Woman at the Piano with Cockatoo, 1870
Gustave Léonard de Jonghe 

Woman at the Piano with Cockatoo, 1870

Gustave Léonard de Jonghe 

Sunday Morning
Gustave Léonard de Jonghe 

Sunday Morning

Gustave Léonard de Jonghe 

Vanity
Gustave Léonard de Jonghe 
(b Kortrijk, Belgium, 1829; d Antwerp, Belgium, 1893) Belgian painter. Jongh was painter and a watercolorist of figures and genera scenes. He started his artistic training with his father, Jean-Baptist de Jonghe. After his parents died, the young Jongh was granted a small pension by the Corporation of Curtrai to aid him in his study of paintings. He studied under François-Jean Navez at the Academy of Brussels. Jongh’s painting style was strongly influenced by his friend, and a fellow Belgian painter, Louis Gallait, who also advised Jongh on many of his career decisions. Although Jongh started his career painting historical and sacred subject matter, he is famous for his genre paintings with bourgeois themes and rich materials. In 1855, he became in the direct successor of the renowned Belgian painter, Alfred Stevens, in Paris. His painting, “The Birthday Wishes” was exhibited at the Royal Academy of London in 1875. artfact

Vanity

Gustave Léonard de Jonghe 

(b Kortrijk, Belgium, 1829; d Antwerp, Belgium, 1893) Belgian painter. Jongh was painter and a watercolorist of figures and genera scenes. He started his artistic training with his father, Jean-Baptist de Jonghe. After his parents died, the young Jongh was granted a small pension by the Corporation of Curtrai to aid him in his study of paintings. He studied under François-Jean Navez at the Academy of Brussels. Jongh’s painting style was strongly influenced by his friend, and a fellow Belgian painter, Louis Gallait, who also advised Jongh on many of his career decisions. Although Jongh started his career painting historical and sacred subject matter, he is famous for his genre paintings with bourgeois themes and rich materials. In 1855, he became in the direct successor of the renowned Belgian painter, Alfred Stevens, in Paris. His painting, “The Birthday Wishes” was exhibited at the Royal Academy of London in 1875. artfact

Kind Heart
Gustave Léonard de Jonghe

Kind Heart

Gustave Léonard de Jonghe

A Playful Moment
Gustave Léonard de Jonghe

A Playful Moment

Gustave Léonard de Jonghe

gaaaaaaahgkjhgakjg:

Max Kurzweil: “Lady in a Yellow Dress,” 1899.

gaaaaaaahgkjhgakjg:

Max Kurzweil: “Lady in a Yellow Dress,” 1899.

Buddha, probably Vairochana (Piluzhena), Liao dynasty (907–1125), early 11th centuryChinaGilt bronze 
H. 8 1/2 in. (21.5 cm)
The distinctive gesture of the right fist enclosing the index finger of the left hand identifies this figure seated in a meditative pose on a lush tiered pedestal as Vairochana, a celestial Buddha important in Asia from the eighth to the twelfth century. Buddha Vairochana uses this gesture, known as the wisdom fist, when he is in the center of a mandala or cosmic diagram, and this sculpture may once have been part of such a larger assemblage. The small seated Buddha in the extraordinary crown is unusual; Vairochana is more commonly shown with representations of the heads of the five Buddha families in his headdress.
Buddha Vairochana wears an undergarment, a long surplice, and a necklace. The detail and precision in the rendering of the clothing and jewelry place this figure among the finest sculptures produced in China during the rule of the Qidan Liao dynasty (907–1125), a Mongol people from Manchuria who controlled northern China from the tenth to the twelfth century. It can be grouped with a handful of elegantly cast pieces produced in the first decades of the eleventh century, during the reign of Shengzong (982–1031). metmuseum

Buddha, probably Vairochana (Piluzhena), Liao dynasty (907–1125), early 11th century
China
Gilt bronze

H. 8 1/2 in. (21.5 cm)

The distinctive gesture of the right fist enclosing the index finger of the left hand identifies this figure seated in a meditative pose on a lush tiered pedestal as Vairochana, a celestial Buddha important in Asia from the eighth to the twelfth century. Buddha Vairochana uses this gesture, known as the wisdom fist, when he is in the center of a mandala or cosmic diagram, and this sculpture may once have been part of such a larger assemblage. The small seated Buddha in the extraordinary crown is unusual; Vairochana is more commonly shown with representations of the heads of the five Buddha families in his headdress.

