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102 hits

  • Thumbnail for Figures in a Garden
    Figures in a Garden by Qian, Hui'an

    Chinese hanging scroll with vertically-oriented painting; ink and colors on paper; image area 39.4 cm x 142.8 cm; brocade frame, mounted on paper with flush roller and brocade ends; subject bearded sage with staff, possibly Confucius or Lao Tzu, and woman standing on a bridge; calligraphy and seal.

  • Thumbnail for Chinese feather fan with male figures and floral patterns (side 2)
    Chinese feather fan with male figures and floral patterns (side 2)

    This fan centers on two male figures (likely from literary or historical novels) with floral patterns around, which is much more rare than the bird and flower themes. Although their conditions are poor, they are very interesting artifacts. The Chinese export of feather fans first appeared in Europe during the first quarter of the 19th century. They are usually made of goose feathers (occasionally with added peacock feathers on the top) mounted on sticks which can be made of a variety of materials, including ivory and bone. The frames of the fans are carved, showing the quality of their craftsmanship, with flowers and classical scripts, which could be either an imitation of Oracle bone characters or seal/clerical scripts. Originally these fans would have been very costly.

  • Thumbnail for Hakone from Fifty-three Famous Places (Gojûsan tsugi meishozue)
    Hakone from Fifty-three Famous Places (Gojûsan tsugi meishozue) by Utagawa (Andô) Hiroshige

    Woodblock print. 13¾" x 9". Paper was issued in the Tokugawa Period (1615-1868) in standard sizes, most prints being in the oban format of 15 x10. The smaller size of this print thus indicates cutting. Condition good with some slight damage and staining in center of the print. Professor Mandancy’s letter identifies the work as one of the Fifty-three Stages of the Tokaidô (Tokaidô gojûsan no uchi), that is the set of 1833-34. Actually the print is from the 1855 set, as properly noted in her original list. The first step in making an Ukiyo-e woodblock print was an artist (eshi) painted a composition in ink on paper. The sketch (or later a copy) was pasted down on a plank of wood (usually cherry) and cut away to create the key or outline block. A separate person from the artist, called the cutter (hori), did the carving. A third person -- the rubber (suri) -- took the carved block and, placing it face up, moistened the printing surfaces by quickly brushing on water and glue. Color and ink were then applied by hand and pre-moistened paper placed onto the wet surface. The rubber then took the print by rubbing from behind with a baren (pad of rope covered by bamboo). It is usually presumed that the key block was used to make the patterns for the color blocks. In old views of Ukiyo-e, the key block, being closest to the sketch by the hand of the artist, was considered the most important. Authenticity, therefore, was mostly a matter of comparing lines in a questioned print to those in published, established, or otherwise accepted examples. If there was a match, the print was “genuine,†and often labeled as such on a tag on the back. The print of Hakone is, moreover, very useful for teaching how to look at lines in Ukiyo-e because those forming the border around the image show gaps and are thin, indicating that the key block was old and worn when the print was taken. The lines in Shinagawa are stronger, an important point in determining the work’s better condition.More interestingly, there is a worn area in the right hand corner of Hakone, where the printed line appears to have been scraped off and then drawn back in. Such repairs are common in Ukiyo-e and a much more obvious example is in the print of Shirasuka in the Union College Collection, by the same artist and from the same series. Shirasuka clearly has been repaired. For instance, there is a hole in its lower half of the print that has been filled in and colored to match the surrounding areas. In the lower right hand corner of Shirasuka, there is a place where the line has been obviously scraped off and then redrawn.

  • Thumbnail for Chinese feather fan with birds and flowers (detail)
    Chinese feather fan with birds and flowers (detail)

    This fan displays a pair of peacocks and peonies and other flowers, which are common subjects in these types of fan. Although its condition is poor,it is a very interesting artifacts. The Chinese export of feather fans first appeared in Europe during the first quarter of the 19th century. They are usually made of goose feathers (occasionally with added peacock feathers on the top) mounted on sticks which can be made of a variety of materials, including ivory and bone. The frames of the fans are carved, showing the quality of their craftsmanship, with flowers and classical scripts, which could be either an imitation of Oracle bone characters or seal/clerical scripts. Originally these fans would have been very costly.

