Silk crepe repp with interwoven brown and silver- and gold-colored synthetic metallic threads in the design of chrysanthemum blossoms. Lining is plain weave silk for upper half; purple for lower half and inner cuffs.
This kimono is one of several in the Yamaguchi Collection that were worn by Iwata Shizuka for informal occasions. Here, the chrysanthemum patterns are woven rather than hand painted. Though woven kimono may be as labor-intensive and expensive to produce as hand-painted y?zen, they are mostly used for casual wear. Over this kimono she would have worn a haori (see haori in the gallery) with a family crest, which made it appropriate for business. The combination of a woven kimono and haori creates a sense of formality similar to wearing a jacket and tie over a sporty shirt. Iwata Shizuko vividly remembers her mother wearing haori to her office every day.
This large bronze faucet features a peacock spigot and a lion-headed spout.
Since Antiquity artists in Europe, North Africa, and the Middle East had produced bronze vessels in the shape of animals to hold liquids, or to serve as incense burners, oil lamps, and even fountains. Although the manufacture of such vessels lapsed in Western Europe during the early Middle Ages, this Syrian faucet decorated with animals eloquently testifies to the unbroken continuity of these traditions in lands around the Mediterranean under Islamic rule. The large scale of the faucet suggests that it might have originally served as part of a fountain.
ceremonial bronze ge dagger-axe, with pointed blade on one end and zoomorphic tang of stylized bird motif on the other.
ceremonial bronze ge dagger-axe of Middle Shang to early Late Shang Shang period, frequently seen in the tombs of elite warriors. The zoomorphic tang is decorated with stylized bird motif. Its elaborate design suggests that it was probably for ceremonial display rather than combat. The zoomorphic tang is decorated with stylized bird motif. Similar objects is seen in the tomb of royal lady Fu Hao of early Late Shang, excavated in Anyang (Plate LXXII). Institute of Archaeology, CASS 1986. Yinxu Fuhao mu (Tomb of Lady Hao at Yinxu in Anyang). Beijing: Wenwu Press.
Bronze mirror with one side polished flat, and the other side decorated with mystical animals for cardinal orientation and twelve zodiac animals.
bronze mirror decorated with mystical animals (marking cardinal orientations) around the knob in the center, which are in turn surrounded by a band of twelve zodiac animals marking temporal orientation.
This is a blue glass inkwell with a copper lid. The body has a flattened globe shape and the lid is dark brown in color.
As with most objects of daily use, inkwells could be modest and utilitarian or more fanciful, the latter employing lavish use of precious materials to reflect and enhance the status of the possessor. Inkwells in the UMMA collections demonstrate a rich variety of materials, including silver, crystal, ceramic, and metal. Some pre-date the emergence of the fountain pen, and many mark the transition from a quill or nib pen to the convenience of the pocket pen commonly found today. Inkwells are avidly collected by those who value the artistry that went into the creation of a beautiful object for everyday life.
bronze mirrorr with two columns of auspicious inscriptions for career promotion and healthy offsprings in eight characters separated by the central knob, which is, in turn, surrounded by stylized mystical animal motif on both side.
In pencil along lower r. edge: #86 Sketch #1 a lockplate inscribed: Iron Back is blacked the leaves / however are of a steel color which / produces a splendid effect./ the leaves are not only cut out but modelled very/ strangly producing splendid lights and shades ; also: A projects at least 3/4" and is thinned down towards the leaves; also: A Sketch #2 inscribed: this little hinge has/ stunning effect the little/ leaves at the edges are/ modelled the least bit Sketch #3 insribed below sketch: Door Handle of 15th century
Sketch #1 inscribed: these little ribs are no more than a 16 of an inch wide and about '132" thick ; referring to Gothic Srecery at top: these leaves are seperate but very little also modelled beautifully Sketch #2 inscribed: thin iron ; also: this at the end is thin but near key hole becomes about 5/16" thick Sketch #3 inscribed: thin at end becomes thicker towards key hole ; to lower left: thin plate iron cut out and rivetted onto plate below cut out mark slightly modeled and tool marked. this is one of the most beautiful in design I think I have seen.
Notation on sketch #3: this little outer frame is raised about 3/4 inch ; also: very flatly modelled & tool marked, riveted to plate below Notation: these little stems are not merely cut out of same thickness metal as rest of hinge but become much higher gradually running down again to flatly modelled leaves