Related

Tathagata Buddha

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Buddhist Deities

Vase of Flowers

慈眼大師像

Ōtsu-e of a Youth Holding Irises (Yarō)

松下達摩図

The Assembly of Tejaprabha Buddha

Crossing at Sano

Grapevine in the Wind

Sixteenth Arhat, Cūḍapanthaka (from the Sixteen Arhats)

Monkey Hanging on to a Branch

Seesturm

A pale-skinned woman sits on a red velvet chair, which is almost entirely hidden by her voluminous, dark emerald-green and gold gown, in this vertical portrait painting. The woman sits in the center of a shadowed, cavernous space, and her body and dress nearly fill the composition. Her body is turned slightly to our right, and she looks at us from the corners of her large, dark eyes. She has a round face, slightly flushed cheeks, and her full, rose-pink lips are closed. Her tawny-brown hair is pulled back under a headband that glints silver over her right ear, to our left. A goldenrod-yellow flower is tucked into her hair near that spot. Her tall, gossamer lace ruff collar is pleated into figure-eights, and it spans the width of her shoulders. Dots of white paint suggest detailing along the pleated edges. The fabric of her gown is so dark green that it appears black in some places, and it is decorated with bands of gold embroidery down the front of the bodice and full skirt, and around the bottom hem. A cape-like garment splits over long, puffy sleeves, which end with pleated, fog-gray fabric at the wrist. The cape and sleeves are densely ornamented with vegetal designs in glimmering gold. She rests her left elbow, on our right, on the arm of her chair so her hand rests palm up, near her waist. The other hand hangs off the end of the other arm of the chair, which is covered by her sleeve. A closed, black and gold fan hangs on a gold chain near that hand. Her skirt brushes the carpet, which is patterned with floral designs in ruby red, mustard yellow, and charcoal gray. The only parts of the chair that we see are a gold orb finial over her right shoulder, to our left, and the velvet-covered arm of the chair on the opposite side. Above the woman to our right hangs the edge of a muted gold curtain. The woman is lit from behind us, and the space around her is largely swallowed in shadow. Another curtain is lifted in the room behind her. Through it, we look out onto a landscape with a stone tower and buildings under a sky swirled with parchment brown, steel gray, and a sweep of brick red.

Hof

Fragment van een muurschildering

Manjushri

Scholar admiring plum blossoms

Portrait of the Great Master Yeongwoldang Eungjin

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Isaac and Rebecca, Known as ‘The Jewish Bride’

Guanyin

Green Tara

Hilma Af Klint Series SUW, No 14 Swan, 1914 -1915

The Sunlight

Thanka with Buddha

During Raphaelle Peale’s time, still lifes were relegated to the bottom of the hierarchy of painting subjects. Peale, however, ignored their low status and is now acknowledged as America’s first professional still-life painter and leading practitioner. In this particularly fine example, the rhythmic balance of fruit, nuts, and Chinese-export porcelain is enlivened by the diagonal branch of grapes becoming raisins and an orange leaf.

[The Oriel Window, South Gallery, Lacock Abbey]

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

Shown from the chest up, a clean-shaven, pale-skinned man holds one hand to his chest and rests the other on a rug-covered ledge with the other in this vertical portrait painting. The man’s body is angled to our left, and he looks down in that direction with dark eyes under thick brows. Crow’s feet crinkle at the corners of his eyes, and there are dark hollows underneath. Soft jowls hang to create a slight double chin. His thin lips are set in a line over a wide, round chin, which is darkened with a five o’clock shadow. He has chin-length, reddish-blond hair, and straight, wispy bangs sweep loosely across his high forehead. He wears a white chemise under a gold, brocade garment, which is mostly hidden by a slate-blue cloak. The cloak is lined with spotted fur, which is turned over to create a wide collar across his shoulders. The sleeve on his left arm, to our right and closer to us, splits over a dusky-pink sleeve. Two gold buttons on the cloak there are decorated with thistle plants and blossoms. The fingers of his right hand, to our left, are gathered like a closed rose bud at his chest. He wears a gold ring on the index finger of the other hand, which rests on the end of the gray stone ledge so his fingertips brush the tapestry draped there. The man is lit from our left against a black background.

