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93 articles
Article
A Safavid ambassadress in Rome: the last testament of Teresa Sampsonia Shirley
03/2025 | 1464 | 167
Pages: 218–27
related names
Author:
Brown-Hedjazi, Alexandria (Brown-Hedjazi, Alexandria)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Last testament of Teresa Sampsonia Shirley, showing the witness signatures and seals. 1668. (Archivio di Stato di Roma, 30 Notai Capitolini, Officio 23, 1668 Maggio, fol.279r; Photograph the author).
Attributed works:
10. A lady called Teresia Sampsonia Shirley, by John Hoskins. 1620s. Watercolour on vellum. (Harley Gallery, Welbeck Estate, Nottinghamshire; Bridgeman Images).
Attributed works:
2. Teresa, or Teresia Sampsonia, Lady Shirley, by Anthony Van Dyck. c.1622. Oil on canvas, 214 by 129 cm. (Petworth House; © NTPL; photograph Derrick E. Witty).
Attributed works:
3. Sir Robert Shirley, by Anthony Van Dyck. c.1622. Oil on canvas, 214 by 129 cm. (Petworth House; © NTPL; photograph Derrick E. Witty).
Attributed works:
4. Pre-printed template for visitors to the hospital adjoining S. Maria Egiziaca, Rome. 1664. (Archivio del Pontificio Collegio Armeno, fondo S. Maria Egiziaca, Rome, Giustificativi dei pagamenti 1656–1673; courtesy Pontificio Collegio Armeno; photograph C. Santus).
Attributed works:
6. Frontispiece from Girolamo Rocchi: Funerale della Signora Sitti Maani Gioerida della Valle, Rome 1627. (Beinecke Rare Book and Manuscript Library, New Haven).
Attributed works:
7. Sketch of Lady Shirley, by Anthony van Dyck. 1622. Pen and brown ink on paper, 19.9 by 15.1 cm. (British Museum, London).
Attributed works:
9. Detail of Fig.1, rotated 180 degrees, showing the wax seal attached to Sampsonia’s last testament. (Photograph the author).
Western art unattributed:
5. Tombstone of Sampsonia and Robert Shirley, S. Maria della Scala, Rome. (Photograph the author).
Western art unattributed:
8. Detail of Fig.5, showing the Safavid Rampant Lion. (Photograph the author).
Article
Reaching the Buddhist paradise: early images of Buddhas and bodhisattvas in Koguryŏ
06/2024 | 1455 | 166
Pages: 554–569
related names
Author:
Perrin, Ariane (Perrin, Ariane)
Subjects
dates:
media:
places:
Illustrations
Attributed works:
1. Inscribed Buddhist triad, provenance unknown, attributed to Koguryŏ. 563 CE. Gilded bronze, height 17.5 cm. (Kansong Art Museum).
Attributed works:
2. Plan of the under-structure of Changchuan tomb no.1, Ji’an, Jilin province, China. Koguryŏ period, mid-5th century CE. (From Chosŏn yujŏk yumul togam / The Illustrated Book of Ruins and Relics of Korea, Pyongyang 1990 (hereafter Chosŏn), VI, p.73, fig.93; redrawn by the author).
Attributed works:
3. Layout of murals of the north wall of the front chamber of Changchuan tomb no.1, Ji’an, Jilin province, China, showing four bodhisattvas, the Green Dragon and apsaras. Koguryŏ period, mid-5th century CE. (From Chosŏn, VI, p.72, fig.91).
Attributed works:
4. East ceiling of the front chamber of Changchuan tomb no.1, Ji’an, Jilin province, China, showing an enthroned Buddha, tomb occupants and apsaras. Koguryŏ period, mid-5th century CE. (From Chosŏn, VI, p.74, fig.97).
Attributed works:
5. Restored image of the west wall of the main chamber of the Susanni tomb near Namp’o, North Korea, showing a Yaksha–Atlas figure. Koguryŏ period, mid-5th century CE. (From Ch’ŏnsang-ŭi munyang yesul: Koguryŏ kobun pyŏkhwa / Celestial motifs: Ancient Tomb Murals of the Koguryŏ Dynasty, Taejŏn 2020, p.282).
Attributed works:
6. Ceiling corners of the front chamber of Changchuan tomb no.1, Ji’an, Jilin province, China, showing Yaksha–Atlas figures, and newborn male and female figures in lotus flowers. Koguryŏ period, mid-5th century CE. (From Chosŏn, VI, p.82, fig.105).
