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- Descrizione:
- Drawn from the third book (“Aranya Kanda”) of the Ramayana, the elaborate narrative on this vessel depicts key scenes in the Dandaka forest. Created by the Bombay School of Art in an effort to preserve Indian craft, the object features many embellishing motifs drawn from the Buddhist murals of Ajanta. These features include the lotus and pearl band running around the shoulder and the monster faces (kirtimukha), set between the addorsed elephant heads, that spit out a garland of jewels. Although the vase is grounded in the Indian tradition, British neoclassical taste clearly underlies its shape and some of its geometric motifs. Given the scale and inscribed multiscene narrative, this vase may have been produced for the London Colonial and Indian Exhibition of 1886.
- Parola chiave:
- Scriptures and Ramayana
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 02-03-2022
- Data modificata:
- 02-03-2022
- Rights Statement Tesim:
- No Copyright - United States
- Resource Type:
- Image
-
- Descrizione:
- Drawn from the third book (“Aranya Kanda”) of the Ramayana, the elaborate narrative on this vessel depicts key scenes in the Dandaka forest. Created by the Bombay School of Art in an effort to preserve Indian craft, the object features many embellishing motifs drawn from the Buddhist murals of Ajanta. These features include the lotus and pearl band running around the shoulder and the monster faces (kirtimukha), set between the addorsed elephant heads, that spit out a garland of jewels. Although the vase is grounded in the Indian tradition, British neoclassical taste clearly underlies its shape and some of its geometric motifs. Given the scale and inscribed multiscene narrative, this vase may have been produced for the London Colonial and Indian Exhibition of 1886.
- Parola chiave:
- Scriptures and Ramayana
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 02-03-2022
- Data modificata:
- 02-03-2022
- Rights Statement Tesim:
- No Copyright - United States
- Resource Type:
- Image
-
- Descrizione:
- Drawn from the third book (“Aranya Kanda”) of the Ramayana, the elaborate narrative on this vessel depicts key scenes in the Dandaka forest. Created by the Bombay School of Art in an effort to preserve Indian craft, the object features many embellishing motifs drawn from the Buddhist murals of Ajanta. These features include the lotus and pearl band running around the shoulder and the monster faces (kirtimukha), set between the addorsed elephant heads, that spit out a garland of jewels. Although the vase is grounded in the Indian tradition, British neoclassical taste clearly underlies its shape and some of its geometric motifs. Given the scale and inscribed multiscene narrative, this vase may have been produced for the London Colonial and Indian Exhibition of 1886.
- Parola chiave:
- Scriptures and Ramayana
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 02-03-2022
- Data modificata:
- 02-03-2022
- Rights Statement Tesim:
- No Copyright - United States
- Resource Type:
- Image
-
- Descrizione:
- Drawn from the third book (“Aranya Kanda”) of the Ramayana, the elaborate narrative on this vessel depicts key scenes in the Dandaka forest. Created by the Bombay School of Art in an effort to preserve Indian craft, the object features many embellishing motifs drawn from the Buddhist murals of Ajanta. These features include the lotus and pearl band running around the shoulder and the monster faces (kirtimukha), set between the addorsed elephant heads, that spit out a garland of jewels. Although the vase is grounded in the Indian tradition, British neoclassical taste clearly underlies its shape and some of its geometric motifs. Given the scale and inscribed multiscene narrative, this vase may have been produced for the London Colonial and Indian Exhibition of 1886.
- Parola chiave:
- Scriptures and Ramayana
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 02-03-2022
- Data modificata:
- 02-03-2022
- Rights Statement Tesim:
- No Copyright - United States
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Krishna, Scriptures, and Bhagavata
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Krishna, Scriptures, and Bhagavata
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Bhagavata, Krishna, and Scriptures
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Bhagavata, Krishna, and Scriptures
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Bhagavata, Krishna, and Scriptures
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image
-
- Descrizione:
- Image Courtesy: https://www.metmuseum.org/ Date: ca. 1800 According to the MET museum website, this banner was likely used in an annual festival commemorating Krishna’s marriage to his first wife, Rukmini, that is still celebrated today in parts of the Himalayan foothills. As the work was shown only periodically, the colors remain vivid. The brilliant hues were produced from vegetable dyes: red derived from cochineal and lac insects, blue and green from indigo plants, and orange from safflower. In contrast, the silk threads, which were bleached white or etched with mordant to enable black coloring to bond to the fibers, have disintegrated, making it possible to see the underdrawing. Painted in henna with details created in carbon black, the preparatory sketch served as the guide for the final embroidery. This technique is similar to that used to make preliminary sketches for paintings, which are also produced in red and black.
- Parola chiave:
- Bhagavata, Krishna, and Scriptures
- Creatore:
- MetMuseum
- Collaboratore:
- Vanishree Mahesh
- Owner:
- support@notch8.com
- Data caricata:
- 16-02-2022
- Rights Statement Tesim:
- No Known Copyright
- Resource Type:
- Image