![]() |
Chora Museum, Istanbul |
The opposite of war is not peace... It's creation!As a way to stay positive and surround ourselves with truth, beauty and goodness, we have to go on creating... knowledge, art, literature, music... whatever is our passion, our specialty, we need to make sure we endow the world with our best. But for now, let's take a look at what made 2016 worth living... (Warning: this is a wordy post, laden with beautiful works of art. If you don't care for the commentary, I suggest you scroll down just for the images)
![]() |
"The Nightmare dream of a King: The Fearsome Aftermath of the Battle of Kurukshetra" Folio from the unfinished "Small Guler" Bhagavata Purana (The Ancient Story of God), Manadu, ca. 1740 (The Metropolitan Museum of Art Exhibition. "Divine Pleasures: Painting from India's Rajput Courts - The Kronos Collection", 2016) |
Shame on me. I have caused to be slain young boys... kinsmen, friends, uncles, brothers and the preceptors. My horrible and despicable sin on account of this will not be fully expatiated even after suffering ten thousand years of hellfire. (1)Instead, the so-called leaders of the world blame, "the other," outside forces or even worse, their political opponents for the travesties that have befallen on their people.
![]() |
"Angada, Prince of the Monkeys, Destroys Ravana's Palace and Steals His Crown," Illustrated folio from the "Shangdi" Ramayana (The Adventures of Rama) (Style III), ca. 1700-30, (The Metropolitan Museum of Art Exhibition. "Divine Pleasures: Painting from India's Rajput Courts - The Kronos Collection", 2016) |
![]() |
Decorated Incipit Page recalling Byzantine tapestries which were admired and coveted in the West, about 1120 - 1140, from Gospel Book (The J. Paul Getty Museum, "Traversing the Globe through Illuminated Manuscripts Exhibitions) |
"Traversing the Globe through Illuminated Manuscripts" at the Getty Museum highlighted the connections and transcultural exchanges between the peoples of Asia, Europe, Africa and America from the 9th to the 17th century. It was a very well thought-out exhibit, not privileging one culture over another. Each object was carefully chosen from the museum's collection with a few additions from local museums, emphasizing moments of encounter, exchange and exploration in the other, to say nothing of the breathtaking beauty of the illuminations.
![]() |
Scenes from the Life of David, about 1250, Folio from the Morgan Picture Bible (The J. Paul Getty Museum) The Morgan Picture Bible consisted exclusively of pictures with no accompanying text, three sets of captions were later added to the leaves, summarizing the contents of the images. Scribes in southern Italy added inscriptions in Latin around 1300, and inscriptions in Persian and Judeo-Persian (Persian written in Hebrew alphabet) were added in the 1600s. The Morgan Picture Bible was presented to the Persian ruler, Shah Abbas in the early 1600s. |
The two canon tables from the Zeyt'un Gospels by the most accomplished illuminator and scribe in Armenia, T'oros Roslin, were two of the most magnificent manuscript I had ever seen. According to the Getty website, in medieval Armenia, religious books such as these were believed to serve as heavenly intercessors for those involved with the books' creation, patronage or care.


Canon tables from the Zeyt'un Gospels, T'oros Roslin, Armenian, 1256
![]() |
Initial A: Saints Maurice and Theofredus, Frate Nebridio, Cremona, ca. 1460-1480 Saint Maurice, a third-century soldier, was martyred for not making sacrifices to pagan gods. Saint Theofredus was among his companions. The two saints depicted in courtly, refined costumes was inspired by double portraits of the period. This cutting comes from an antiphonal. |
The manuscript with the 3rd century Saints Maurice and Theofredus is worthy of close inspection for the depiction of the two Saints from the Theban Legion in Egypt. The 15th-century Italian illuminator, Frate Nebridio, emphasized their Eastern origins by the dark dots on their skins.
![]() |
Iskandar at the Kaaba, Page from a Manuscript of the Khamsa (Quintet) of Nizami (Iskandarnama or "Book of Alexander"), Iran, Shiraz, circa 1485-1495 (LACMA) |
Alexander the Great, the greatest conquering hero that all later rulers would aspire to, was accepted and revered in the Islamic culture as well. He was written into the mythology of the Islamic tradition as Iskandar and depicted as a Muslim ruler sometimes seen visiting holy sites.



![]() |
Élisabeth Louise Viger Le Brun, Self-Portrait, 1790 (Gallerie degli Uffizi, Corridoio Vasariano) |
On a different note, there were many interesting facts in the Met's exhibition "Vigée Le Brun: Woman Artist in Revolutionary France". Vigée Le Brun was Marie Antoinette's favorite portraitist who was accepted into the prestigious Academie royale de peinture et du sculpture (a previous post has more details.) I have always admired Ms. LeBrun's perseverance and ability to survive one of the bloodiest times in history even with her close connections to the Royal family in France. Vigée LeBrun's oeuvre of flattering portraits of royalty and 18th-century notables are enjoyable to view but her delicate drawings and pastels with their intimate and honest portrayals made more of an impact on me. The Self-portrait of 1790 where she represents herself as an artist at her easel making a sketch of Marie Antoinette, is the perfect calling card for a confident, talented and capable woman artist. In a white turban and a seemingly feminine, black dress with a delicate, white, ruffled collar and a striking red sash, Le Brun looks out to the viewer with a direct gaze. According to the curator Joseph Baillio, her collar and turban are both a nod to the great masters. This type of collar was worn at the time of Rubens and Van Dyck and the turban recalls Rembrandt and Van Dyck's Self-portraits wearing turbans.
![]() |
"You had me at Hello" @sedefscorner |
Terracotta volute-krater (The Darius Krater), Greek, Hellenistic period, ca. 330-320 B.C. (Museo Archeologico Nazionale, Naples) |
After the Greek victory in the Persian Wars (490-479 B.C.) representations of Amazons, warrior women from the Black Sea region, and Amazonomachies, depicting the mythological battle between the Greeks and the Amazons became popular subjects as a metaphor for the historic confrontation.

