OLTRE IL MURO: ARTE e FOTOGRAFIA: metropolitan museum of art

venerdì 28 ottobre 2011

ART OF THE ARAB LANDS

THE METROPOLITAN MUSEUM OF ART

New Gallery

Inaugurazione November 01, 2011

Installazione Permanente

15 sale

Throne leg, late 7th–early 8th century, probably Western Iran, Bronze; cast around a ceramic core and chased

Non-illustrated manuscript, folio, second half 9th–mid-10th century, Tunisia, probably Qairawan, Gold and silver on indigo-dyed parchment

Incense burner, dated A.H. 577/ A.D. 1181–82, Iran, Bronze; cast, engraved, chased, pierced

Mosque lamp, ca. 1325, Egypt or Syria, Glass, colorless with brown tinge; blown, folded foot, applied wick holder and handles, enameled and gilded

Astrolabe, dated A.H. 690/ A.D. 1291, Yemen, Brass; cast and hammered, pierced, chased, inlaid with silver

Dish, 10th century, present-day Uzbekistan, Samarqand, Earthenware; white slip with polychrome slip decoration under transparent glaze

Tughra (Official Signature) of Sultan Suleiman the Magnificent (r. 1520–66), Turkey, Istanbul, Ink, opaque watercolor, and gold on paper

Tile, frieze, late 13th century, Iran, probably Takht-i Sulaiman, Stonepaste; modeled, underglaze-painted in blue and turquoise, luster-painted on opaque white ground

Carpet, second half 16th century, Iran, Silk (warp and weft), wool (pile); asymmetrically knotted pile

Panel, al-Hakam II (961–76), 10th–early 11th century, Spain, probably Cordoba, Ivory; carved, inlaid with stone with traces of pigment

Flask, mid-17th century, India, Rock crystal; set with gold, enamel, rubies, and emeralds

Inlaid Box for the Portuguese Market, ca.1600, India, Gujarat, probably Ahmedabad, Wood (teak); veneered with ebony, inlaid ivory, and lac

Mihrab (Prayer Niche), A.H. 755/ A.D. 1354–55, Iran, Isfahan, Mosaic of polychrome-glazed cut tiles on stonepaste body; set into mortar

Shahnama (Book of Kings) of Shah Tahmasp, Sultan Muhammad (active first half 16th century) Abu'l Qasim Firdausi (935–1020), , Illustrated manuscript, folio, Shah Ismail (1501–24), ca. 1525, Iran, Tabriz, Opaque watercolor, ink, silver, and gold on paper

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domenica 11 settembre 2011

MOTHER INDIA

The Goddess in Indian Painting

June 29, 2011–November 27, 2011 The Metropolitan Museum of Art

Florence and Herbert Irving Galleries for the Arts of South and Southeast Asia, 3rd floor

The goddess (devi) is both the source and the affirmation of life. In early Indian religions, this concept is deified in a variety of forms. While we lack a historical understanding of the quasi-magical-religious function of the earliest images of the female form on view in this exhibition, we identify them as goddesses.

The Goddess Durga Slaying the Buffalo Demon(Mahishasura Mardini) India (Bihar) Pala period ca. 11th century

Tara North India (possibly Uttar Pradesh) ca. 7th century

Tara Pakistan (Swat Valley region) 7th century

Abit later, we witness the emergence of deified females who have identifiable roles associated with the protection of children and with the life-affirming powers of water. The former finds expression in goddesses who originally may have been devourers of children—that is, the bearers of disease. Over time some were placated and thus acquired more benign aspects. The enthroned goddess with a cornucopia and children, from northwestern India, represents this tradition.

Tree Spirit Deity (Yakshi) India (Uttar Pradesh, Mathura region) 1st–2nd century

Mother Goddess (Matrika) India (Rajasthan, Tanesara) Post-Gupta period

Jyeshtha Flanked by Her Children India (Tamil Nadu) Chola period 9th–10th century

A second association is with the creation of life. This female principle is expressed in a number of ways; as the bearer of life, we see the appearance of the cult of the yakshi—personified female nature spirits—who embody the fecundity and fertility of nature. They survive in sculptures from the early centuries B.C. and were appropriated into Buddhist and Jain worship about the first century A.D.

Mahadevi, the Great Goddess India (Rajasthan, Bikaner) ca. 1725

Buddhist Attendant, Possibly a Dakini Eastern Tibet late 18th century

The other powerful expression of the goddess as the source of life in early India is the personification of the great rivers of the subcontinent. Three rivers of northern India—the Ganges, the Yamuna, and the now-lost Saraswati—were worshiped as some of the most ancient deities of India. Sri Gaja-Lakshmi, the benign goddess being bathed by a pair of elephants—a metaphor for the life-giving powers of the monsoons—emerged to denote auspiciousness, prosperity, and good fortune. Saraswati, revered by Hindus, Jains, and Buddhists alike as the embodiment of wisdom and knowledge, is one of the earliest goddesses to have cult images made in her honor. The Jain mother goddess Ambika embodies the maternal principal.

Rondel with the Goddess Hariti Pakistan (ancient region of Gandhara) ca. 1st century

About the sixth century a variety of early sources on devi in her myriad forms were brought together in the seminal text the Devi Mahatmya. Primarily devoted to narrating the origins of Durga and her relationship to the pantheon of male deities, the text represents Durga as the ultimate destroyer of demons. It also introduces the awesome forms that emerge from her being, Kali and Camumda, who give expression to Durga's terrible aspect, as do the seven matrikas(mothers).