Attributed works:
7. Right wall of the second chamber of the Sanshi (Three Chambers) tomb, Ji’an, Jilin province, China, showing a Yaksha–Atlas figure and two Black Warriors. Koguryŏ period, mid-5th century CE. (From Chosŏn, VI, p.68, fig.85).
Non-western art unattributed:
10. Buddha and bodhisattvas on the south wall of Yungang cave no.10, Datong, Shanxi province, China. Northern Wei period, 470–94 CE. (From Li Zhiguo: Yungang shiku (Yungang caves), Beijing 1995, p.92, fig.73).
Non-western art unattributed:
11a and b. Seated Buddha (mandorla missing), found at Ttuksŏm, Seoul area. First half of the 5th century CE. Gilded bronze, height 4.9 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
12. Seated Buddha, found at the Wŏno-ri temple site, P’yŏngwŏn county, north of Pyongyang area, South P’yŏngan province, North Korea. Koguryŏ period, sixth century CE. Clay, height 17 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
13a and b. Standing bodhisattva, found at Wŏno-ri temple site, P’yŏngwŏn county, South P’yŏngan province, North Korea. Koguryŏ period, sixth century. Clay, height 19.5 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
14. Seated Buddha, found near Hwangju, North Hwanghae province, North Korea. soapstone (National Museum of Korea, Seoul).
Non-western art unattributed:
15. Buddhist stele. Chinese, Late Northern Wei period. (Zhucheng Museum, Shandong).
Non-western art unattributed:
16. Fragment of mould, found south of Pyongyang at T’osong-ni, Taedong county, South P’yongan province, North Korea. Koguryo period, sixth century. Clay. (National Museum of Korea, Seoul).
Non-western art unattributed:
17. Seated Buddha. Korea, Three Kingdoms period. Gilded bronze, height 8.8 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
18. Inscribed mandorla, found at Ch’ungju, North Ch’ungch’ong province, South Korea. 536 or 596 CE. Gilded bronze, height 12.4 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
19. Inscribed standing Buddha, found at Uiryong, South Kyongsang province (Silla territory), South Korea. 539 CE. Gilded bronze, height 16.2 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
20. Inscribed mandorla, found in P’yongch’on area, Pyongyang, North Korea. 551 CE, Gilded bronze, height. 22 cm. (Korean Central History Museum of Pyongyang).
Non-western art unattributed:
21. Inscribed Buddhist triad (pedestal missing), found at Koksan, in Hwanghae province, North Korea. 571. Gilded bronze, height 15.5 cm. (Ho am Art Museum, Leeum).
Non-western art unattributed:
22. Buddhist triad with three bodhisattvas, found in Kangwŏn province, South Korea. Three Kingdoms period, presumably sixth century CE. Gilded bronze, height 8.7 cm, pedestal diameter 3.3 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
23. Buddhist triad (bodhisattva and two arhats), found at Ch’unch’on, Kangwon province, South Korea. Koguryo or Silla, presumably second half of sixth century. Gilded bronze, height 8.8 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
24. Inscribed plaque, found in Omae-ri, Sinp’o city, South Hamgyong province, North Korea. Gilded bronze, 41.5 by 18.5 cm. (Korean Central History Museum of Pyongyang).
Non-western art unattributed:
25a and b. Inscribed Buddhist triad, found on Mount Puso, near Puyo, in South Ch’ungch’ong province, South Korea. Gilded bronze, height 8.5 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
26a and b. Inscribed standing bodhisattva, found in Hongsong county, South Ch’ungch’ong province, central western Korea. Gilded bronze, height 16.4 cm. (National Museum of Korea, Seoul).
Non-western art unattributed:
27. Inscribed standing bodhisattva. Northern Wei period, 525 CE. Gilded bronze. (© Minku Kim; Linshu Museum, Shandong).
Non-western art unattributed:
28. Standing bodhisattva. Gilded bronze, height 22.8 cm. (Gyeongju National Museum).
Non-western art unattributed:
29. Buddhist triad. Korea, Three Kingdoms period. Gilded bronze, height 15.5 cm. (Donation of Lee Kun-hee). (National Museum of Korea, Seoul).
Non-western art unattributed:
30a and b. Inscribed standing Buddha. Korea, Three Kingdoms period. Gilded bronze, height. 7.7 cm. (Donation of Lee Kun-hee). (National Museum of Korea, Seoul).
