Introduction
The essay chooses works of art in the Museum’s collection belonging to different periods. These include ancient as well as modern examples of art and architecture from different geographical locations.
Art from 200 to 1000 - 6th–7th century
Camel with Packboards and Baggage
The Bactrian camel is about 11 inches in height and is exhibited in the Metropolitan Museum. Made of Earthenware with pigment, the camel carries the right proportions and has been carefully modeled. It is captured in a movement and as it is about to take the next step. Except for the packboard, there is no other object or ornament on the camel. The Bactrian camel shows the significance of its use on the Silk Road for trades. The packboards are deep rusty orange and carry a slightly darker tint than the body of the camel. There are three figures on the side of the camel, but they are not very clear. Still, the figure in the middle carries more importance. He seems to be the king of the Yakshas, the Indian Kubera, who is attended to by women on either side. The scene may be a drinking scene as Indian Kubera seems drunk. Still, as he doesn’t wear any headgear and carries a full beard, the scene could be given another interpretation. The early Christian iconography perhaps inspired three figures because of the spread of Christianity on the along the Silk Road (Camel with Packboards and Baggage, 2016).
Figure with Ceremonial Objects Made of stone, the “Figure with Ceremonial Objects” dates back to 5th–9th century and belongs to Bolivia and Tiwanaku culture. The dimensions of the sculpture are 46.7 x 12.4 x 12.7cm. Tiwanaku city lies in the Bolivian highlands on the southern side of Lake Titicaca. Famous for stone architecture, this figure depicts an elite lineage. The full-size sculptures were part of public rituals while the smaller version was used for private ceremonies. The stone sculpture is roughly rectangular in shape with rounded edges. The large head of the figure carries a plain cap with a chin strap. The slightly bulging square eyes look prominent, and there are small profile animal heads used to represent a band of tears. There are two objects in the stylized, symmetrical hands of the figure, and these are possibly snuff trays. The body is covered with delicate design, diagonals, and stylized faces. The design and arrangement are popular from the textiles of the period. The wide belt encircling the waist is decorated with medallions that are reminiscent of the rayed face of principal deity of Tiwanaku (Figure with Ceremonial Objects, 2016).
8th–early 9th century
Buddha Preaching “Buddha Preaching” dates to Mon-Dvaravati period and dates back to 8th–early 9th century. Made of Silver alloy, the sculpture belongs to the Central or northeastern Thailand. This is a fine example of sculptures by the Mon people who belongs to the central and southern Thailand. The Buddha stands, placing the weight of his body on the right leg. He wears the traditional monastic garments, and his right shoulder is bare. As his left leg is placed forward slightly, there is a slight hint of bend at the knee. The left-hand makes the gesture for bestowing boons, and the right hand seems to be in a teaching gesture that is so often found on the Mon Buddhas. The sculpture shows a very high level of precision and refined modeling. The facial features, the drape of the garments and the curls of the hair are done very finely by the sculptor. The compelling gaze and serene expression of the beautiful face of Buddha make this a very unusual sculpture (Buddha Preaching, 2016).
Standing Shiva or Temple Guardian Standing Shiva or Temple Guardian belongs to first half of the 10th century and is made of stone and is about 128 cm in height. The Dvarapala is a rare sculpture and represents the Hindu god Shiva or the temple guardian. The rugged sculpture typifies the art of the Chams. The figure stands on a pedestal and holds a club in his right hand. The left leg is slightly lifted and bent at the knee. The left hand is placed at the waist, carrying a rosary and the figure wears and an aggressive posture. He wears a short wrap with a long front pocket and a sash with an oblique upward curve (Standing Shiva or Temple Guardian, 2016).
Fifteenth-Century Art
Jar with Dragon The delicate “Jar with the Dragon” is made of fine porcelain. It carries a transparent glaze and is painted with cobalt blue. The traditional Chinese style with the painting of the dragon in cobalt blue covers the whole jar. There is a delicate border of monstrous faces at both ends of the jar. The dragon is painted finely, and its intricate details are done in cobalt blue in an artistic manner. The blue dragon is captured in a movement, and it seems to make a dash through the white sky. There are some blue clouds sailing through the white sky. The jar was perhaps used for storage and makes a good balance of shape and art. The traditional blue-and-white looks are striking against the soft white glaze. The dragon eyes are protruding and prominent. The traditional blue-and-white makes a strong contrast on the white background. The jar was inspired by the Indo-Himalayan imagery that was a rage during the early fifteenth century in China. Dragons have been an important part of Chinese culture for thousands of years. The art of painting with cobalt blue on white porcelain emerged in China around the fourteenth century (Jar with Dragon, 2016).
