The painting depicts a group of American settlers attempting to defend themselves against attack by a band of Native Americans. A covered wagon pulled by two horses is at the center of the composition; at left, two Native Americans attack the wagon with war clubs and tomahawks; a figure on the lead horse points a pistol directly at the head of one of his attackers, while a figure at the rear of the wagon shoots another attacker. At right other warriors on horseback ride past the train shooting arrows and wielding tomahawks.
“The Attack on an Emigrant Train” was inspired by the writing of Gabriel Ferry, a contemporary French chronicler of the Gold Rush, and depicts a caravan of American pioneer gold-diggers crossing a prairie, defending themselves against attack by a band of Native Americans. Wimar portrays the Native American as a foe who symbolized hostility and was an obstruction in the path of American progress and territorial expansion.
Drawing of militaristic angels approaching two men fighting at sea. One angels holds a bow and above and to the right are three more angels carrying clouds. On the left of the image is a serpent curled around a tree.
the ceremonial degger-axe replicate in jade a common bronze weapon of the Shang dynasty called ge. It has a wide blade with a sharp point at one end and a plain, rectangular tang on the other.
jade ge dagger-axe or halberd used for for ceremonial display by Shang (circa 16th to 11th century B.C.) elite in Bronze Age China, often discovered as grave goods in elite burials of the Late Shang period, along with bronze halberds and other military hardware associated with chariot warfare. It was probably once hafted to a lacquered wooden handle as part of the elite paraphernalia
Stone swords were used 3000 years ago throughout Korea and iron swords were developed during the Three Kingdom era (57 BC - 668 AD). Shorter swords like this one were typically used in battle for follow up attacks.
ceremonial jade ge dagger-axe, pointed blade on one end and squared tang for hafting on the other. It was broken and mented in the middle. Traces of cinnabar, red mercury sulfide, remain on the jade surface, indicating it probably came from a Shang elite burial in China. The jade material was probably fire treated to create the bony look.
jade ge dagger-axe for ceremonial display by Shang (circa 16th to 11th century B.C.) elite in Bronze Age China, often discovered as grave goods in elite burials of the Late Shang period, along with bronze halberds and other military hardware associated with chariot warfare. It was probably once covered in cinnabar, red mercury sulfide, as everything else in the elite burial. The jade or hardstone was probably heat treated to create the bony look.
This painting portrays Saito Musashibo Benkei holding a halberd. Benkei was a Japanese warrior monk, a popular subject of Japanese folklore. Here the painting is accompanied by text, which became common on images with moralistic messages poking fun at society.
This painting is an example of Otsu-e, a type of folk painting originating not far from Kyoto in the present-day Shiga Prefecture towns of Otsu, Oiwake, and Otani. Otsu-e were produced with cheap local materials and stencils were used to facilitate mass production, making them affordable even to the lower classes.
By the latter half of the seventeenth century, Otsu-e became more secular. This humorous painting among other Otsu-e had strong popular appeal, and made their way into the art and literature of famous Edo period figures. Otsu-e with iconography associated with beneficial powers would later function as amulets.
This 6-fold screen is a depiction of the Battle of Genji and Heike. In samurai armor, the Heike forces approach by ship from the left, while Genji forces rush to the shore on horseback and on foot—drawing the viewer’s attention to the center of the screens, where their confrontation will finally take place. The Heike forces can be identified by the red banners on their ships, while the Genji clan carries white banners.
The most renowned battle in Japan took place in the twelfth century over control of the Heian (794-1185) capitol of Kyoto. This legendary tale was spread by itinerant monks who sang of the drama while playing the biwa, a stringed instrument much like a lute, as they travelled Japan. The details of the struggles for power between the Heike (also known as Taira) and Genji (also known as Minamoto) clans were recorded in what came to be known as the Heike Monogatari (Tale of Heike) over the following centuries. Along with the Tale of Genji, the Heike Monogatari is one of the most famous stories in all of Japan.
Groups of men gamble, smoke, and drink in a dark guardroom. In the left foreground a seated man wearing a red sash lights his white clay pipe, while his companion pauses his smoking to listen to a man standing next to him. The red of the smoker's sash is repeated in the flag and fabrics strewn about in the right foreground, which form part of a still-life of weapons, musical instruments, and glinting armor heaped together against the wall. Between these brightly lit foreground vignettes the scene recedes into the darkened interior where a group of five men gather about a table to gamble.
This painting depicts with striking realism an imagined scene of civic guards at leisure. The realistic impression made by the painting depends in part upon the painstaking rendition of objects and details throughout the room: the ceramic jugs, a wooden table, a piece of crumpled paper, the dull glint of a lantern near the ceiling, and the tour-de-force still-life of military equipment all contribute to the painting's seeming veracity. The fact that the men are engaged in everyday activities of smoking, drinking, gambling and conversing contributes to the impression that we are looking upon an actual scene that Teniers simply transcribed with his brush.
Circular tsuba, made of iron. It has two holes in the middle. There are two openwork motifs of mushrooms on the lower left. Rusts on some parts of the piece.
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. The smaller hole is to insert kougai, a spatula-like stick which is said to be used for itching hair underneath hats or helmets. Mushrooms were thought to have a magical power in East Asia.
This tsuba is in the Kotosho style, which means "old swordsmith". They are usually thinly hammered and decorated with one or two pierced designs. Kotosho fate from Kamakura to early Muromachi period.