Non-western art unattributed:
8. North wall of the front chamber of Changchuan tomb no.1, Ji’an, Jilin province, China, showing bodhisattvas turned towards the Buddha. Koguryŏ period, mid-5th century CE. (© Icomos Korea).
Non-western art unattributed:
9. West niche of the front chamber of the Kamsin tomb, near Namp’o city, North Korea, showing a seated figure. Koguryŏ period, late 5th century CE. (National Museum of Korea, Seoul).
Article
Rediscovered drawings by Bartolomeo Spani for sculpture and goldsmithery
10/2023 | 1447 | 165
Pages: 1082–1093
related names
Author:
Calogero, Marcello (Calogero, Marcello)
Subjects
dates:
media:
subjects:
Illustrations
Attributed works:
1. Detail of Fig.3, showing the angels and God the Father. (Photograph Archivio Franco Cosimo Panini Editore S.p.a. – Arcidiocesi di Modena-Nonantola).
Attributed works:
10. Detail of Fig.2, showing a prophet.
Attributed works:
11. Reliquary bust of St Daria, by Bartolomeo Spani. 1533–38. Cast, chiselled and gilded silver, approximately 70 by 60 cm. (Cathedral of S. Maria Assunta, Reggio Emilia; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
12. Reliquary bust of St Crisanto, by Bartolomeo Spani. 1533–38. Cast, chiselled and gilded silver, approximately 70 by 60 cm. (Cathedral of S. Maria Assunta, Reggio Emilia; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
13. Design for a funerary monument, here attributed to Bartolomeo Spani. c.1510–20. Pen and grey-brown ink, grey-brown wash over stylus indentations, on paper, 28.3 by 19.3 cm. (Morgan Library & Museum, New York).
Attributed works:
14. Grotesque ornament from the Domus Aurea, by the Master of the Codex Escurialensis (fol.14r). c.1490. Pen and brown ink on paper, 33 by 23.5 cm. (Real Monasterio de San Lorenzo de El Escorial, Madrid).
Attributed works:
15. Funerary monument of Bishop Bonfrancesco Arlotti, by Bartolomeo Spani. c.1509. White, pink and polychromed marble, approximately 520 by 230 cm. (Cathedral of S. Maria Assunta, Reggio Emilia; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
16. Design for a funerary monument, here attributed to Bartolomeo Spani. c.1510–20. Pen and brown ink, brown wash, on paper, 19.9 by 15.2 cm. (Musée du Louvre, Paris; RMN-Grand Palais; Thierry Le Mage).
Attributed works:
17. Design for a tabernacle, here attributed to Bartolomeo Spani. c.1510–20. Pen and brown ink and wash, over stylus indentations, on paper, 25.5 by 16.5 cm. (Morgan Library & Museum, New York).
Attributed works:
18. Funerary monument of Lucia Rusca, by Antonio da Morbegno and ‘Maestro Anzelini’, after a drawing here attributed to Bartolomeo Spani. c.1515. White, pink and black marble, approx. 500 by 250 cm. (Cathedral of S. Maria Assunta, Reggio Emilia; photograph Archivio Franco Cosimo Panini Editore S.p.a. – Arcidiocesi di Modena-Nonantola).
Attributed works:
19. Baptism of Christ, by Francesco Caprioli (?). 1497. Fresco, approx. 400 cm. (Baptistry, Reggio Emilia; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
2. Design for a funerary monument, here attributed to Bartolomeo Spani. c.1510–20. Pen and brown ink and wash, with light pink wash over stylus indentations, on paper, 39 by 27.4 cm. (Morgan Library & Museum, New York).
Attributed works:
20. Monstrance (now forming a reliquary of St Concordia), by the workshop of Bartolomeo Spani. 1517. Cast, chiselled and gilded silver, 44 by 17 cm. (SS. Donnino and Biagio, Rubiera; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
21. Design for a pax, here attributed to Bartolomeo Spani. c.1510–20. Pen and brown ink on paper, 20.2 by 14.3 cm. (Morgan Library & Museum, New York).
Attributed works:
3. Funerary monument of Francesco Molza, by Bartolomeo Spani. 1516. White, pink and polychrome marble, approximately 540 by 270 cm. (Cathedral of SS. Maria Assunta and Geminiano, Modena; photograph Archivio Franco Cosimo Panini Editore S.p.a. – Arcidiocesi di Modena-Nonantola).
