This small, flat metal piece has a quartrefoil shape. Two holes in the middle. Flame-like incision all over the piece. Silver is applied around the center hole.
Tsuba (sword guard) is inserted between a sword handle and blade to protect hands from sharp blades. The center hole is where the sword is placed. The smaller hole is to insert kozuka, an ornamental stick. This particlar tsuba has incised, overall frame design.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
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.
A large storage jar with round shoulder and shorter neck. The body is rather unevenly potted, showing bumps in some parts. The surface texture is uneven with speckles of white particles. Dark green, natural ash glaze drips on one side of the jar from top of the neck to the lower middle of the body. The rim of the neck is partially chipped and cracked. It has no foot.
The jar was probably made to transport and store tea leaves in response to growing popularity of the tea ceremony among merchants and warriors in the sixteenth century. Naturally glazed and imperfected, unpretentious appearance of Shigaraki wares were suited to the tea aesthetic of "wabi-sabi" (genteel frugality and rustiness), the ideal which rooted in Zen Buddhism.