Buddha Vairochana wears an undergarment, a long surplice, and a necklace. The detail and precision in the rendering of the clothing and jewelry place this figure among the finest sculptures produced in China during the rule of the Qidan Liao dynasty (907–1125), a Mongol people from Manchuria who controlled northern China from the tenth to the twelfth century. It can be grouped with a handful of elegantly cast pieces produced in the first decades of the eleventh century, during the reign of Shengzong (982–1031). metmuseum

Bodhisattva Avalokiteshvara of the Lion’s Roar or Simhanada Avalokiteshvara (Shi hou Guanyin Pusa), Ming dynasty (1368–1644), late 15th–16th centuryChinaWood (poplar) with pigments, single woodblock construction 

H. 42 1/8 in. (107 cm)

 
Two bodhisattvas are identified by the fact that they, at times, ride lions: one is Manjushri, the bodhisattva of wisdom, who is frequently shown on this mount; the other is Avalokiteshvara, who sits a lion in the Simhanada form, or Avalokiteshvara of the Lion’s Roar. In both, the roar symbolizes the intensity of the moment of enlightenment. The lion’s recumbent pose and the position of the bodhisattva, who is riding sidewise, suggest that this sculpture can be identified as Avalokiteshvara, although the requisite seated Buddha in the headdress is missing. Moreover, the raised right and pendant lower leg are often found in representations of Bodhisattva Avalokiteshvara, who takes the pose in the well-known Water Moon form, in China the most popular manifestation of this bodhisattva after the tenth century.
The earliest textural reference to this rare form of Avalokiteshvara is found in the Garland of Sadhanas, the great iconographic compendium assembled by the Indian monk Abhayakaragupta in the eleventh century. This form of the Bodhisattva of Compassion is thought to have had the ability to heal diseases. A few Indian examples showing this form of the bodhisattva are found from the eleventh and twelfth centuries. Moreover, an unusual Chinese iron sculpture showing Avalokiteshvara seated on a lion and dated 1112 is preserved in Japan, suggesting that the form was introduced to China with other later Esoteric practices around the twelfth century. It is interesting to note that in later Chinese traditions, various forms of the Bodhisattva Avalokiteshvara or Guanyin are shown accompanied by or riding a lion or lionlike creature, suggesting that the form of Simhanada Avalokiteshvara had melded with popular Chinese manifestations such as the bodhisattva as the “bestower of sons.” metmuseum

Bodhisattva Avalokiteshvara of the Lion’s Roar or Simhanada Avalokiteshvara (Shi hou Guanyin Pusa), Ming dynasty (1368–1644), late 15th–16th century
China
Wood (poplar) with pigments, single woodblock construction

H. 42 1/8 in. (107 cm)

 

Two bodhisattvas are identified by the fact that they, at times, ride lions: one is Manjushri, the bodhisattva of wisdom, who is frequently shown on this mount; the other is Avalokiteshvara, who sits a lion in the Simhanada form, or Avalokiteshvara of the Lion’s Roar. In both, the roar symbolizes the intensity of the moment of enlightenment. The lion’s recumbent pose and the position of the bodhisattva, who is riding sidewise, suggest that this sculpture can be identified as Avalokiteshvara, although the requisite seated Buddha in the headdress is missing. Moreover, the raised right and pendant lower leg are often found in representations of Bodhisattva Avalokiteshvara, who takes the pose in the well-known Water Moon form, in China the most popular manifestation of this bodhisattva after the tenth century.

The earliest textural reference to this rare form of Avalokiteshvara is found in the Garland of Sadhanas, the great iconographic compendium assembled by the Indian monk Abhayakaragupta in the eleventh century. This form of the Bodhisattva of Compassion is thought to have had the ability to heal diseases. A few Indian examples showing this form of the bodhisattva are found from the eleventh and twelfth centuries. Moreover, an unusual Chinese iron sculpture showing Avalokiteshvara seated on a lion and dated 1112 is preserved in Japan, suggesting that the form was introduced to China with other later Esoteric practices around the twelfth century. It is interesting to note that in later Chinese traditions, various forms of the Bodhisattva Avalokiteshvara or Guanyin are shown accompanied by or riding a lion or lionlike creature, suggesting that the form of Simhanada Avalokiteshvara had melded with popular Chinese manifestations such as the bodhisattva as the “bestower of sons.” metmuseum