  • Thumbnail for Chinese Enamel Bronze Fingernail Guard (back)
    Chinese Enamel Bronze Fingernail Guard (back)

    3 3/4" l. Arced and tapered fprm with reticulated design on the reverse and enamel floral design on the front.

  • Thumbnail for Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (round detail)
    Chinese Lady's Changfu (third level informal court attire) robe with designs of flowers, bats, waves, butterflies, and clouds (round detail)

    Roundels contain auspicious imagery--peonies and bats; bats are also featured in the wave pattern hem; and bats, flowers, and butterflies float freely outside the roundels on the front and back of the garment. Plain weave pale green satin ground with sections of dark blue ground on the sleeve; red, blue, yellow and orange satin stitch and seed (Peking) stitch silk thread embroidery. Length: 126 cm; sleeve length: 74 cm length. The ground color was probably originally darker, closer to turquoise. This garment is typical of its type in that it mimics the shape of men's garments. It was made for wives of officials who were required to wear the same type garments as their husbands. Both have eight roundels with embroidered designs, three in front, three in back, and one on each shoulder. The sleeves are cut wide and have bands filled with embroidered patterns between the large cuffs and the shoulders. Women's robes are distinguished from those worn by men by their high side slits and by their decorative motifs, as here, dominated by flowers, bats, and butterflies.

  • Thumbnail for Kashmiri Illustrated manuscript about Vishnu (and his Krishna incarnation) (illustration)
    Kashmiri Illustrated manuscript about Vishnu (and his Krishna incarnation) (illustration)

    Book manuscript; ink, colors, and gold on paper. Ohio State University Professor Susan Huntington notes that this is probably a 19th century piece. She notes that it is actually a very nice example with later paintings and manuscripts just now gaining favor compared with older materials.

  • Thumbnail for Japanese double gourd shape miniature vase with design of figures in courtly garb lined up for a festival procession (side 2)
    Japanese double gourd shape miniature vase with design of figures in courtly garb lined up for a festival procession (side 2)

    Height: 12 cm. This is a very fine quality piece of Satsuma-style ware made for export to the West in the late 19th century, a time when Japan was avidly promoting production of such wares to expand their economy internationally. The piece does not have the Satsuma mark, and hence should not be defined as "Satsuma ware" proper, but was made at a high quality kiln that imitated this popular export ware product. Probably from a kiln in Kyoto, Osaka, or Tokyo.

  • Thumbnail for Kashmiri Illustrated manuscript about Vishnu (and his Krishna incarnation) (text 1)
    Kashmiri Illustrated manuscript about Vishnu (and his Krishna incarnation) (text 1)

    Book manuscript; ink, colors, and gold on paper. Ohio State University Professor Susan Huntington notes that this is probably a 19th century piece. She notes that it is actually a very nice example with later paintings and manuscripts just now gaining favor compared with the older materials.

  • Thumbnail for Handscroll: Treatise on Samurai Armor - section eight
    Handscroll: Treatise on Samurai Armor - section eight

    Watercolor on paper with gold border on top and bottom of scroll, depicting drawing of parts of samurai's armor including helmet.

  • Thumbnail for Handscroll: Treatise on Samurai Armor - section three
    Handscroll: Treatise on Samurai Armor - section three

    Watercolor on paper with gold border on top and bottom of scroll, depicting drawing of parts of samurai's armor including helmet.

