Tile, ca. 1875
Christopher Dresser (British, 1834–1904)
Earthenware, The Metropolitan Museum of Art
8 x 8 in. (20.3 x 20.3 cm)
Gift of Robert L. Isaacson, 1991 (1991.110.2)
From the Metropolitan Museum of Art: “This tile depicts flying cranes, the Japanese symbol for longevity, above stylized waves in white on a deep blue ground. Dresser clearly looked to Japanese sources for inspiration and artistic guidance. The composition of the tile relates directly to a Japanese blue and white ceramic flowerpot, circa 1860, that was exhibited at the 1862 International Exhibition in London and later acquired by the South Kensington Museum (now Victoria and Albert Museum).
Dresser’s role as art advisor to Minton Ceramic Factory from the early 1860s remains unclear; however, as a free-lance artist, he created a multitude of designs for the firm, although he seems to have had little control over the final product. While none of the pieces made by Minton bear Dresser’s signature, this tile can be firmly identified as his design based on drawings in the company archives.”
Japanese porcelain tile panel dated 1875
Anthony Baggett on Dreamstime
The Madonna and Child with the Infant Saint John the Baptist, Private collection
The Madonna of the Book, 1483
From wiki: “The Madonna of the Book, also known as the Madonna del Libro, is a small painting by the Italian Renaissance artist Sandro Botticelli, circa 1483. It is housed in the Museo Poldi Pezzoli in Milan, Italy. A larger, more detailed version is currently on display at the Museum of Biblical Art in Dallas, Texas.”
Alabaster Heads, 2008-10, Yorkshire Sculpture Park, photo: HERE
Jaume Plensa HERE
Sculpture detail - Jaume Plensa HERE
When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.
Yang LiPing by Carl Parow HERE
The moon asked me to meet her in a field tonight. I think she has amorous ideas.
Dawn of Spring
I wake up at the dawn of Spring,
And hear the birds ev’rywhere sing.
As sounded the wind and rain o’ernight,
I wonder how many blooms alight.
"From wiki: Meng Haoran (Chinese: 孟浩然; pinyin: Mèng Hàorán; Wade-Giles: Meng Hao-jan; Japanese: Mōkōnen) (689 or 691 – 740, during the Tang Dynasty) was a major Tang Dynasty poet. Despite his brief pursuit of an official career, he mainly lived in and wrote about the area in which he was born and raised, in what is now the province of Hubei, China. Meng Haoran was a major influence on certain other contemporary and subsequent poets of the High Tang era because of his focus on nature as a main topic for poetry. Meng Haoran was also prominently featured in the Qing Dynasty (and subsequently frequently republished) poetry anthology Three Hundred Tang Poems, having the fifth largest number of his poems included, for a total of fifteen, exceeded only by Du Fu, Li Bo, Wang Wei, and Li Shangyin. These poems of Meng Haoran were available in English translations by Witter Bynner, by 1920, with the publication of The Jade Mountain. The Three Hundred Tang Poems also has two poems by Li Bo addressed to Meng Haoran, one in his praise and one written in farewell on the occasion of their parting company. Meng Haoran was also influential to Japanese poetry."
Yellow Crane Tower, Shanghai Museum
Anonymous, Ming Dynasty, (1368-1644)
Seeing Meng Haoran off at Yellow Crane Tower
My good friend leaves Yellow Crane Tower,
He is going to the east,
Sailing to Yangzhou in March,
While blossoms curl like smoke on the river,
How far away the lone sail,
Fading into the clear blue sky,
Only the Yangtze River remains,
It is flowing at the edge of the world.
From wiki: “Written on the occasion of parting with his friend and poetic colleague Meng Haoran… “Seeing off Meng Haoran for Guangling at Yellow Crane Tower” (黄鹤楼送孟浩然之广陵)”
Song of the Wanderer
The thread moves in the hand of the mother kind,
To weave a garment for the wanderer to wear.
As the mother plies the needle with much care.
From wiki: ‘Meng Jiao (Chinese: 孟郊; pinyin: Mèng Jiāo; Wade-Giles: Meng Chiao; 751–814) was a poet of the Tang Dynasty, in China. Two of his poems have been collected in the popular anthology Three Hundred Tang Poems. Meng was the oldest of the Mid-Tang poets and is noted for the unusual forcefulness and harshness of his poems.”