#Freer Gallery

[sabistarphotos]

April 30, 2023

A Virgin, Abbott Henderson Thayer

The National Museum of Asian Art, Washington, DC

[thegirlwholeftthefridgeopen]

National Museum of Asian Art, Washinton, D.C.

https://thegirlwholeftthefridgeopen.com

[panicinthestudio]

Trees 雑木林図屏風, mid 17th century

Master of I-nen Seal (1600-1630), Rinpa School

Edo period, Japan

Ink, color and gold on paper

H x W: 154 x 357.8 cm (60 5/8 x 140 7/8 in)

At least eight varieties of trees have been identified in the screens F1962.30-31, reflecting a growing interest at that time among educated Japanese in natural history classification. Yet even with careful attention to botanical accuracy, the painter offers no suggestion of spatial relationship between the trees. Indeed, the real subject of the painting is jarring contrast: realism in form but not space, dramatic asymmetry, and bold color contrast. The circular vermilion seals, reading "I'nen" and seen on the extreme left and right panels of this screen set, were used by the Kyoto painter Tawaraya Sotatsu (active circa 1600-1640) and by several generations of his followers. Sotatsu's follower, Sosetsu (active 1630-50) is a strong candidate as the user of these "I'nen" seals. He migrated from Kyoto to serve Lord Maeda, head of the family who ruled Kaga Province, north of Kyoto; these screens were likely commissioned for the Maeda family. Collection of the Freer Gallery of Art, National Museum of Asian Art, Smithsonian

[lionofchaeronea]

Caprice in Purple and Gold: The Golden Screen, James McNeill Whistler, 1864

[professorsparklepants]

BEHOLD. the world's oldest clamshell compact.

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THEE Princess from the Land of Porcelain, from a road trip to Washington DC I just got back from.

[arthatred]

James McNeill Whistler.

[hollygl125]

James McNeill Whistler. The Ocean Wave. 1883-1884. National Museum of Asian Art, Washington, DC.

[eopederson]

Arthur M. Sackler Gallery, Freer Gallery and Washington Monument beyond, National Mall, Washington, DC 2015.

What OxyContin profits can pay for!

[septembergold]

The Peacock Room At the Freer Gallery of Art, Smithsonian Institution

By Robert Haywood

[istandonsnowpiles]

Freer Gallery of Art

[panicinthestudio]

Autumn Moonlight on Dongting Lake (庭秋月圖), early 13th century

Xia Gui 夏珪 (active ca. 1195-1230)

Song dynasty, China

Ink on silk

190.9 x 109.6 cm (75 3/16 x 43 1/8 in)

Collection of the Freer Gallery of Art, National Museum of Asian Art

Autumn Moonlight on Dongting Lake, Southern Song dynasty (ink on silk) by Xia Gui ink on silk Freer Gallery of Art, Smithsonian Institution, USA

[miau0613]

Kyoto ware incense box in the shape of a crouching rabbit by Japanese potter Nonomura Ninsei, created during the Edo period (mid-17th century).

Smithsonian's National Museum of Asian Art · Freer Gallery of Art

[chinesehanfu]

[Hanfu · 漢服]Chinese Late Warring States period(475–221 BC) Traditional Clothing Hanfu Based On Based On Chu (state)Historical Artifacts

【Historical Artifact Reference】:

Late Warring States period(475–221 BC)：Two conjoined jade dancers unearthed from Jincun, Luoyang,collected by Freer Museum of Art

A similar jade dancer was also unearthed from the tomb of Haihunhou, the richest royal family member in the Han Dynasty, and was one of his treasures.

Warring States period, Eastern Zhou dynasty, 475-221 BCE,jade dancer by Freer Gallery of Art Collection.

Warring States period(475–221 BC)·Silver Head Figurine Bronze Lamp.Unearthed from the Wangcuo Tomb in Zhongshan state during the Warring States Period and collected by the Hebei Provincial Institute of Cultural Relics and Archaeology

The figurine of a man dressed as a woman holds a snake in his hand, and 3 snakes correspond to 3 lamps.

Sword of Goujian/越王勾践剑:

The Sword of Goujian (Chinese: 越王勾践剑; pinyin: Yuèwáng Gōujiàn jiàn) is a tin bronze sword, renowned for its unusual sharpness, intricate design and resistance to tarnish rarely seen in artifacts of similar age. The sword is generally attributed to Goujian, one of the last kings of Yue during the Spring and Autumn period.

In 1965, the sword was found in an ancient tomb in Hubei. It is currently in the possession of the Hubei Provincial Museum.

【Histoty Note】Late Warring States Period·Noble Women Fashion

The attire of noblewomen in the late Warring States period, as reconstructed in this collection, is based on a comprehensive examination of garments and textiles unearthed from the Chu Tomb No. 1 at Mashan, Jiangling, as well as other artifacts from the same period.

