Large image painted with bold blues, reds, greens and yellows. Illustrates seven figures; three on the left half and four on the right. Several of the figures are pinching some sort of food substance. The figures that are closest to the right and left edges of the image also are holding weapons.
This scene depicts an episode from the fifth book of the Mahâbhârata, in which the rival Pandava and the Kaurava clans are vying for the throne of Hastinapura. Yudhishthir, the leader of the Pandavas and the original heir to the throne, was forced into exile after losing a game of dice with the leader of the Kauravas. When he sought to reclaim the throne, the Kauravas, led by Duryodhana, refused to negotiate, and the two sides met in council to prepare for battle.
In the foreground, illuminated white, a woman, her long hair hanging down her back, kneels and gazes upward, her arms extended in front of her, her hands pointing skyward. The sky is nearly all dark, with a full moon appearing in the center top of the image.
A woman on knees looks up into, pleads, with the heavens. She is illuminated by moonlight, with a full moon appearing in the topmost sky. From an illustration series for Bach's Cantata, with Alma Mahler serving as model.
Three main figures (two men and the camel they are riding) are brought to the foreground because of the contrast between their light colors against the stark green hill. The hill dominates the background leaving only a little bit of blue sky visible in the top corners. Underneath the main figures a secondary white dog and rabbit are also prominent.
Two men, equally overdressed, ride a self-important camel. Underneath them their hunting dog attacks a rabbit. Behind them is a tree-covered hill in the background. Given the specificity of the men’s faces, this may be a double portrait, but their identity has yet to be ascertained.
Ink, watercolor and gold on paper. Central figure, Vishnu with devotees on his right and left. Male figures are located on the left side of Vishnu and the female figures on the right. The animals are depicted on the lower half of the portrait which goes with traditional hierarchical beliefs. The tiger is on the left and the elephant on the right.
Appart of a series of works by Bilvamangala, a devotee of Vishnu who wrote sets of devotional poems. The series as a whole presents scenes of Vishnu being worshipped in his many forms. Here he appears as Krishna, worshipped by gopis (cow-herders, identifiable by their sticks), women, a nonchalant tiger, and an elephant.
This sober, pyramidal composition consists of five figures within an interior. A seated woman and child occupy the center of the composition while flanking her to the left is a kneeling older woman with her left hand on the child her right hand on the cradle. To the right of the seated woman is a putti holding a ewer and standing next to a basin. Standing behind the seated woman is a standing woman with hands raised. All of the women are dressed in generalized classical drapery.
Marcantonio Raimondi has long been associated with the Roman works of Raphael and Marcantonio's engravings are often more than mere transcription of Raphael's works. The classical balance and monumentality of this work suggest that this engraving is derived from a design by Raphael. The Virgin and Child with the standing figure behind may also be a reference to Leonardo's "Virgin and St. Anne".
This page from a manuscript features two columns of text written in Armenian. An animal-shaped initial, composed of two stylized birds pecking one another, appears in the lower right column. The lower left margin is decorated with a sidebar that elegantly combines geometric and plant motifs. The decorative elements are painted in pink and blue with touches of reddish orange.
This leaf from a Bible contains part of the Gospel of Matthew written in Armenian and arranged in two columns. The initial in the lower right column in the shape of two pecking birds calls attention to the beginning of a new section within the text. The graceful curved forms of this initial and the ornamental sidebar in the left margin echo the flowing rhythm of the handwritten script.
This manuscript leaf contains a single column of text in Latin surrounded by generous margins on three sides. Pen-flourished initials elaborated with delicate penwork, colored red and blue alternating with gold and purple, mark the beginning of each verse along the left edge of the text column. Five line-fillers, long linear elements colored blue and gold, complete the closing line of each verse and preserve the regular shape of the text block.
This manuscript page, which contains a portion of Psalm 26, comes from either a psalter, a book containing only the biblical psalms, or a book of hours, a type of personal devotional manuscript that enjoyed widespread popularity from the thirteenth through fifteenth centuries and contained sets of daily prayers that often included psalms. The delicate and understated decoration of this page structures the text by emphasizing the beginning and end of each verse, while also creating a sense of rhythm and visual balance.
This image is divided in to 6 relatively equal portions, with the two most upper portions being slightly larger. Each section contains a human figure, except for the lower right section which contains 3 fish. The three figures on the left are featured profile facing towards the right. The two figures in the two lower sections on the right, mirror the left side and face profile to the left. The figure in the upper right corner faces out. This figure is yellow, without clothing, on a green background. This figure is also seated on a lotus blossom form above all the other figures. The figure to his left is also without clothing and is the only other figure to be seating not directly on the floor.
The dominate colors in this image rotate between orange, green, red and blue with yellow highlights.
The stark picture reflects essential features of the Jain faith: the ideal of renunciation, meditation on the Jina, and reliance on canonical texts. Dedication of sacred books is required of Jain devotees, and book production reflects the integral relationship between the laity, monastic community, and the Jina. Commissioning a book fulfills the lay obligation of charity, while beholding a book helps the individual achieve the proper mental state for spiritual guidance.
It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the monk’s temple library. Over the centuries, libraries received great quantities of texts, which were employed in the instruction of monks and nuns. Monks and nuns were discouraged, however, from practicing the art of painting: one text expressly warns them of the power of painting to arouse sensual feelings.
This is a horizontal print with black, pink and green colors on a white background. There are pink and green rings covering the lower portion of the work. Over these are black lines that connect some of these rings and a group of five black circles filled with squiggly lines.
Jonathan Lasker states: In the case of this series of lithographs, which I call “Ball Figures,” round knots of scrawly black lines form ball shapes which are abutted next to one another to make forms which have human, animal, or plant associations. Also, in the backgrounds of these prints there are circles in alternating colors. These circles make patterns which partially fill the page ending in boundaries in the middle of the page forming horizon lines. In spots, groupings of circles are ringed-in by black lines which create subdominant figures in relation to the more pronounced “ball figures.”
The picture which forms is arrived at by the viewer interpretively rather than literally." Source Tamarind Institute.
A four-poster bed with curtains drawn back within an interior is angled towards the viewer, showing a woman reclined on the bed and attended by numerous figures. A lighted taper is placed in her hands, with assistance of a young man on the left side of the bed. Others of the figures stand or kneel with figures hands clasped in prayer; at the lower left corner are two men kneeling at the foot of the bead looking at a book of prayers. The overall effect is concern and movement around the still figure of the woman.
Although Meckenem used as his inspiration the depiction of the Death of the Virgin by Schongauer, Meckenem's composition is reversed from Schongauer's and contains numerous details that make his version a fresh interpretation of Schongauer's.