  • Thumbnail for Santali tribal figure of Kali, for Shiva base
    Santali tribal figure of Kali, for Shiva base

    Cast bronze with gilding, 20 x 7 inches. Santali refers to tribal groups; sometimes it is used to mean tribes of a certain region, but it is also used generically to reference tribals, that is, indigenous Indian peoples who were never fully assimilated into Hindu India. In this sense, images such as these are relevant to discussions of the caste or varna system of South Asia and the official government policy of reservation for Untouchables, Scheduled Castes and Scheduled Tribes that formed a part of the Constitution of the Republic of India. This is comparable to what in the US would be called Affirmative Action, but with much more specific initiatives. The notion that there are indigenous peoples of India who are regarded as having inhabited the subcontinent prior to the appearance of the Aryan tribes who brought their Sanskritic traditions can provide provocative possibilities for discussion in a range of disciplines (Religious Studies, Anthropology, Sociology, History, Art History). These are relatively large (Ganesha is over 3 ft. in height; Siva-Kali about 2 feet) and quite handsome pieces which follow more or less standard Hindu iconographic schemes (the Hindu deities Siva, Kali, Ganesha) but in style depart from the styles of sculpture practiced in Hindu states and courts. Thus they lend themselves to discussions of standard Hindu iconography as well as to the nature of tribal traditions in South Asia; they could also generate interesting discussions of 'classical' versus 'tribal' in Asian art: what makes a work' folk' art (that is, its origin, its makers or patrons, its formal qualities?). And how have tribal and classical traditions come to intersect and interact in the last century? While these are designated as 19th century they may in fact be more recent in manufacture.

  • Thumbnail for Santali tribal figure of Shiva, base for Kali figure
    Santali tribal figure of Shiva, base for Kali figure

    Cast bronze with gilding, 25 x 9.25 inches. Santali refers to tribal groups; sometimes it is used to mean tribes of a certain region, but it is also used generically to reference tribals, that is, indigenous Indian peoples who were never fully assimilated into Hindu India. In this sense, images such as these are relevant to discussions of the caste or varna system of South Asia and the official government policy of reservation for Untouchables, Scheduled Castes and Scheduled Tribes that formed a part of the Constitution of the Republic of India. This is comparable to what in the US would be called Affirmative Action, but with much more specific initiatives. The notion that there are indigenous peoples of India who are regarded as having inhabited the subcontinent prior to the appearance of the Aryan tribes who brought their Sanskritic traditions can provide provocative possibilities for discussion in a range of disciplines (Religious Studies, Anthropology, Sociology, History, Art History). These are relatively large (Ganesha is over 3 ft. in height; Siva-Kali about 2 feet) and quite handsome pieces which follow more or less standard Hindu iconographic schemes (the Hindu deities Siva, Kali, Ganesha) but in style depart from the styles of sculpture practiced in Hindu states and courts. Thus they lend themselves to discussions of standard Hindu iconography as well as to the nature of tribal traditions in South Asia; they could also generate interesting discussions of 'classical' versus 'tribal' in Asian art: what makes a work 'folk' art (that is, its origin, its makers or patrons, its formal qualities?). And how have these traditions come to intersect and interact in the last century? While these are designated as 19th century they may in fact be more recent in manufacture.

  • Thumbnail for Seated Jain statue - side view
    Seated Jain statue - side view

    Marble with details painted in black, gold and blue.19 x 15 inches. This figure, of fine quality, represents a type seen often in Jain art and frequently found in western collections. This image depicts a Jina (victor) that is religious ideal of Jain religion: this is one who is victorious over death, who has achieved spiritual knowledge--similar to the Buddha. They are also known as Tirthankara (Ford Crosser)--that is, one who has crossed to the other side (that is, beyond death). Jains recognize 24 Tirthankaras; the twenty-fourth lived at about the same time as the Buddha and thus was part of same intellectual-spiritual milieu that gave rise to Buddhism. Just as Jains accept many of same principles as Buddhists, the earliest images of Jinas arose in the same time and place as the earliest Budda images. Jinas resemble Buddhas to a great degree: shown in meditation and in yogic posture; Jinas, however, are depicted nude (unlike Buddhas)--'sky clad' being indicative of practice of extreme asceticism. Standing Jinas are always depicted stiffly upright, with unbending posture; in the Jina this distinctive posture communicates the unwavering intent and practice of his austerities, of his spiritual focus.

