White marble sculpture of female figure, partially nude with a cloth draped loosely around her waist and over her left forearm. She holds a cluster of flowers in her left hand, and a single bloom in her right; a basket of flowers located on base to left and slightly behind figure.
Flora, the goddess of flowers from Roman mythology, reflects the popularity of Neo-classical taste during the mid-19th century.
This work is painted in tones of red, green, dark blue, and orange/gold, against a light background. At the top is a sun with a many rays and a human face. Below this are two seated figures who are unclothed. They are seated on thrones decorated with colorful designs. One has reddish skin and is shown in profile, looking at the sun with hands raised. The other has orange skin and is seated in a lotus posiiton, facing front. Below them is a scene that shows two figures, a woman and a blue-skinned man, turned toward a half-man, half-woman figure who is seated on a tiger rug. These figures are dressed in colorful clothing and adorned with jewelry and hold various objects in their hands.
The dedication of sacred manuscript books for shrines is required of Jain devotees, and book production reflects the integral relationship among 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.
In this example, both the golden-hued jina seated on a simple throne at the upper right and the monk who venerates him are naked, identifying them as Digambara (sky-clad) jina. Seated below them, suggesting a subservient position, are the major Hindu gods: on the left sits the blue-skinned Vishnu (also known as Narayana) with his consort Lakshmi; on the right appears Shiva in his form as Ardhanarishvara, “the god whose half is woman.” Over them all, a human-faced sun shines from a cloud-streaked sky.
This brocade makes use of gold thread, creating a composite that shimmers. the warm, muted tones of the gold are matched in color selections of light blue, dark blue, yellow, mauve, silvery white, and muted green threads. Two textile fragments have been sewn into a gold background. On the left is a rectangular segment of a blue and green dragon among clouds. The right segment is a floral decoration of a variety of plants and colors, interspersed with horizontal lines.
The textile to the left, is possibly part of an obi (sash for kimono) and decorated with kinran, one of many techniques for incorporating precious metals like gold into fabric.
The fabric to the right was once part of a garment worn by an actor playing a female role in traditional Noh drama. With its cool color scheme and autumnal plants (pine, bush clover, and pinks), it evokes a melancholy mood. The weaving technique seen here is known as karaori, meaning “Chinese weave,” as it was originally developed in China.
A vase with flowers sits before a window, between two books that lie on a table, and framed by open red curtains. The landscape outside the window shows a blue cloud sky above a body of water.
One of the many paintings mixing elements of still life and landscape that Hartley did after returning to his home state of Maine in the thirties. He was fascinated with the land and lives of New England in his later years, and his works show a mix of European modernism and American regionalism.
The colorful strips of brocade at the top and bottom of this panel feature a woven design of ivy and peonies entwined around cartwheels, bamboo, and stylized diamonds. A wide rectangular fragment of an obi (sash for kimono) lie at the center of the textile. It is an almost abstract design of boats tossed in a frothy sea. The warm, muted tones of the gold are matched in color selections of mauve, and muted purple, blue, and green threads.
Both the bold, clear design and the narrow width of the cloth suggest that these may have been part of the sash for a Noh drama costume.
The wide fragment of an obi (sash for kimono) is a superb example of float-stitch embroidery, in which long sections of untwisted floss are attached to the fabric only at the edge of the embroidered motif; here the float stitches are used for the boat sails. The technique is one that came to Japan from China in the sixteenth century.