Attributed works:
4. Processional cross, by Bartolomeo Spani. 1508–09. Cast, chiselled and gilded silver, 76 by 63 cm. (Cathedral of S. Maria Assunta, Reggio Emilia; photograph Diocesi di Reggio Emilia e Guastalla).
Attributed works:
5. Detail of Fig.4, showing the figure of God the Father on the reverse.
Attributed works:
6. St Simeon of Polirone in Jerusalem, exorcising demons from men possessed, by Bartolomeo Spani. c.1516 (model, later cast, perhaps nineteenth century). Bronze, 6.14 by 18.5 cm. (National Gallery of Art, Washington).
Attributed works:
7. Detail of Fig.6, showing a soldier.
Attributed works:
8. Detail of Fig.2, showing a prophet.
Attributed works:
9. Detail of Fig.6, showing a monk.
Article
A competition for the funerary monument of Queen Catherine Opalinska
11/2021 | 1424 | 163
Pages: 1029-1037
related names
Author:
Pénet, Pierre-Hippolyte (Pénet, Pierre-Hippolyte)
Subjects
dates:
subjects:
Illustrations
Attributed works:
1. Design for the funerary monument of Queen Catherine Opalinska, by Jean-Baptiste Il Lemoyne. 1747. Pen and ink wash, 66.5 by 50.2 cm. (Hamburg Kunsthalle).
Attributed works:
10. Design for the funerary monument of Catherine Opalinska, attributed to Jean Joseph Vinache. 1747. Pen and ink wash, 65 by 31.2 cm. (Kunsthalle, Hamburg).
Attributed works:
11. Detail of Elevation of the front facade of the Oratory Church, Paris, by Jean François Blondel, showing the Annunication by Nicolas Sébastien Adam. c.1750. Etching and engraving, sheet 51 by 33 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
12. Design for the funerary monument of Catherine Opalinska, with the flaps raised, by Nicolas Sébastien Adam. 1747. Pen and ink wash, 49.5 by 29 cm. (Kunsthalle, Hamburg; bpk).
Attributed works:
13. The drawing illustrated in Fig.12, with the flaps lowered.
Attributed works:
14. Detail of Catherine Opalinska, Queen of Poland, lying in state, by Charles Nicolas Cochin II. 1747. Etching and engraving, 66.8 by 45.5 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
15. Funerary monument of Catherine Opalinska, by Jean Charles François. 1756. Etching and engraving, 62 by 47 cm. (Palais des ducs de Lorraine-Musée lorrain, Nancy).
Attributed works:
16. Funerary monument of Catherine Opalinska, by Nicolas Sébastien Adam. 1747–49. Marble. (Notre-Dame-de-Bonsecours, Nancy).
Attributed works:
2. View of Notre-Dame-de-Bonsecours church, Nancy. (© Ville de Nancy).
Attributed works:
3. Catherine Opalinska, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 141 by 112 cm. (Château de Versailles).
Attributed works:
4. Stanislaus Leszczynski, by Jean-Baptiste Van Loo. 1727. Oil on canvas, 133 by 113 cm. (Château de Versailles).
Attributed works:
5. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 50.5 by 33 cm. (Kunsthalle, Hamburg).
Attributed works:
6. Design for the funerary monument of Catherine Opalinska, by Jean-Baptiste II Lemoyne. 1747. Pen and ink wash, 66.5 by 50.3 cm. (Kunsthalle, Hamburg).
Attributed works:
7. Funerary monument of Pierre Mignard, by François Bernard Lépicié. 1743. Etching and engraving, 72.5 by 48 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
8. Monument to Alexander VII, by Gian Lorenzo Bernini. 1671–78. Marble. (St Peter’s Basilica, Rome).
Attributed works:
9. Design for the funerary monument of Catherine Opalinska, by Lambert Sigisbert Adam. 1747. Pen and ink wash, 46 by 25.2 cm. (Kunsthalle, Hamburg).
Article
‘Fully armed in plate of war’: making the effigy of the Black Prince
11/2021 | 1424 | 163
Pages: 997-1009
related names
Author:
Barker, Jessica (Barker, Jessica)
Author:
Mcarthur, Graeme (Mcarthur, Graeme)
Author:
Pegues, Emily (Pegues, Emily)
Subjects
media:
Illustrations
Attributed works:
14. The soffit of the tester over the monument to the Black Prince. Late fourteenth century. 440 by 192 by 30 cm. Oak, polychromy and gilding. (© Fitzwilliam Museum, Cambridge).
