This is a large semi-circular painting (lunette) with several figures arranged to accomodate the shape of the canvas. It is night time, so the scene is enveloped in darkness. In the top center area, there is an angel, surrounded by bright light, who holds out a golden goblet toward a man kneeling before him. This man, with arms outstretched, looks up toward the goblet and the face of the angel. His face is illuminated by the light. He is wearing a bright red robe and a dark blue cloak. In the left foreground, there are three men who are sleeping. Two are sitting on the ground and the third, an elderly man with white hair, is reclining in front of them. They have dark blue and brown cloaks wrapped around them. On the lower right, shown in the far distance, is a group of people walking toward the kneeling figure. This scene is painted in dark tones of brown, green, blue and gray, except for the red robe of the kneeling man and areas on faces, arms and legs which are highlighted by a bright light.
This painting depicts a scene from the Passion of Jesus Christ, as told in the New Testament. Following the Last Supper, Jesus and three of his disciples went to the Mount of Olives so that he could pray. He asked Peter, James and John to stand guard, but they fell asleep. During his time of prayer, Jesus accepted his fate, " My Father, if this chalice may not pass away but I must drink it, thy will be done" (Matthew 26:42). Judas brought soldiers to the Mount of Olives and betrayed Jesus with a kiss.
Here, Jesus is shown kneeling with his arms outstretched toward an angel who holds a goblet. These two figures are illuminated by a bright light that provides a strong contrast with the surrounding darkness. On the left are the three disciples. John, in a brown cloak, sits asleep with his head propped on an arm. James, in a blue cloak, sits slumped over. Peter, an old man with white hair and beard, lies sleeping on the ground. The figure of Christ and the grouping of the disciples follow the curved shape of the lunette frame which was designed to fit in the architectural space of a church chapel. On the far right of the painting, in the distance, Judas leads a group of people who are walking toward Jesus.
It is thought that Dirck van Baburen created this copy of his original painting, that hangs in the San Pietro in Montorio church in Rome, as a replica to show to the Spanish king who commissioned the Pièta Chapel paintings. The chapel was decorated with scenes from the Passion of Christ during 1615-1620. There is a companion to the Baburen lunette painting titled, "Mocking of Christ," by David de Haen. Baburen's "Entombment," which hangs over the altar, is considered one of his best known works.
The vase has a slightly outward-turned rim and a short neck. The elegantly-shaped bottle flares out to a broad shoulder, then tapers gradually to a slim waist before flaring out once more at the base. The shoulder, mid-belly and base of the vase are decorated with black and white clay-inlaid cloud, crane and butterfly motifs.
It might not be made in Goryeo Dynasty.
Prunus vase has been used for containing the liquid such as liquor. In addition, It has been used to contain honey or sesame oil. At the party It was used to put a flower. The mouth is small and the shoulder is big.
This painting depicts a solitary bird perched on a tropical banana plant. There are inscriptions and signature of the artist on the upper left-hand corner: "A farewell gift for Mr. Katsuizumi, as he goes south. Baishi."
In 1922, a friend persuaded Baishi to submit paintings to a Sino-Japanese art exhibition in Japan. It was a spectacular success: his paintings sold for far higher prices than he had been earning in China and several were chosen for an exhibition in Paris, which led to international fame. The Japanese remained some of Baishi’s most eager customers, although he increasingly refused their requests after Japanese incursions into China in the early 1930s.
However, this painting was a gift for the artist's Japanese friend. The artist inscription indicates that it was a farewell gift for his Japanese friend Katsuizumi Sotokichi when he left Beijing for a more southerly post.
It perhaps anticipates that Katsuizumi would be lonely in his new environment. Made in probably the 1920s, it quietly bears witness to an earlier and more congenial phase in Chinese-Japanese relations.
Hanuman is depicted with a human body and a monkey head. The image is incised on the plate and his body is entirely textured with characters in the devanagari script. Often merely the letter ‘r’ designating the god Rama with whom he is associated. He is in a striding posture and there are a number of sections of text scattered around the image. At his feet is a human figure walking in the opposite direction. He holds a double flag consisting of two triangular shapes facing him in his left hand along with a thin club. One appears to emanating from his mouth? His right hand is lifted with an arrow above it and his tail curves behind him. There is also a small altar depicting the two feet of Rama in the area between his outstretched leg and the end of a scarf wrapped around his body.
The monkey Hanuman, often referred to as a monkey god, figures prominently in the epic, the Ramayana, telling the story of the incarnation of Vishnu and his war against the demon king of Lanka, Ravana. He is the most important of the monkey hosts and served important function in the story. He is often sculpted to fit into a set of sculptures depicting the god Rama, the hero of the Ramayana, and his brother Lakshman and his wife Sita. The groups sometimes signify the coronation of the god Rama, which is the end of the story, but sometimes the grouping is of them all standing. He has a devotional following of his own and is usually depicted as a human with a monkey’s head. In this engraving he takes a completely religious role being made up of devotional phrases.
Signed in design at lower right: JAMES H DAUGHERTY (underlined) Monogram of the Department of Pictorial Publicity at the lower right corner in the design. Publisher's mark at the lower left corner: FORBES / BOSTON