Peahen and hibiscus

A Woodland Fête

Autumn Evening with Full Moon on Musashino Plain

Thangka with the Seventh Bodhisattva

Hebe

Ivy Lane

Selbstbildnis

Insects and Flowers, Ming dynasty, 14th-15th century, color on silk, Tokyo National Museum

Saint in Red Cloak

The Windmill

Mandala of the Three Shrines at Kumano

Strawberries

Silk Velvet Fragment with Tiger-Stripe and 'Cintamani' Design

Edward Sheriff Curtis Self-Portrait

Canopy with Dragon among Flowers

A woman with pale, smooth skin stands wearing a loosely draped, champagne-peach dress in this vertical portrait painting. Her body faces us but she turns her head to look down and off to our right with brown eyes. She has dark brows, an upturned nose, and her carnation-red lips are closed in a slight smile. Her ash-brown hair is loosely pulled up so it sweeps back from her face, while thick curls cascade down her neck and over her shoulders. Her long sleeved, floor-length dress is tied at her waist with a sage-green sash. Gossamer-white fabric drapes around her upper arms, and she holds the long ends in both hands. Her right elbow, to our left, rests on the high base of columns that rise behind her and off the top edge of the canvas. A rust-red curtain drapes down from the top of the painting, over the columns. To our right, beyond the columns, the landscape opens to a view of trees beneath a blue sky with white puffy clouds.

Leaping Trout

Velvet and Silk Carpet

Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

Rosso fiorentino, san giovannino, collezione privata firenze

The Adoration of the Magi

Buddhist Priest's Ceremonial Robe

Child Asleep (The Rosebud)

Still Life: Balsam Apple and Vegetables

Vasant Ragini: Folio from a ragamala series (Garland of Musical Modes)

Souvenir of an "International Ball" (Portrait of Miss Kathleen Bruce)

Walters manuscript W.620 has a brown leather blind-stamped binding with a flap. The binding is decorated with a central oval medallion and pendants. This binding is not original to the manuscript.

Paulownias and Chrysanthemums

Portrait de Lisa Gherardini, épouse de Francesco del Giocondo, dit La Joconde ou Monna Lisa

A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.

This painting shows a person in a small boat on a body of water. The person is all the way on one end of the boat, leaning towards the right and reaching out over the side of the boat, holding a rope that appears to be tied to the white antlers of a large brown deer that is almost completely submerged in the water. A black-and-white dog swims in the water behind the deer. The person has pale skin and short brown hair, and they are wearing a black hat and a gray coat. The boat is gray-brown, and the water below is painted with lines of blue, white, green, and teal. The background is a mix of dark gray and olive green.

Titel: Svanen, nr 13, grupp IX, serie SUW. Konstnär: Hilma af Klint (1862-1944, svenska). Olja på duk utförd 1915. Stiftelsen Hilma af Klints verk.

Gibbons in a Landscape

Lions and Tigers in Peony and Bamboo

Summer Flowers

Allegory of Sacred Music

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

Coronation of the Virgin

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches. The cows are caramel or copper brown and ivory white. They stand and lie, legs tucked demurely beneath their hulking bodies, facing different directions, their short horns curling like parentheses against the sky. The man stands on our side of the herd with his back to us to the left of center. He holds a tall shepherd’s staff in one hand as he hunches slightly and points with the other, to our right. He wears a high-crowned, wide-brimmed black hat, a crimson-red jacket, black trousers, and black knee-high boots. A knapsack hangs across one shoulder and rests behind his left hip. The woman sits on the far side of the herd so we see her under the man’s raised arm. She looks at him, her face peachy and round under a wide-brimmed straw-colored hat. She wears a white shirt under a robin’s egg-blue dress, and also holds a tall staff upright with both hands. Two more pale-skinned people sit on the ground or on a donkey in the near distance to our right, near the right edge of the canvas. Both wear hats and earth-toned clothing in black, gray, and blue. The donkey stands facing us, its face low, and a pair of baskets are slung across its back. The people and cattle cast long shadows from the setting sun, out of view to our left. The sunset ignites the undersides of the towering, slate-gray clouds with peach and gold against the ice-blue sky. A body of water stretches from beyond the low hill to a distant shore, where stone ruins are outlined on the horizon, which comes about a third of the way up the composition. A flock of six birds and another pair dot the sky.

Madonna and Child with Donors

Estérel Village

這幅作品被命名為《昆侖松鶴》。昆侖是指神仙們居住的神山——昆侖山。據推測位於中國西部，是中國的大河——黃河的源頭。松和鶴都是長壽的象徵，是和神仙故事頗有關聯的題材。畫面右上方有畫家的署名，並寫著送給一位叫做李懷素的人。以昆侖山上的松樹以及聚集在此的仙鶴為繪畫題材的這幅作品主題極為吉祥，作為賀壽之禮極為相稱。作者呂健是活躍於十六世紀到十七世紀的人物。其曾祖父呂紀是一位著名的宮廷畫家。呂紀有很多構圖周密的大型花鳥圖作品，其華麗的色彩和細膩的筆法不僅在中國，也在朝鮮半島和日本大受追捧，呂紀的繪畫風格在東亞地區到了廣泛傳播。呂健不僅認真學習呂紀的花鳥畫，似乎還將其轉化成了更加瀟灑而又惹人憐愛的表現。這幅作品中姿態優美地彎曲著長頸的仙鶴以及以淡綠色輕輕暈開的松葉都充分表現出了呂健的審美觀。淡淡的墨影巧妙地表現出水面上湧起的波浪，以極具透明感的白色顏料細緻描繪的羽毛線條等卓越的描寫技術也是看點所在。

