- 20th-century Decorative Art
- Arms and Armour
- Books, Manuscripts and Maps
- Classical Antiquities, Coins and Medals
- Clocks, Barometers and instruments
- Jewellery, Snuff Boxes and Miniatures
- Medieval art
- Modern Art
- Oriental and Asian Art
- Paintings, Drawings and Prints
- Porcelain, Ceramics and Glass
- Tribal and Pre-Columbian Art
- Textiles, Carpets and Tapestries
- Works of Art
Thumbs up for ......
Oriental and Asian Art
Curator James Watt guides us through “The World of Khubilai Khan: Chinese Art in the Yuan Dynasty” at the Metropolitan Museum of Art.
Discover prints by Utagawa Kuniyoshi from the Arthur R. Miller Collection at Japan Society.
Utagawa Kuniyoshi's vivid scenes from history and legend, wildly popular 150 years ago, are a major influence on the work of today's manga and anime artists. This exhibition features over 130 dramatic depictions of giant spiders, skeletons and toads; Chinese ruffians; women warriors; haggard ghosts; and desperate samurai combat.
The batlle of images – Mekka vs. Medina in the iconography of the manuscripts of al-Jazuli’s Dala’il al-Khayrat
The payer-book Dala’il al-Khayrat by the Moroccan mystical activist Abu Abdallah Muhammad b. Sulayman al-Jazuli (d. 870/1465) is one of the most successful books in Sunni Islam, after the Qur’an itself. It is known from the Islamic West, where it was written more than five hundred years ago, till far in South-East Asia, and everywhere in between. There must be many thousands of manuscripts of it all over the world, and many hundreds in printed versions. The numerous editions which are currently available in the entire Islamic world prove that the book has lost nothing of its appeal. Most manuscripts and all printed editions of the Dala’il al-Khayrat are provided with two illustrations, showing either elements of the Prophet’s Mosque or views of the Great Mosque of Mekka and the Prophet’s Mosque in Medina. Why these illustrations came to be inserted into al-Jazuli’s prayer-book in the first place, and how they changed from one representation into another is the subject of the present paper.
The recent surge in publications dealing with European art on Islamic themes, especially the work of Orientalist painters of the nineteenth century, is a part of a general reappraisal of nineteenth century academic art occurring in our time, dually reflected in scholarly research and in the art market, and often showing the effect of the latter on the former. This dual interest has resulted in turn in a significant number of sumptuous new publications, often with many color illustrations. These books and catalogues have sought to appeal variously to the marketplace, to serious scholarship and to range a range of other interests from the hotly political to the mildly prurient.
*/ > The makara is one of the many images of foreign origin which entered the Chinese artistic vocabulary through cultural exchanges over the centuries. Its persistence through time-attested as it is on different classes of artifacts from the sixth to the eighteenth century-its adaptation to different media, and the iconographical changes it underwent in China make it an interesting case study. In the literature in Western languages, however, the motif has rarely been the subject of specific studies, though a number of scholars have pointed out its occurrence in discussing particular artifacts.-->