  • Thumbnail for Seated Jain statue
    Seated Jain statue

    Marble with details painted in black, gold and blue; 19 x 15 inches. This figure, of fine quality, represents a type seen often in Jain art and frequently found in western collections. It is valuable to include Jain images, as students will easily recognize that this image seems closely related to Buddha images--and indeed it represents a similar renunciant type. But there are several clues to its difference. This image depicts a Jina (victor) that is religious ideal of Jain religion: this is one who is victorious over death, who has achieved spiritual knowledge--similar to the Buddha. They are also known as Tirthankara (Ford Crosser)--that is, one who has crossed to the other side (that is, beyond death). Jains recognize 24 Tirthankaras; the twenty-fourth lived at about the same time as the Buddha and thus was part of same intellectual-spiritual milieu that gave rise to Buddhism. Just as Jains accept many of same principles as Buddhists, the earliest images of Jinas arose in the same time and place as the earliest Budda images. Jinas resemble Buddhas to a great degree: shown in meditation and in yogic posture; Jinas, however, are depicted nude (unlike Buddhas)--'sky clad' being indicative of practice of extreme asceticism. Standing Jinas are always depicted stiffly upright, with unbending posture; in the Jina this distinctive posture communicates the unwavering intent and practice of his austerities, of his spiritual focus.

  • Thumbnail for Platter, Plate, and Bowl with designs of a single peony flower
    Platter, Plate, and Bowl with designs of a single peony flower

    Made for export to the Persian market, early 19th century. Porcelain with overglaze enamels. Platter: 13.75†diameter; plate: 8.875†diameter; c. bowl: 2.5†high x 6.5†diameter.

  • Thumbnail for Shakyamuni Buddha and Attendants - Thangka
    Shakyamuni Buddha and Attendants - Thangka by Unknown

    38 (L) x 23-1/2 (W) inches. Ink and color on cloth. Shakyamuni, the Historical Buddha is seated in the center on a lotus throne. His blue and gold radiant halo is framed by billowing clouds and flanked by a landscape. He holds a bowl of peaches in his left hand with his right i the earth witness mudra and wears a red and yellow robe. Above him, left to right, are Lozang Kalzang (7th Dalai Lama), Bajradhara, Amitayus; Buddha Akshoba, three-faced Savavid and Rajapani. He is flanked by two Mahassiddas on asses above two sacred elephants. In front of the throne are two disciples and below is Jambhala, Mahasuvarna Vaishravana and Black Jambhala (the Three gods of wealth). On the reverse are eleven red ink mantric inscriptions: Om ah hum. Mounted as a scroll with red and yellow silk frames on dark blue silk with a faded red silk dust cover and plain silver scroll ends.

  • Thumbnail for Round Ga’u
    Round Ga’u by Unknown

    4-1/8 (L) x 3 (W) inches. Round silver G'au or reliquary box with beaded rim and scrolling leaf filigree design on the lid with a single coral bead in the middle. The back has a removable base plate made of copper. The cover fitted on one side with a long looped ring and a pointed bead on the other.

  • Thumbnail for Siling Poba (Man's Drinking Bowl)
    Siling Poba (Man's Drinking Bowl) by Unknown

    2-1/8 (H) x 4-3/4 (Dia.) inches. Silver -lined wood burl man's drinking cup, with silver repousse floral capped foot with Eight Chinese Taoist Immortal symbols.

  • Thumbnail for The treachery of the Blue Books : the impact of the 1847 educational reports on Welshwomen and Welsh national identity
    The treachery of the Blue Books : the impact of the 1847 educational reports on Welshwomen and Welsh national identity by Nelson, Rosie

    During the nineteenth century, the English Parliament commissioned a series of educational reports of Wales which aimed to denigrate the nation to aid an English cultural takeover, thus ensuring cultural homogeneity within England and Wales. In the educational reports, women were used as the markers of Wales and were conflated with barbarism and bestiality. The Welsh male elites responded virulently, claiming the virtuous nation of Welshwomen, and subsequently, Wales. Women were thus used as political pawns, and were tokenized, as opposed to being represented in of themselves. Following these responses, a Welsh national identity began to form which was centered around women. Wales came to be personified as a woman, thus the idealized version of Welsh womanhood was confined to such a degree that women had a very strict ideal to live up to.​