Shown from about the waist up, a light-skinned man with sagging jowls and a double chin wears a fur garment and hat, a large teardrop pearl earring, and gold chains in this vertical painting. In front of a cracked gray stone wall, the man's body is angled to our right but he turns his face to look at us with brown eyes under a furrowed brow. He has a bulbous nose, and his lips are slightly parted under a wide, wispy mustache. His brown hair is mostly hidden under the tall dark brown fur hat, which is wrapped with a gold chain with a gold medallion at the front. The chestnut-brown fur coat looks especially fuzzy along the neckline, which is also encircled with a thick gold chain. A gold, crown-shaped pendant with a black brush hangs over his right shoulder, closer to us. He holds a gold-tipped cane with his right hand, his thumb extended along the cane. The artist signed and dated the work in the upper right corner, "Rembrandt f: 1637."

Five Medallion Carpet

St Fredianus Diverts the River Serchio

This painting shows a person in a rowboat on calm water, fishing. The boat is positioned horizontally across the painting, and the person in it faces the left, looking forward. Their left hand holds the side of the boat while the right holds a long fishing pole that is placed over their shoulder. They wear long-sleeved brown garment and a tan hat with cloth panels that cover their neck and chin. Their skin is a light red color, and they appear to have a gray mustache. In the background there are dense dark green trees, and in the upper left corner a sliver of glowing sky in shades of orange and yellow is visible. Around the boat is dark blue water, with a hint of the yellow sky reflected in the bottom left corner.

Chrysanthemums by the Water

Phoenixes and Paulownia

Albert (René) Grenier (1858–1925)

Autumn Maples with Poem Slips

Still Life with Herring, Bread, and Cheese

Helmet with divine figures beneath a bird with outstretched wings

This drawing, Walters manuscript leaf W.749, was executed in Safavid Iran, most probably in the late 10th century AH/AD 16th, in Qazvin or Isfahan. Above, a farmer plows; below, a seated young man watches a produce seller weigh his purchase. On the rocks in the center foreground is inscribed the name of one of the most famous painters in Iran in the 11th century AH/AD 17th, Riza 'Abbasi (active 1001-1044 AH/AD 1591-1592 to 1634). As the handwriting does not match that of the artist, an admirer of Riza's work seems to have attributed the drawing to him. The execution and the bucolic subject matter of this drawing relate closely to the oeuvre of the Persian artist Muhammadi Haravi (active late 10th century AH/AD 16th), who worked in Qazvin. It is possible that this composition was conceived as a manuscript page.

A pale-skinned young girl leaning over a low fence and holding a broom gazes in our direction in this vertical painting. Her red hair is pulled back from her round face, and she has large hazel eyes under thin brows, a petite nose, and her coral-red mouth is slightly open. She is shown from the chest up, behind a wooden partition that spans the width of the painting. She wears a loose, ivory-white shirt under a garment with pumpkin-orange straps on the shoulders and chest. She leans forward with her elbows hooked over the partition as she holds a long-handled broom to her chest. A wooden pail with a bronze handle is overturned to the right of the broom. A blocky brown object to our left is difficult to make out. A dark brown semicircular object close to us in the center of the composition resembles the mouth of a well. Soft light from the upper left illuminates the girl and the left side of the caramel-brown wall behind her and throws the right side into shadow. A signature near the lower left looks like it had been painted on the inner edge of the well. It reads, “Rembrandt f. 1651.”

Monkeys

Mädchen in rotem Kleid

Angel (Peri) Riding a Composite Camel

This painting shows a green landscape from an elevated viewpoint. In the distance, light blue water meets a pale-yellow sky, and the sun casts a golden glow over the landscape. Closest to us is a shore covered in overlapping greenery and several round trees. There is a small hill on the right, with a small gray structure sitting atop it. At the bottom, two indistinct brown animals graze on a dirt mound. Behind them, another gray building is tucked away behind bushes and trees. Golden clouds drift across the sky.

Bridal Robe (Hwarot)

This painting depicts a woman seated outdoors with a baby in her lap on the left and a young child standing nearby on the right. The woman is sitting on the ground, while the baby is facing the right with their arms outstretched. The baby is partially wrapped in a white cloth. The woman has a serene expression and delicate facial features. She is wearing a green and red robe. The young child on the right is holding a small lamb and has curly blond hair. In the upper left corner of the painting, two cherubic faces peer down from a cloud. The background shows a pastoral setting with trees, shrubs, hills, grass patches, and bunnies near the forest edge, under a cloudy sky.

screen by Fukae Roshu "Narrow ivy road". Six-fold screen, color on gold leafed paper, Important Cultural Property

Danaë