A heavily inked, multi-layered multi-media image with tinges of color. On the left hand side of image, an older gentleman in turban and beard can be made out. The background is dark inks and washes, bleeding into man's figure. Bottom edge of paper carries inscriptions from Kubin (handwriting matches other samples).
A heavily inked, at times abstract image. On the left can be seen the figure of a turbaned, bearded older man.
A Jina is encircled by a giant halo of ref, green, blue, gold, and white. Within the halo are different creatures, including a tiger, bird, naga, and devotees. The Jina sits nude on a throne with his legs crossed and hands together. Above him are clouds in the sky, and below a monk and devotees.
This is an illustration in a Digambara Jain manuscript of verse 34 of the Bhaktamara Stotra.
This verse praises the glorious halo that surrounds the Jina on his Enlightenment. The presence of the halo is one of the eight pr?tih?rya or so-called miraculous manifestations that accompany the Jina after his Enlightenment. Here the verse describes how the Jina’s halo of light puts to shame all the heavenly bodies. Greater than a multitude of suns, it is also gentler than the moon at night. The poet means to say that the light of the Jina’s halo is comforting not burning, something that is said in Sanskrit poetry of the light of the moon. At the same time, the light of the Jina is as brilliant as the light of countless suns. And by this seeming paradox the poet tells us that the light of the Jina’s halo is not of this world. The halo with its concentric circles also suggests the miraculous preaching assembly, which in turn alerts us to the marvelous appearance of the halo. Like the preaching assembly it is filled with beings of different realms of rebirth: humans, animals, and gods. The small crowned figure at the bottom worshipping the Jina is probably the god Indra.
This tsuba is a flat iron plate with quatrefoil design. It has three holes: one for blade (middle) flanked by oval-shape hole (for kougai) and oval with bump shape (for kozuka). Egrets and reeds decorate the surface, distributed in a curve that climbs counter-clockwise from the bottom left register, culmiating in the top left with a lone egret in flight. Egrets on the bottom of the piece perch on the ground or nest in the golden reeds.
Tsuba (sword guard) is inserted between a sword handle and blade to protect hands from sharp blades. The center hole is where the sword is placed. A smaller hole on the left is to place an ornamental stick, kozuka. Another hole on the right is to insert kougai, spatula-like sticks which are said to be used for itching hair underneath hats or helmets.
This black and white print depicts a portrait of a seated man holding a sword in one hand and what appears to be a book in the other. The figure wears a black jacket and a white cravat. The figure’s expression is stern and his gaze meets the viewer’s directly. His hair is white and pulled back into a queue.
This print shows a procession of men walking from right to left across the foregound of the picture.They are dressed in short tunics and have laurel wreaths on their heads and some have swords.Some carry poles on which there are breast plates and helmets and some are holding litters piled with furniture, vessels and cups. There is an elephant that is partially shown at the far left.The background area is blank.
There are traces of additional diagonal hatching marks that had been added at a later date; those lines have been removed.
Giulio Campagnola’s engraving shows a scene from a pageant in which corselets (armor that covered the torso) and helmets, as well as furniture, covered cups, and other valuables are displayed. It is based on a scene from a series of nine paintings by the northern Italian artist Andrea Mantegna (1430/31–1506) entitled the "Triumph of Caesar" that depicts a Roman procession of the spoils of war. The admiration of fifteenth-century Italians for their ancient Roman heritage was manifested in many forms, one of which was the reenacting of such triumphal processions, complete with replica objects. Mantegna’s paintings are an imaginative synthesis of his knowledge of Roman antiquities and these processions.
A sketch drawing of four men, identified as soldiers. On the bottom left a solider appears to be studying a large document. The rest of the drawing is composed of other soldiers reclining and kneeling within the space of the paper.