|—||Albert Einstein, 1954 (via eysheinsof)|
Beggar-Singer with Hound Yuan dynasty (1271–1368) China Hanging scroll; ink and color on silk Seemingly female, the figure dons a patchwork dress with a lattice pattern, typically worn by stage actors. Shouldering a lute and holding a book, the beggar-singer seems to be rehearsing for a role in a play. The presence of a white dog with a bell around its neck suggests that the figure may be a Daoist immortal, for they were often depicted with such canine companions. This therefore may be a representation of the male actor Xu Jian (stage name Lan Caihe), who, while preparing for a performance, was initiated into immortality by Zhongli Quan and Lü Dongbin Theater was very popular during the Yuan dynasty, and so-called deliverance plays were also performed at temple sites, which featured stages. Replicas of stages with sculpted actors have been found in tombs of the Jin and Yuan dynasties. via: metmuseum
Bodhisattva Manjushri, 12th–13th century
Xixia dynasty (1032–1227) Hanging scroll mounted as a panel; ink and color on silk; Image: 37 13/16 x 23 5/8 in. (96 x 60 cm); Framed: 52 3/8 x 28 3/8 in. (133 x 72 cm) Lent by The State Hermitage Museum
Manjushri, the embodiment of wisdom, appears in the visual arts as both an independent deity and as an attendant to a Buddha. In this painting, Manjushri, riding a lion, is led by a Central Asian groom wearing a red hat, a tunic, and black boots. The youth to his left represents the pilgrim Sudhana, the protagonist of the Flower Garland Sutra, one of the most influential texts in China from the tenth to the fourteenth century. The third figure, who holds a staff, may represent a Kashmiri monk who was famous for having twice seen Manjushri during visits to China in the seventh century. However, his Chinese-style clothing and hat suggest that this figure may be a Chinese scholar-gentleman rather than the Indian cleric.
Roman Helmet and Face-Mask, LATE 1ST-2ND CENTURY A.D.
These helmets were not for combative use, but worn for hippika gymnasia (cavalry sports events). The polished white-metal surface of the face-mask would have provided a striking contrast to the original golden-bronze colour of the hair and Phrygian cap. In addition, colourful streamers may have been attached to the rings along the back ridge and on the griffin crest.
Arrian of Nicomedia, a Roman provincial governor under Hadrian, provides us with the only surviving contemporary source of information on cavalry sports events. He describes, in an appendix to his Ars Tactica, how the cavalrymen were divided into two teams which took turns to attack and defend. He suggests that the wearing of these helmets was a mark of rank or excellence in horsemanship. Participants would also carry a light, elaborately painted shield, and wear an embroidered tunic and possibly thigh-guards and greaves, all of which would contribute to the impressive spectacle.
These events may well have accompanied religious festivals celebrated by the Roman army and were probably also put on for the benefit of visiting officials. The displays would also have been intended to demonstrate the outstanding equestrian skill and marksmanship of the Roman soldier and the wealth of the great empire he represented.
Maria Callas por Filippo y Fausto Tommasoli en 1947
© Archivio Tommasoli, Verona
Damián Campeny y Estany, “The Dying Lucretia,” 1834