During the late Warring States period, both noble men and women favored wearing robes that were connected from top to bottom. These garments were predominantly made of gauze, silk, brocade, and satin, with silk edging. From the Chu Tomb No. 1 at Mashan, there were discoveries of robes entirely embroidered or embroidered fragments. The embroidery technique employed was known as "locked stitches," which gave the patterns a three-dimensional, lively appearance, rich in decoration.

The two reconstructed robes in this collection consist of an inner robe made of plain silk with striped silk edging, and an outer robe made of brocade, embroidered with phoenixes and floral patterns, with embroidered satin edging. Following the structural design of clothing found in the Mashan Chu Tomb, rectangular fabric pieces were inserted at the junction of the main body, sleeves, and lower garment of the robe. Additionally, an overlap was made at the front of the main body and the lower garment to enlarge the internal space for better wrapping around the body curves. Furthermore, the waistline of the lower garment was not horizontal but inclined upward at an angle, allowing the lower hem to naturally overlap, forming an "enter" shape, facilitating movement.

The layered edging of the collars and sleeves of both inner and outer robes creates a sense of rhythm, with the two types of brocade patterns complementing each other, resulting in a harmonious effect. Apart from the robes, a wide brocade belt was worn around the waist, fastened with jade buckle hooks, and adorned with jade pendants, presenting an elegant and noble figure.

The reconstructed hairstyle draws inspiration from artifacts such as the jade dancer from the late Warring States period unearthed at the Marquis of Haihun Tomb in Nanchang, and the jade dancer from the Warring States period unearthed at Jin Village in Luoyang. It features a fan-shaped voluminous hairdo on the crown, with curled hair falling on both sides, and braided hair gathered at the back. The Book of Songs, "Xiao Ya: Duren Shi," vividly depicts the flowing curls of noblewomen during that period. Their images of curly-haired figures in long robes were also depicted in jade artifacts and other relics, becoming emblematic artistic representations.

The maturity and richness of clothing art in the late Warring States period were unparalleled in contemporary world civilizations, far beyond imagination. It witnessed the transition of Chinese civilization into the Middle Ages. The creatively styled garments and intricate fabric patterns from the Warring States period carry the unique essence, mysterious imagination, and ultimate romanticism of that era, serving as an endless source of artistic inspiration.

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Recreation Work by : @裝束复原

Weibo 🔗：https://weibo.com/1656910125/O6cUMBa1j

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[lionofchaeronea]

A mad dog bites a man. Miniature (gouache, ink, and gold on paper) from an Arabic translation of Dioscorides' Materia Medica, with calligraphy by Abdallah ibn al-Fadl; written in 1224. Now in the Freer Gallery of Art, Washington, D.C.

[paganimagevault]

Anyang funerary bed 550-577 CE

"The Anyang funerary bed (Chinese: 安阳北齐石棺), also known locally as the Bed of Ts'ao Ts'ao (from the Chinese hero Cao Cao), is a Chinese funerary couch belonging to a Sogdian merchant and official active in China in the 6th century CE. The tomb was discovered in 1911, and the components of the funerary bed were dispersed among various museums in the world after being offered on the art market. It is thought the funerary bed was excavated in Anyang (ancient Zhangdefu), capital of the Northern Qi dynasty. It is stylically dated to the Northern Qi dynasty (550–577 CE).

There are eight known components of this funerary monument: a dais and two cornices with notched ends, now in the Freer Gallery of Art, a pair of gates, now in the Museum of East Asian Art (Cologne), two rectangular slab in the Boston Museum of Fine Arts, and one slab in the Guimet Museum in Paris.

The funerary bed is important to Sogdian art and culture, as it is decorated with musicians in the typical Sogdian attire and with a Buddhist scene including deities. The ensemble of Sogdian musicians includes two lute players, a flutist, two drummers and a cymbal player, as well as two dancers. Two stretchers once attached to the bed showed what the Chinese called a huxuan wu (胡旋舞), i.e. "Sogdian Whirl dance", which was enormously popular in China, and appears on many Chinese tombs. Tang sources confirm the dance's popularity. It was performed at court by the Tang Chinese emperor Xuanzong and his favorite concubine.

Gustina Scaglia was the first to recognize in 1958 that the pieces scattered in several museums belonged to a single funerary couch made for a member of the Sogdian community in China.

The owner and exact history of the owner of the tomb remain unknown, as the epitaph has been lost.

Sogdian stone funerary beds disappear during the subsequent Tang dynasty period, even though Sogdian influence was probably even more significant in China at that time, possibly due to Imperial restrictions regarding funerary practices."

-taken from Wikipedia