Arhat (luohan), Liao dynasty (907–1125), ca. 1000Hebei Province, ChinaEarthenware with three-color (sancai) glaze
H. 41 1/4 in. (104.8 cm)

Buddhist tradition tells of groups of 16, 18, or 500 luohans who were commanded by Buddha to await the coming of Maitreya, the Future Buddha. This promise of salvation held great appeal to Chinese Buddhists at the end of the ninth century, for they had just been through a period a great persecution, and a cult built around the luohans as guardians gained momentum at that time.
The Museum has two statues from a group of seated luohans purportedly found in a mountain cave near Yizhou, (now known as Yixian) in Hebei Province, and dating from this unsettled period. The polychromatic glaze covering the figures has strong parallels to the well-known sancai, or three-color, tradition found in earlier Tang-dynasty funerary figures. The high quality of the designs and the use of sophisticated techniques such as reinforcing rods have long led scholars to speculate that this example, and others from the set, may have been made at one of the imperial kilns, where large firing chambers and highly skilled craftsmen were available.
The discovery of a kiln in Longquanwu at Mentougou village (a western suburb of Beijing) in 1983 and the subsequent excavation in 1985 have provided much useful information regarding the “Yixian Luohans” as the group is often known. In addition to a considerable quantity of sancai ware, the site also yielded three half-lifesize Buddhist sculptures: a white ceramic Buddha with a painted robe, and two bodhisattvas covered in a sancai-type glaze. Parallels to sculptures produced during the Liao dynasty suggest that the works excavated at Longquanwu date to the second half of the tenth century, while the famous Luohans were made slightly later, probably during the early years of the reign of Shengzong (982–1031). metmuseum

Arhat (luohan), Liao dynasty (907–1125), ca. 1000
Hebei Province, China
Earthenware with three-color (sancai) glaze

H. 41 1/4 in. (104.8 cm)

Buddhist tradition tells of groups of 16, 18, or 500 luohans who were commanded by Buddha to await the coming of Maitreya, the Future Buddha. This promise of salvation held great appeal to Chinese Buddhists at the end of the ninth century, for they had just been through a period a great persecution, and a cult built around the luohans as guardians gained momentum at that time.

The Museum has two statues from a group of seated luohans purportedly found in a mountain cave near Yizhou, (now known as Yixian) in Hebei Province, and dating from this unsettled period. The polychromatic glaze covering the figures has strong parallels to the well-known sancai, or three-color, tradition found in earlier Tang-dynasty funerary figures. The high quality of the designs and the use of sophisticated techniques such as reinforcing rods have long led scholars to speculate that this example, and others from the set, may have been made at one of the imperial kilns, where large firing chambers and highly skilled craftsmen were available.

The discovery of a kiln in Longquanwu at Mentougou village (a western suburb of Beijing) in 1983 and the subsequent excavation in 1985 have provided much useful information regarding the “Yixian Luohans” as the group is often known. In addition to a considerable quantity of sancai ware, the site also yielded three half-lifesize Buddhist sculptures: a white ceramic Buddha with a painted robe, and two bodhisattvas covered in a sancai-type glaze. Parallels to sculptures produced during the Liao dynasty suggest that the works excavated at Longquanwu date to the second half of the tenth century, while the famous Luohans were made slightly later, probably during the early years of the reign of Shengzong (982–1031). metmuseum



gaaaaaaahgkjhgakjg:

Max Kurzweil: “Lady in a Yellow Dress,” 1899.

gaaaaaaahgkjhgakjg:

Max Kurzweil: “Lady in a Yellow Dress,” 1899.

Figure of Bodhidharma, Ming dynasty (1368–1644), 17th centuryChinaPorcelain (Dehua ware)
H. 11 3/4 in. (29.8 cm)Gift of Mrs. Winthrop W. Aldrich, Mrs. Arnold Whitridge, and Mrs. Sheldon Whitehouse, 1963 (63.176)

