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jeudi 19 septembre 2024 - 03h33

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anonyme - combat d'elephants

Elephant combats in Kota took place in the palace courtyard, while the ruler and his courtiers looked down from a high balcony. An elephant was placed to either side of a short wall, against which they would batter until the strongest vaulted the wall to finish off its opponent. In this drawing, the two elephants collide in midair. The weaker beast falls to the ground, his body an explosion of flattened parts. The impact of this jarring encounter has sent the elephant handlers flying and they circle helplessly at the outer edges of the page. Although his name is not known, the artist to whom this drawing is attributed has been dubbed the "Master of the Elephants" because his sure and lively brushwork captures the essence of both the elephants' power and their baggy skins.
Philadelphia Museum of Art An Elephant Combat C. 1660Details Artist:maker unknown, India (E)
Elephant combats in Kota took place in the palace courtyard, while the ruler and his courtiers looked down from a high balcony. An elephant was placed to either side of a short wal ...

art inde - anonyme - Krishna And Radha

This unusually large painting was not intended as an illustration for a book, yet its subject matter celebrates one of the most famous love relationships in Indian literature. Stories of Radha and Krishna take place in everyday life, thus emphasizing the physical world and physical love. Romantic love is sensually depicted here through tender gestures and huge, hooded eyes (a hallmark of Kishangarh painting). The intimacy of this romantic love is also a metaphor for the inherent union of the adoring human soul (Radha) with the divine (Krishna).
Philadelphia Museum of Art Krishna And Radha C. 1750Details Artist:maker unknown, India (E)
This unusually large painting was not intended as an illustration for a book, yet its subject matter celebrates one of the most famous love relationships in Indian literature. Stor ...

Khushala - The Gods Sing and Dance for Shiva and Parvati

Shiva and his wife Parvati rest on a tiger skin as they watch a pair of dancers accompanied by divine musicians. The group of performers is so large that it winds away behind the trees. Shiva, the great yogi, can be identified by his ash-white skin, long hair, snake jewelry, and third eye. However, he is shown here not as a terrifying ascetic god, but as a lovely prince on a bucolic outing. The text that this painting illustrates is unknown, but the scene may represent the celebration when Shiva accepts Parvati as his bride.
Philadelphia Museum of Art The Gods Sing And Dance For Shiva And ... C. 1780-90Details Attributed to Khushala, Indian, active late ... () (E)
Shiva and his wife Parvati rest on a tiger skin as they watch a pair of dancers accompanied by divine musicians. The group of performers is so large that it winds away behind the t ...

Khushala - The Gods Sing and Dance for Shiva and Parvati (detail)

Philadelphia Museum of Art The Gods Sing And Dance For Shiva And ... C. 1780-90Details Attributed to Khushala, Indian, active late ...(detail) (E)
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Mahesha - Qasam al-Abbas Arrives from Mecca and Crushes Tahmasp with a Mace

This battle scene comes from a monumental manuscript of the Hamzanama that was produced for the Mughal Emperor Akbar (1556-1605). Based on a Persian legend, the Hamzanama was transmitted across the Muslim world, including India. Here the hero Qasam al-Abbas fights the giant villain Tahmasp. Their different mounts suggest their different nationalities: Qasam rides a camel, which together with the white cloth fastened in his helmet and looped around his face, is meant to indicate his Arab origins. (Indeed, the text confirms that he comes from Mecca, the center of Muslim pilgrimage on the Arabian peninsula.) Tahmasp, on the other hand, is a Persian villain and so rides a beautifully caparisoned Persian horse that wears gold armor held together by blue, Persian-style textiles.
art inde - Qasam Al-Abbas Arrives From Mecca And Crushes Tahmasp ... Manuscript Dated C. 1562-77; Imperial Mughal Workshop, Reign Of Akbar Philadelphia Museum of Art (E)
This battle scene comes from a monumental manuscript of the Hamzanama that was produced for the Mughal Emperor Akbar (1556-1605). Based on a Persian legend, the Hamzanama was trans ...

The Great Goddess Durga Slaying the Buffalo Demon (Mahishasuramardini)

The most common image of a buffalo (mahisha in Sanskrit) is Mahishasura, the buffalo demon. Son of a buffalo, Mahishasura gained power over the world and plunged it into chaos. To destroy him, the gods pooled their energies to create the great goddess Durga. Here the many-armed Durga leaps from her feline vehicle and slices through the buffalo's neck, from which the green, horned demon emerges in human form. The water buffalo is thought to embody ignorance, laziness, and pollution; it is associated with blood and is the vahana (vehicle) of Yama, God of Death. Although domestic water buffalo have long provided milk, agricultural power, and meat across India, ancient texts describe them as a nondomesticated species, representing the chaos of wilderness--and thus the absence of cosmic order.
art inde - The Great Goddess Durga Slaying The Buffalo Demon Philadelphia Museum of Art (E)
The most common image of a buffalo (mahisha in Sanskrit) is Mahishasura, the buffalo demon. Son of a buffalo, Mahishasura gained power over the world and plunged it into chaos. To ...

anonyme - Rondel Depicting Holofernes s Army Crossing The Euphrates River

vitrail Sainte Chapelle Parisart perse - Rondel Depicting Holofernes s Army Crossing The Euphrates River 1246-48Details Artist:maker Philadelphia Museum of Art unknown, French (E)
vitrail Sainte Chapelle Paris ...