Attributed works:
15. Detail from La vie du Prince Noir, by the Chandos Herald, showing the Black Prince venerating the Trinity. c.1385. Illumination on parchment, octavo 23.5 by 14 cm. (Senate House, London, MS 1, fol.1; reproduced with the permission of Senate House Library, University of London).
Attributed works:
8. The Black Prince’s funeral achievements, clockwise from top left: sword, helmet, gauntlets. (Photographs by kind permission of Canterbury Cathedral).
Attributed works:
9. Endoscopic view of the interior of the effigy from the bascinet toward the chest cavity and legs. (© Waygate Technologies). a. Join of interlocking teeth connecting the torso piece with the underside of the eventail at the throat; b. Iron interlocking pins at the inside of the chest; c. Tailbone bolt; d. Pin holding the legs together at the thigh; e. Hollow legs; and f. Iron interlocking pins.
Western art unattributed:
1. The tomb of the Black Prince in its setting in the Trinity Chapel, Canterbury Cathedral. (Photograph the authors).
Western art unattributed:
10. Badge of the Black Prince venerating the Trinity. c.1376. Lead, 10.3 by 7.9 cm. (British Museum, London; © The Trustees of the British Museum).
Western art unattributed:
11. Impression of the seal of the Black Prince, affixed to a charter dated 19th July 1362. Wax, diameter 5 cm. (The National Archives, London, E/30/1106; © Lloyd de Beer, reproduced by kind permission from The National Archives, Kew).
Western art unattributed:
12. Tomb of Edward III. c.1386. Gilded brass effigy, Purbeck marble tomb chest and oak tester. (Confessor’s Chapel, Westminster Abbey, London; © Dean and Chapter of Westminster).
Western art unattributed:
13. Detail of Fig.12, showing the face of Edward III. (© Dean and Chapter of Westminster; Alamy).
Western art unattributed:
2. The effigy of the Black Prince on his tomb. c.1386. Gilded brass, with silvered and enamel details. (Trinity Chapel, Canterbury Cathedral; photograph by kind permission of Canterbury Cathedral).
Western art unattributed:
3. Detail of champlevé enamels on the effigy’s sword belt. (Photograph the authors).
Western art unattributed:
4. Drawing of the effigy, indicating names for the armour. (© Matilde Grimaldi).
Western art unattributed:
5. Side view of the effigy and tomb chest of the Black Prince. Gilded brass, enamel and Purbeck marble. (© Michael Freeman; Alamy).
Western art unattributed:
6. Drawing of the effigy, indicating its construction. (© Matilde Grimaldi).
Western art unattributed:
7. The gauntlets on the Black Prince’s effigy. (Photograph the authors).
Book Review
Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture
04/2021 | 1417 | 163
Pages: 381-382
related names
Reviewer:
Fehrmann, Antje (Fehrmann, Antje)
Subjects
subjects:
Reviewed Items
subjects:
Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture By Jessica Barker. 354 pp. incl. 33 col. + 63 b. & w. ills. (Boydell Press, Woodbridge, 2020),  50. ISBN 978–1–78327–271–6. | :
Article
A sculpture of the Virgin Annunciate by Jean Guillaumet, called Jehan de Chartres
11/2020 | 1412 | 162
Pages: 922-927
related names
Author:
Ainsworth, Maryan W. (Ainsworth, Maryan W.; Ainsworth, Maryan)
Subjects
dates:
media:
Illustrations
Attributed works:
1. Madeleine of Burgundy presented by St Mary Magdalene, by Jean Hey. c.1490. Oil on panel, 56 by 40 cm. (Musée du Louvre, Paris).
Attributed works:
10. Detail of Fig.6, showing the head of St Susanna.
Attributed works:
2. Virgin Annunciate, by Jean Guillaumet (Jehan de Chartres). c.1500–10. Limestone, 96.5 by 33 by 24 cm. (The Hearn Family Trust and Charles Hack; on loan to the Metropolitan Museum of Art, New York; © Sam Fogg Ltd.).
Attributed works:
3. Annunciation, by Jean Hey. c.1490–95. Oil on panel, 72 by 50.2 cm. (The Art Institute of Chicago, Mr and Mrs Martin A. Ryerson Collection).