Kiln complexes in the vicinity of the town of Dehua in Fujian Province, are the source of a special type of porcelain known in the West as blanc de chine. These wares have an extremely fine-grained vitreous white body, embraced by a thick satiny glaze ranging in tone from milky white to warm ivory to a faint rosy hue. There is a wide variety of blanc de chine vessels, including numerous objects for the writing table, but perhaps the most glamorous of these wares are the figures frequently representing Buddhist or Daoist deities. These ceramic sculptures vary considerably in quality, but at their best they exhibit a brilliance of modeling that raises them to the rank of true masterpieces. There is perhaps no better example than this superb figure of Bodhidharma, the Indian patriarch said to be the founder of Chan (Zen) Buddhism in China. His serene expression and the fluid draping of his robes celebrates the skill of the master craftsmen. metmuseum
Figure of Bodhidharma, Ming dynasty (1368–1644), 17th century
China
Porcelain (Dehua ware)

H. 11 3/4 in. (29.8 cm)
Gift of Mrs. Winthrop W. Aldrich, Mrs. Arnold Whitridge, and Mrs. Sheldon Whitehouse, 1963 (63.176)

Kiln complexes in the vicinity of the town of Dehua in Fujian Province, are the source of a special type of porcelain known in the West as blanc de chine. These wares have an extremely fine-grained vitreous white body, embraced by a thick satiny glaze ranging in tone from milky white to warm ivory to a faint rosy hue. There is a wide variety of blanc de chine vessels, including numerous objects for the writing table, but perhaps the most glamorous of these wares are the figures frequently representing Buddhist or Daoist deities. These ceramic sculptures vary considerably in quality, but at their best they exhibit a brilliance of modeling that raises them to the rank of true masterpieces. There is perhaps no better example than this superb figure of Bodhidharma, the Indian patriarch said to be the founder of Chan (Zen) Buddhism in China. His serene expression and the fluid draping of his robes celebrates the skill of the master craftsmen. metmuseum



Figure of Bodhidharma, Ming dynasty (1368–1644), 17th centuryChinaPorcelain (Dehua ware)
H. 11 3/4 in. (29.8 cm)Gift of Mrs. Winthrop W. Aldrich, Mrs. Arnold Whitridge, and Mrs. Sheldon Whitehouse, 1963 (63.176)

Kiln complexes in the vicinity of the town of Dehua in Fujian Province, are the source of a special type of porcelain known in the West as blanc de chine. These wares have an extremely fine-grained vitreous white body, embraced by a thick satiny glaze ranging in tone from milky white to warm ivory to a faint rosy hue. There is a wide variety of blanc de chine vessels, including numerous objects for the writing table, but perhaps the most glamorous of these wares are the figures frequently representing Buddhist or Daoist deities. These ceramic sculptures vary considerably in quality, but at their best they exhibit a brilliance of modeling that raises them to the rank of true masterpieces. There is perhaps no better example than this superb figure of Bodhidharma, the Indian patriarch said to be the founder of Chan (Zen) Buddhism in China. His serene expression and the fluid draping of his robes celebrates the skill of the master craftsmen. metmuseum

Figure of Bodhidharma, Ming dynasty (1368–1644), 17th century
China
Porcelain (Dehua ware)

H. 11 3/4 in. (29.8 cm)
Gift of Mrs. Winthrop W. Aldrich, Mrs. Arnold Whitridge, and Mrs. Sheldon Whitehouse, 1963 (63.176)

Kiln complexes in the vicinity of the town of Dehua in Fujian Province, are the source of a special type of porcelain known in the West as blanc de chine. These wares have an extremely fine-grained vitreous white body, embraced by a thick satiny glaze ranging in tone from milky white to warm ivory to a faint rosy hue. There is a wide variety of blanc de chine vessels, including numerous objects for the writing table, but perhaps the most glamorous of these wares are the figures frequently representing Buddhist or Daoist deities. These ceramic sculptures vary considerably in quality, but at their best they exhibit a brilliance of modeling that raises them to the rank of true masterpieces. There is perhaps no better example than this superb figure of Bodhidharma, the Indian patriarch said to be the founder of Chan (Zen) Buddhism in China. His serene expression and the fluid draping of his robes celebrates the skill of the master craftsmen. metmuseum



What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music…. And people flock around the poet and say: ‘Sing again soon’ - that is, ‘May new sufferings torment your soul but your lips be fashioned as before, for the cry would only frighten us, but the music, that is blissful.
“
Søren Kierkegaard, Either/Or (via liquidnight)
lushlight:midnightmartinis:


the day of night - by tokioshi

This seems like a site to watch closely- welcome - Lushlight

lushlight:midnightmartinis:

the day of night - by tokioshi

This seems like a site to watch closely- welcome - Lushlight