Three arched openings (windows flanking a central door) are obscured by the trunks and foliage of two slender trees positioned in front of the building. Neither the tree trunks nor the building facade are drawn completely down to the ground.
Whistler focused on lithography over etching during the 1890s, making his etched views of Paris, that were never printed in editions, quite rare.
Here, Whistler draws a partial representation of a cafe at the Palais Royal. The details of the building and the sense of recession into space are essentiall cancelled by the slender trees that obscure the view. As if directly evoking the "Floating World" of Japanese prints, the elements are not drawn to the ground level, leaving them detached and unanchored within the composition. A further reference to Asian art is the way the trunks divide the scene, much like a folding screen.
Goldweight in the shape of a small ball with a short, slightly curved, angular tail or handle attached to it.
This small representational goldweight might represent two distinct natural forms. First, it could be a seed pod-- in line with the representations of plant life that are quite frequent in Akan goldweights of Ghana and Côte d'Ivoire. Secondly, it could be a calabash-- in this case, the natural form would refer to a particular cultural practice in the various Akan-speaking kingdoms, where, in the past, calabashes were used to store the gun and cannon powder used in war.
plate 29 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
A yellow flower, still not yet in bloom. The flower and its stem, entering the image from the bottom right, are the only plants in focus. The background is made up of out of focus green and brown plants and leaves.
In this large scroll Gao depicts a duck swimming among aquatic plants in the shade of a cluster of lotus.
Gao Qipei was an accomplished painter with an unusual technique: instead of using a brush, he painted with his fingertips, nails, palms, and the backs of his hands. The lively execution, harmonious washes, and untrammeled, variegated effects—impossible to achieve with a brush—demonstrate Gao’s consummate skill in finger painting.
A bird (probably a sparrow) perches among peach blossoms, while singing to welcome the spring.
The tradition of bird and flower painting to which this image belongs dates back to the Tang period (618–907); in the Southern Sung (1127–1279) court it became a dominant mode as emperors themselves took up brushes to produce highly refined, delicate-colored paintings in an intimate format. Throughout their long history, these apparently straightforward and charming paintings conveyed symbolic or allegorical messages for the knowledgeable viewer.
This Early Ming painting executed in the in the style of the Southern Sung court celebrates the dynasty that restored Han Chinese rule after nearly a century of Mongol rule during the Yuan dynasty (1279–1368). The blossoming pear tree is a symbol of wise and benevolent administration, while the singing bird symbolizes the loyal scholar-official, overjoyed by the restoration of traditional Chinese government.
plate 8 from Woodland Portraits, signed recto, signed and titled mount verso
31.75 cm x 24.13 cm (12 1/2 in. x 9 1/2 in.)
Taken from above, two Trillium blooms. The flower in the upper right is mostly white with strips of green in the center of its petals, while the one in the bottom left is mostly green with tinges of white on the outer edges of its petals.
Landscape colored with the bright hues of autumn. Pavilions are nestled among clouds and mountain forests. A rustic staircase appears between wisps of clouds and trees, winding up the slope next to waterfalls.
Chang Ku-Nien painted this scene about a year after he moved from Taiwan to Flint, Michigan. The inscription indicates it was a gift for his son and daughter. In the United States Chang seems to have been liberated from the idioms of traditional Chinese painting and his brushwork became more spontaneous, open and fluid. In this painting, he combines both old and new techniques. A figure with a staff walking towards the misty landscape evokes a recluse, an important subject in the centuries-long Chinese literati (amateur scholar-artist) tradition in which Chang was trained. The mountains in the upper left corner and on the middle right side are painted in the “boneless” style, that is, without obvious outlines—a practice that may be traced back to late Ming dynasty [dates] painting. Chang’s use of color, however, is quite modern. Here a brilliant sapphire that he began to use in the 1970s gives the mountains and pine trees a palpable sense of chilliness.
A round ceramic box (that is, a bowl with a fitted lid), decorated with chrysanthemum scrolls drawn in blue outline against a blue background. The blue is cobalt pigment painted before the application of a clear glaze.
A small ceramic box decorated with chrysanthemum scrolls. Both the chrysanthemum motif and the technique of underglaze blue painting were adopted from Chinese prototypes, but the shape of this box, the tones of the cobalt blue, and the casual free-hand drawing are distintively Vietnamese.
Covered boxes were used as burial objects to accompany the dead. This practice for the care of deceased people in afterlife preceded the succession of foreign religious influence from Buddhism, Hinduism to Islam. The stoneware trade ceramics were also objects of status and wealth, for the local kilns only produced less durable and inexpensive earthernwares. The round shape with a handle, and some of the design motifs were adopted from stone and metal reliquaries and architectural elements came with Indian Hinduism and Buddhism.
Among the rolling green mountains, figures in this scroll go about their lives, leading cattle to drink along the riverside and dangling fishing lines over the edge of small boats in hopes of catching something for dinner. Highlights of red pigment add brilliance to a grove of trees near the middle of the scroll. The detail work in the trees is spectacular, with twisted and knotted trunks that seem to refuse to stand upright, but bend against gravity, in some cases revealing networks of tangled roots.
The luminous greens and blues in this handscroll are derived from mineral and azurite pigments, adding to the overall shine and radiance of the work. Blue-and-green landscape technique was typically orchestrated by court painters, and this scroll includes a red oval-shaped seal indicating that it was a part of the collection of Qing Dynasty Emperor Qianlong (r. 1736-1795).