  • Thumbnail for Religion and science : Charles Darwin's The origin of species
    Religion and science : Charles Darwin's The origin of species by Jimenez, Linda Emperatriz

    On November 24, 1859, Charles Darwin published The Origin of Species by Means of Natural Selection. The ideas within The Origin, particularly the theory of common descent and the theory of evolution by natural selection, have sparked controversy well into the twenty-first century. This controversy is rooted in the belief that he altered the relationship between religion and science, from one of unity to one of separation. I would like to argue that Darwin did not create a divide between religion and science. Contemporary ideas of a Darwinian divide result from misinterpretations of past conflicts with the Roman Catholic Church, lack of understanding of religious doctrine, fears over certain aspects of Darwin's ideas which some feel conflict with personal religious beliefs, fears over Social Darwinism, and concerns that accepting Darwin's theories promote atheism. In the twentieth century, the belief in a divide between religion and science has come to the forefront due to misinterpretations of Darwin's work and historical misinformation.

  • Thumbnail for Tang Yin portrait, full view
    Tang Yin portrait, full view by Signed 'Tang Yin'

    Chinese vertical scroll painting, likely a forgery; colors on silk, brocade frame mounted on paper, flush roller with brocade ends; image area 20.4 cm x 55.8 cm; subject Chang Hsien the archer, patron of child-bearing; birth of male child announced by hanging bow at door or gate, calligraphy, five seals. The subject matter does not match the artist’s inscription. Tang Yin is very well known for his versatility, including calligraphy, figures, and landscapes. He was also known for his literary talents and free-spirited lifestyle. His artistic reputation is reflected in many writings, including novels and dramas in later eras and his love of women is depicted in the performing arts and popular culture. Tang Yin was known as a commercial painter who sold his works and took commissions. Many of the extant works that bear his signature are forgeries. The artist of this painting displays a unique manner in his brushwork, with angular and edgy outlines that reflect the influence of Zhou Chen (still alive in the 1530s), another famous painter of Tang Yin’s era. Tang Yin originally studied painting with Zhou Chen, however Zhou Chen occasionally ghost-painted for Tang Yin due to the huge demand for Tang’s paintings. Another possibility is that the inscription of this painting was done by Tang Yin and the figure was done by Zhou Chen.

  • Thumbnail for Figures in a Garden
    Figures in a Garden by Qian, Hui'an

    Chinese hanging scroll with vertically-oriented painting; ink and colors on paper; image area 39.4 cm x 142.8 cm; brocade frame, mounted on paper with flush roller and brocade ends; subject bearded sage with staff, possibly Confucius or Lao Tzu, and woman standing on a bridge; calligraphy and seal.

  • Thumbnail for Tang Yin portrait, character inscription
    Tang Yin portrait, character inscription by Signed 'Tang Yin'

    Chinese vertical scroll painting, likely a forgery; colors on silk, brocade frame mounted on paper, flush roller with brocade ends; image area 20.4 cm x 55.8 cm; subject Chang Hsien the archer, patron of child-bearing; birth of male child announced by hanging bow at door or gate, calligraphy, five seals. The subject matter does not match the artist’s inscription. Tang Yin is very well known for his versatility, including calligraphy, figures, and landscapes. He was also known for his literary talents and free-spirited lifestyle.

  • Thumbnail for Landscapes and Figures, mountain scene with house
    Landscapes and Figures, mountain scene with house by Ren Xun

    Chinese painting of a mountain scene that is part of a set of four related paintings. Ren Xun was the younger brother of Ren Xiong (1820-1864) and his family members were successful commercial painters in Shanghai and nearby regions and skilled in many subjects, including portraiture. Ren Xun followed the style of one of the eccentric painters, Chen Hongshu (1598-1652) in his figure paintings and was also skilled in bird-and-flower subjects. Both brothers were active in Shanghai and their styles are labeled “Shanghai School†for their colorful and decorative features and popular subjects.