Long narrow strip of parchment with writing in red and black pigment; image at top shows a face with large eyes in a square with eight radiating triangles (Solomon's Seal); image at bottom shows a winged figure holding a sword (archangel). Rows of eyes border the images.
Healing scrolls combine prayers written in Ge'ez, the liturgical language of the Ethiopian Orthodox Church, with astrological and mystical symbols. They are made for individuals suffering from recurring illness and misfortune. Prepared by clerics called dabtara, scrolls are fashioned from parchment and extend the length of the patient. They are worn close to the body, rolled in a small, leather case, or hung near the bedside where the patient can gaze into its healing imagery.
A group of children stand tightly packed together behind a wooden fence. None of the children appear to be facing the camera except for one girl in a gingham dress at the center of the photo. This girl, slightly smiling, displays the cover of a book she holds in her hand.
Text: What are YOU doing? The Kaiser is canned - Can Food - Can Vegetables, Fruit and the Kaiser too - Write for Free Book to National War Garden Commission - Washington, D.C. - Charles Lathrop Pack, President - P.S.Ridsdale, Secretary - (jars labeled) Tomatoes, Kaiser Brand Unsweetened, Peas
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.