Attributed works:
4. Detail of Fig.3, showing the Virgin.
Attributed works:
5. Detail of Fig.2, showing the upper torso.
Attributed works:
6. St Susanna, by Jean Guillaumet. c.1500–03. Limestone, 183 by 78 by 50 cm. (Musée du Louvre, Paris).
Attributed works:
7. St Peter, by Jean Guillaumet. c.1500–03. Limestone, 184.5 by 66 by 43 cm. (Musée du Louvre, Paris).
Attributed works:
8. St Anne, by Jean Guillaumet. c.1500–03. Limestone, 192 by 78 by 49 cm. (Musée du Louvre, Paris).
Attributed works:
9. Detail of Fig.2, showing the head of the Virgin.
Book Review
The Print Collection of Cassiano dal Pozzo: Ceremonies, Costumes, Portraits and Genre (The Paper Museum of Cassiano dal Pozzo, Series C: Prints, Part 1)
09/2020 | 1410 | 162
Pages: 819-820
related names
Reviewer:
Bailey, Gauvin Alexander (Bailey, Gauvin Alexander)
Subjects
art literature:
collectors and dealers:
media:
museums and institutions:
Reviewed Items
works:
The Print Collection of Cassiano dal Pozzo: Ceremonies, Costumes, Portraits and Genre (The Paper Museum of Cassiano dal Pozzo, Series C: Prints, Part 1) Edited by Mark McDonald. Three vols, 1024 pp. incl. 1676 b. & w. ills. (Harvey Miller, London, 2017), £195. ISBN 978–1–909400–78–8. | :
Letter
Modelling and mapping Flaxman’s monument to William Murray
08/2020 | 1409 | 162
Pages: 644-645
Article
The funerary couch of An Jia and the art of Sogdian immigrants in sixth-century China
10/2019 | 1399 | 161
Pages: 820-829
Subjects
dates:
media:
places:
subjects:
Illustrations
Non-western art unattributed:
1. Cover of An Jia’s tombstone. 579. Limestone, 47 by 47 cm. (Shaanxi Provincial Institute of Archaeology, Xi’an).
Non-western art unattributed:
10. Detail of Fig.3, showing a scene of dancing from the left side panel.
Non-western art unattributed:
11. Ewer decorated with female figures. Sasanian, c.sixth–seventh century AD. Silver with gilding, 35.5 by 16.9 by 14 cm. (Freer Gallery of Art, Washington).
Non-western art unattributed:
12. Detail of a stone mortuary couch. c.Sixth century. Limestone, paint and gilding. (Virginia Museum of Fine Arts, Richmond).
Non-western art unattributed:
13. Detail of an altarpiece with Maitreya and attendants, showing donor figures. 524. Gilt bronze, height 76.8 cm. (Metropolitan Museum of Art, New York).
Non-western art unattributed:
14. Seated Buddha. c.550–77. Limestone, paint and gilding. 120 cm. (Qingzhou Museum).
Non-western art unattributed:
15. Ewer showing Greek mythological scenes. Sasanian, fifth–sixth century AD. Silver with gilding, 37.5 by 12.8 cm. (Guyuan Museum).
Non-western art unattributed:
2. The funerary couch of An Jia. 579. Limestone, paint and gilding, 228 by 103 by 117 cm. (Shaanxi Provincial Institute of Archaeology, Xi’an).
Non-western art unattributed:
3. Decorative screen of the couch depicted in Fig.2. Upper tier: back panel; lower tier: left- and right-side panels.
Non-western art unattributed:
4. Gable of the stone gate in the An Jia tomb. 579. Limestone, paint and gilding, 66 by 128 cm. (Shaanxi Provincial Institute of Archaeology, Xi’an).
Non-western art unattributed:
5. Detail of Fig.3, showing the portrait of a couple on the left side panel.
Non-western art unattributed:
6. Detail of Fig.3, showing an ox cart on the right side panel.
Non-western art unattributed:
7. Detail of Fig.3, showing a scene of ram hunting in the upper section and boar hunting in the lower.
Non-western art unattributed:
8. Plate depicting a king hunting rams. Sasanian, c.fifth–sixth century AD. Silver with gilding, 4.6 by 21.9 cm. (Metropolitan Museum of Art, New York).
Non-western art unattributed:
9. Plate depicting a king hunting boar. Sasanian, c.fourth century AD. Silver with gilding, 5 by 24 cm. (Freer Gallery of Art, Washington).
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