green and brown plants and leaves.
In this large scroll Gao depicts a duck swimming among aquatic plants in the shade of a cluster of lotus.
Gao Qipei was an accomplished painter with an unusual technique: instead of using a brush, he painted with his fingertips, nails, palms, and the backs of his hands. The lively execution, harmonious washes, and untrammeled, variegated effects—impossible to achieve with a brush—demonstrate Gao’s consummate skill in finger painting.
A bird (probably a sparrow) perches among peach blossoms, while singing to welcome the spring.
The tradition of bird and flower painting to which this image belongs dates back to the Tang period (618–907); in the Southern Sung (1127–1279) court it became a dominant mode as emperors themselves took up brushes to produce highly refined, delicate-colored paintings in an intimate format. Throughout their long history, these apparently straightforward and charming paintings conveyed symbolic or allegorical messages for the knowledgeable viewer.
This Early Ming painting executed in the in the style of the Southern Sung court celebrates the dynasty that restored Han Chinese rule after nearly a century of Mongol rule during the Yuan dynasty (1279–1368). The blossoming pear tree is a symbol of wise and benevolent administration, while the singing bird symbolizes the loyal scholar-official, overjoyed by the restoration of traditional Chinese government.
plate 8 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.)
Taken from above, two Trillium blooms. The flower in the upper right is mostly white with strips of green in the center of its petals, while the one in the bottom left is mostly green with tinges of white on the outer edges of its petals.
A densely painted work, this cacnvas portrays a landscape with dramatic clouds. Autumnal colors predominate this rocky landscape with several figures in the middle distance; in the distance a line of trees projects above the horizon line.
Although Decamps was known as one of the first painters to travel to North Africa and Asia Minor, he spent much of his youth in the north coast of France in Picardy. From these early years, he developed an interest in images of peasants at work. This landscape, with its strong contrasts of light and shadow, is characteristic of Decamps’ work. Also characteristic is his very dry application of paint with warm tonalities of browns.
This watercolor, chalk and pastel on brown paper depicts a loosely sketched landscape with a dramatic grey-blue cloud taking up most of the composition. A triangular sliver of green and white water interrupts the land and sky from the left below the horizon line. The foreground is rendered in a broad wash of brown watercolor.
A round ceramic box (that is, a bowl with a fitted lid), decorated with chrysanthemum scrolls drawn in blue outline against a blue background. The blue is cobalt pigment painted before the application of a clear glaze.
A small ceramic box decorated with chrysanthemum scrolls. Both the chrysanthemum motif and the technique of underglaze blue painting were adopted from Chinese prototypes, but the shape of this box, the tones of the cobalt blue, and the casual free-hand drawing are distintively Vietnamese.
Covered boxes were used as burial objects to accompany the dead. This practice for the care of deceased people in afterlife preceded the succession of foreign religious influence from Buddhism, Hinduism to Islam. The stoneware trade ceramics were also objects of status and wealth, for the local kilns only produced less durable and inexpensive earthernwares. The round shape with a handle, and some of the design motifs were adopted from stone and metal reliquaries and architectural elements came with Indian Hinduism and Buddhism.