Stylized wood carving of hyena head; two pieces of wood joined to form articulating jaw. edged with prominent teeth. short upright ears, long triangular nose or snout; eyes, teeth, nose and crown of head overlaid with sheet metal. Wood is unpainted.
This hyena rod puppet head is a character featured in the Sogo bò, a puppet masquerade performed by Bamana youth organizations. Still active today, Sogo bò--literally, “the animal comes forth”-- is an important dramatic venue for youth to explore and comment on the tensions between traditional values and contemporary experience. The hyena is especially rich in cultural associations. Depending on the story or subject being performed, he may represent shamelessness, cunning, the inflexibility of custom, even the power to heal.
The daibutsu, or giant buddha, statue takes up the bulk of the pictorial space. Curving upwards and towards the statue is a large pine. At the feet of the green hued daibutsu statue are three women of different generations: a young girl, an adult woman, and an elderly woman. Although a few clouds hover in the sky, the sun appears to be shining brightly, casting some shadows of nearby trees into the picture.
Kawase Hasui worked in concert with the prolific twentieth century publisher of woodblock prints Watanabe Shôzaburo (1885-1962).
Kawase Hasui was especially known for his skillful depiction of landscapes and night scenes. His passion for landscapes led him to travel extensively throughout Japan, keeping a sensitive eye on his surroundings and sketching scenes from his journeys. His close attention to atmospheric conditions and light brought him much success and one year before his death Kawase was awarded the great honor of Intangible Cultural Treasure for his 1956 print “Snow at Zôjôji Temple.”
A naturalistic rendering of a ram, with striations incised into the top of the head and down the first third of the horns which sweep forward in a natural curve toward the nose. Eyes inlaid with green glass, and muzzle is overlaid with strip of metal. Jaw articulates, tied with cord. Cloth ears are attached and dangle on either side of head. Wood is unpainted.
This rod puppet ram's head is a character featured in the Sogo bò, a puppet masquerade performed by Bamana youth organizations. Still active today, Sogo bò--literally, “the animal comes forth”-- is an important dramatic venue for youth to explore and comment on the tensions between traditional values and contemporary experience. Of all the characters created for the Sogo bò, animals such as the ram and hyena (see 1971/2.21) were among the oldest and continue to appear in different guises.
Three gondolas in the foreground are in a river, steering toward a bridge on the right side of the scene. Two figures are steering in the foremost, center gondola, of which only a section can be seen. In the middle ground is a group of buildings, with a cluster of trees on the left. In the background, a cathedral rises up in the center left. The cathedral is created with much lighter lines, and blends in to the background.
The print shows a scene on a river during the Vegetable Market in the city of Amiens, France.
Looking down into the Plaza outside the Moscow Palace of Congress. The focal point of the image is a tall flagpole that carries the Russian flag at the top. The flagpole sits in the middle of an arrow-shaped grassy area lines with trees and more, shorter flagpoles and flags. Lining the plaza in the distance are more trees and buildings. In the far, foggy background tall spires of a church and a skyline of the city are only just visible.
In the forefront both men and women are dipicted as watching the concert. One man has his head resting on his hand. At the center of the piece lies the orchestra, and more prominently the conductor. The stage is surrounded by curtains.
Bronze temple bell with traces of polychrome, text, and lowermost handle in shape of a pair of addorsed lions. A decorated post threads through the space created by the back-to-back lions, on which an additional handle decorated with addorsed dragons is thread. The open space created between the dragons' connecting tails is where part of a frame would pass through, suspending the bell above the ground. This type of bell does not have a metal clapper, and is rung by striking with a wooden stick.
While the history of percussive bells in the cultures of Asia dates back thousands of years, they became particularly important in Burma where every large temple has dozens of them in all sizes, most of which are donations from the pious.
According to the inscription on this bell, dated June 4th of 1907, it was donated to a village monastery by a family, who, “keeping nibbana (nirvana) as the ultimate goal,” wanted to accumulate “good merit in this life and subsequent rebirths.” The acquisition of merit is the most common impetus behind donations to monasteries and temples in all Buddhist countries as it is a simple way for a layperson to assure a better life for him- or herself and their family in their next incarnation.
A crowd gathers in the side chapel of a church around a group of seated figures and an infant. A man with a long flowing beard sits and holds the infant in his hands above a plate, while another man leans forward in his chair and peers through his spectacles at the child as he performs a circumcision. A plaque with the artist's initials, "HG," lies on the floor in the foreground.
This masterful engraving depicts the circumcision of the infant Christ, who is held by a priest at the center of the gathered crowd. The Virgin Mary and Joseph stand at the front of the group of onlookers immediately behind the seated figures and gaze intently upon the child.