(L) Marble Dying Persian, 2nd cent. A.D. Roman copy of 2nd cent B.C. Greek bronze
(M) Athena Parthenos, from the Temple of Athena at Pergamon,
(R) Marble Dying Amazon, 2nd cent. A.D. Roman copy of 2nd cent B.C. Greek bronze
Onyx Cameo, Early Hellenistic Period Ptolemy II Philadelphos and his sister-wife, Arsinoe II, the first Ptolemies to enter into sibling marriage. (Antikensammlung, Kunsthistorisches Museum, Vienna) |
![]() |
Epikouros, portrait heads of other leading Athenian philosophers and Marble Statue of Athena Parthenos from the Sanctuary of Athena at Pergamon |




Right next door to the Pergamon exhibit was the exhibition "Court and Cosmos: The Great Age of the Seljuqs." Seljuqs were a Turkic dynasty, from Central Asia that ruled a vast territory from Turkmenistan to Turkey from the 11th to the 14th centuries and this exhibition was a collection of objects that were used in the various courts and homes of wealthy dignitaries as well as the affluent middle class. This was a time of great cultural and artistic production that was a fusion of the various cultures and traditions including Persian, Byzantine, Islamic, Arabic, Armenian and other Christian cultures, that were part of the lands the Seljuqs ruled.
A sovereign's personal guards, viziers or amirs that probably decorated the reception hall of a ruler's court. |

(L) Plate of Rukn al-Dawla Dawud Anatolia or Caucasus ca. 1114-44, Bearing the name of a Muslim ruler yet design recalling the Byzantine tradition.
(M) Pierced Jug with Harpies and Sphinxes, Kashan, 1215-16
(R) Magic Mirror of Abu-l-Fadl, Artuq Shah, Eastern Anatolia, ca. 1220s-30s. Used to divine and control the future through the signs of the zodiac


Enthroned figures were a favorite theme in Seljuq art, and could be found in different media with similar iconography. The centrally situated, prominent figure is usually seen holding the accouterments of kingship - a glass in one hand and a handkerchief in the other, and he is surrounded by attendants, peacocks, and apotropaic sphinxes, all the symbols associated with royalty.
Beautiful colors, whimsical animal motifs, ceramics with representations of epic love stories and extraordinary stone carvings were all part of this magical exhibition.
![]() |
Panel with Enthroned Ruler and Courtiers, Iran, second half of 12th century (Philadelphia Museum of Art) |

Ushnisavijaya and the Celebration of Old Age (Bhimartha Ritual), Nepal, 1775
(Rubin Museum of Art)
Newars celebrate their attainment of old age with an elaborte ritual. During the ritual the members of the family of the honoree place the old person or couple in a wooden chariot symbolically equipped with winged horses and other mythical creatures. This ritual symbolizes their ascendance to heaven, showing the couple seated in the chariot and moving toward heaven through the stylized cloud. The famous hilltop shirne of Svayambhu Stuba in Kathmandu is represented here as heaven. (2)
![]() |
Arapachana Majushri, Nepal, 13th-14th century (Chazen Museum of Art) |
"Divine Pleasures: Painting from India's Rajput Courts" is a collection of 100 paintings that were produced between 16th and the early 19th century for the royal courts of Rajasthan and the Punjab Hills in northern India. These paintings produced for several powerful kingdoms were a synthesis of the naturalism, refined color and fine brushwork of Mughal painting with the shallow space, elemental color palette of black, white, red, blue yellow, and green, as well as shallow space and simplified, bold drawing of Indian aesthetics.
![]() |
Krishna and the Gopas (Cowherders) Huddle in the Rain, Attributed to the Master of Swirling Skies, ca. 1720-50 Attributed to India, Bahu, Punjab Hills (The Kronos Collection) |
Ladies on a Terrace, Painted by the artist Ruknuddin, Rajasthan Kingdom of Bikaner, 1673 (The Kronos Collection) |
![]() |
"Gujari Ragini: A Lady With A Vina Seated on a Bed of Lotus Flowers" Folio from a dispersed Ragamala (Garland of Melodies) Artist: Rukniddin, 1664 (The Kronos Collection) |
Training a Horse, Rajasthan, 1765 (The Kronos Collection) |
These charming paintings that contain a similar iconography of kingship as to the Seljuq objects, depicting ladies playing instruments, horses and peacocks were also a way of seeking the divine through personal devotion.
![]() |
Chitanya Dances in Ecstasy, ca. 1750 Attributed to India, Kishangarh, Rajsathan (The Kronos Collection) |
![]() |
"The Poet and Author Jayadeva Visualizes Radha and Krishna," Folio from the "Second" or "Tehri Garhwal" Gita Gowinda (Song of God) ca. 1775-80, attributed to India, Kangra or Guler, Punjab Hills (The Kronos Collection) |
Resources
____________________
(1) Metropolitan Museum of Art Website (link), J.M. Sanyal, translator, The SrimadBhagavatam, New Delhi, 1970, vol I, pg.33.
(2) Rubin Museum of Art. "Nepalese Seasons: Rain and Ritual" Exhibition Gallery Label
No comments:
Post a Comment