Head of a Water Deity The “Head of a Water Deity” dates back to 15thcentury and is made of Basalt. It belongs to Aztec Culture from Mexico, Mesoamerica. The overall dimensions of the Stone-Sculpture are 9 x 8 x 6 3/4 in. The Aztec civilization is known to carve thousands of images of their gods in stone. Those images could be made out of ordinary volcanic rock or the much-valued greenstones. These sculptures were probably worshiped in family settings at homes. Frequently portrayed gods and deities are fertility goddesses. The goddess portrayed here is the water goddess Chalchihuitlicueas she can be identified by the distinctive elements of headdress made of multiple bands around the head. There are thick tassels fixed on each side of the head. There is a pleated ornament at the backside of the head. The surface of the stone sculpture is rough. The eyes are just crude depression, and the lips are incised carefully. However, the nose seems to have been damaged (Head of a Water Deity, 2016).
Eighteenth -Century Art
Dish with Hydrangeas
The medium used for Dish with Hydrangeas is Porcelain and carries a celadon glaze, and the decoration is done in underglaze blue. It is 5.7 cm in height, and the diameter is 20.3 cm. What draws the attention is the bright blue work on the white background. The single sprig of hydrangea is done beautifully and covers the whole plate. This is a summer blossom that is typically found in Japan. The dish is formed by a mist in pale green color. The cobalt blue flowers in hazy celadon glaze add a freshness to the work. The dish is an example of specialty porcelain, Nabeshima that was produced during the Edo period. This type of porcelain was made in a separate kiln and other than those used for commercial porcelain. The porcelain ware was exclusively reserved for the members of the ruling class. Nabeshima ware thus had to be refined and live up to the high expectations and standards (Dish with Hydrangeas, 2016).
Length
Woven by Thomas Brant, the designer of “Length,” is Anna Maria Garthwaite. The work is done in silk and belongs to the British culture, and its dimensions are 174 x 49.5 cm. Garthwaite started her designing work on silks in the mid-1720s. It is not clear from where and how she learned the art of designing for silk. However, her graceful designs and efficient use of materials show that she knew her job well and was highly skilled in her artwork. As for the rendering of flowers seen in the work, it could be because her family was familiar with several naturalists of the era. This design is very typical of English dress silks. The colorful sprays of flowers look very attractive and striking on the on a white background. Different types of flowers bloom on the green branch that meanders back and forth across the fabric. The style belongs to the eighteenth-century Rococo style that was quite trendy. Each and every flower is done with great clarity and precisions. There is a texture added to the background. The stems and branches are done in bright green (Length, 2016).
Ninetieth -Century Art
Tyekpa Maternity Figure “Tyekpa Maternity Figure” belongs to the Senufo peoples from northern Côte d'Ivoire and dates to 19th–20th century. The wood oil patina is 54 x 17.8cm in dimensions and is an impressive wood sculpture that shows a mother nursing an infant. The sculpture honors the maternal role in ceremonies and displays the social relationships among the Senufo peoples. The sucking infant strains at his mother's breast, and the focus here is on the importance of breastfeeding so as to provide vital nourishment to the baby. The mother is shown in an alert posture so as to not to disturb the infant. The face and head of the mother carries an expressionistic impression with large eyes and a pronounced mouth. The slit eyes are evocative of introspection and her maternal obligations. There is an elegant linear slitting on the temples, and the marks are made on Senufo women after they reach puberty. The finished wood oil patina carries a lustrous look and points to the liberal application of oils (Tyekpa Maternity Figure, 2016).
Headdress
Boki headdress belongs to Nigeria and the Boki peoples. Dating back to 19th–20th century, the medium used for the wood sculpture is wood along with metal, cane, cotton and, pigment. The headdress is a very fine example, and there are just a few of these kinds known. The unusual ensemble is made of -media attachments and is beautifully carved from a single piece of wood. There are two heads on the mask and a single neck that is fixed to the basketry cap. The sides and tops of the heads, the neck, areas below the chins are covered with indigo-dyed cotton cloth that is embroidered. There is a broad crown just above brow that is made of basketry and covered with embroidered cloth. There are cylindrical forms made of basketry and covered with embroidered cloth that rise from the top of the head, thus making an elaborate hairstyle. The broad faces and projecting open mouths along with the scarification marks on the forehead, temples and cheeks make the faces unique. There are slight differences in the marks and the patterns of the two faces. Both faces carry metal inlaid eyes, and brass pins are inserted to represent the teeth (Headdress, 2016).
References
Buddha Preaching. (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works- of-art/1993.387.6/
Camel with Packboards and Baggage. (2016). Metmuseum Retrieved from http://www.metmuseum.org/collection/the-collection-online/search/53630
Dish with Hydrangeas. (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/1975.268.556/
Figure with Ceremonial Objects. (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/1979.206.833/
Head of a Water Deity (Chalchiuhtlicue) (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/00.5.44/Headdress: Janus (Nkuambok). (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/1987.284/
Jar with Dragon. (2016). From, Metmuseum Retrieved http://www.metmuseum.org/toah/works- of-art/37.191.1/
Length. (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of- art/62.136.1/
Standing Shiva or Temple Guardian (Dvarapala). (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/1987.478/
Tyekpa Maternity Figure. (2016). Metmuseum Retrieved from http://www.metmuseum.org/toah/works-of-art/1981.397/
