"Los Proverbios" (also known as "Los Disparates"), plate 5: Reniego al amigo que cubre con las alas y muerde conel pico ("Renounce the friend who covered you with his wings and bites you with his beak") or Disparate volanted (Flying folly)
"Los Proverbios" (also known as "Los Disparates"), plate 7: La que mal marida nunca le falta que diga ("She who is ill wed never misses a chance to say no") or Disparate matrimonial (Matrimonial folly)
Porcelain bottle vase of double gourd design, flat on reverse side with a slot for hanging on the wall, possibly inside the chamber of a royal sedan chair. Dragon motif is represented on both the upper lobe and the lower one.
In China, the double gourd or calabash is a symbol of the unity between heaven and earth. The gourd with dragon design would be part of the roya decor produced in Jingdezhen during the Wanli period of the Late Ming period.
This black and white print depicts a creature with an alligator-like open jaw with three sharp teeth. The creature takes up most of the image and appears to be floating in space. A black ground with a suggestion of a small plant appears at the lower edge of the composition.
Inscriptions: Hsiang-huo ting-sheng or "May the incense and candles (burning at this temple) be prosperous and flourishing" and Tao-kuang Erh-shih-san-nien, "the 23rd year of Emperor Tao-kuang (1844)."
Round porcelain jar with iron pigment under colorless glaze. An abstract dragon spirals around and up the body of the piece, marked by quick brushstrokes indicating scales and unrestrained swirls indicating features such as its head and feet. A slight valley in the contour of the jar marks where two separately thrown pieces were joined together.
The foot is rather small for the size of the body.
Jar with abstract dragon design.
It was made for use in ceremonies at the royal courts.
Large porcelain jar decorated with cobalt pigment under colorless glaze. Repeating clouds border the rim of the jar, while a dragon head and feet are depicted on the main body below. Two blue bands separate the design from the white base below, balancing the rim and bottom portion of the jar. The very tip and base of the piece are also marked with blue bands.
This black and white print shows an outdoor scene with lush leafy trees, open sky and mountains in the far distance. Two figures are walking along a wooded path in the foreground- one is a man with wings wearing robed garments and the other a younger man carrying a single large fish. There is a city shown in the middle distance through the trees and a pasture scene depicted on the right.
As with most the Goudt's prints, this composition is based on a painting by Adam Elsheimer, a German painter and friend of Goudt's whom he knew when both were residing in Rome. This scene is based on the Old Testament story of Tobias who, accompanied by the angel Raphael, brings home a fish whose gall cures the blindness of his father, Tobit.
The animals are presented in zodiac sequence, from right to left: mouse, ox, tiger, hare, dragon, serpent, horse, goat, monkey, chicken, dog, and boar. The eight-fold screen allows the animals to seem to walk across the space. Negative space plays a significant role in the screen, creating a place for the animals to exist and at the same time extending into the room.
The twelve animals of the Chinese zodiac, who represent not only the sequence of years but also the times of the day and directions of the compass, have a history that dates back at least two thousand years. From China this calendrical system spread throughout East Asia, and it is still in use today despite the adoption of a Gregorian calendar and modern clocks.
The minimal background of a few plants reinforces the concept of a natural cycle that moves through the seasons from spring (bamboo shoots and pinks) through autumn (chrysanthemums and pampas grass).
The image is split into two unequal parts; a lower and upper. In the lower half of the image the figures are all holding weapons. The background of the image is red with the majority of the figures being yellow in color. A single blue figure is located in the lower left. This figure is seated on a wheeled, vehicle.
The looming figure of the gold-skinned hero in the foreground is the sage Bhavana, who was considered the founder of a caste of itinerant painters and storytellers. Here Bhavana is shown in gigantic scale mounted on an equally oversized tiger as he challenges a dark demon. The demon rides in a horse-drawn chariot, so small by comparison that it is easy to overlook, and other tiny warriors fill the spaces between the protagonists. In the upper register, separated from the battle by a narrow strip of floral patterns, is an idyllic scene a queen in her garden accompanied by attendants. The long-necked birds in the trees and the variety of patterns in the women’s costumes add charm to the scene.
This painting is a section of a long vertical scroll that would have been carried from village to village by itinerant storytellers. Such paintings often deal with caste-specific or region-specific narratives; in this case, it is the lineage of painters that is celebrated. The storyteller would unroll one large scene each evening and narrate the exploits of Bhavana. The large scale, simplified drawing, and bold colors make it especially appropriate for outdoor viewing from a distance.