LaurieAnnie's photos with the keyword: jar

Title: Jar with dragon Period: Ming dynasty (1368–1644), Xuande mark and period (1426–35) Date: early 15th century Culture: China Medium: Porcelain painted with cobalt blue under transparent glaze (Jingdezhen ware) Dimensions: H. 19 in. (48.3 cm); Diam. 19 in. (48.3 cm) Classification: Ceramics Credit Line: Gift of Robert E. Tod, 1937 Object Number: 37.191.1 White porcelain painted with cobalt blue, a style that first flourished in China in the fourteenth century, is arguably the most important development in the history of ceramics. Commissioned by the court, this spectacular storage jar, made in the kilns in Jingdezhen, is dated to the rule of the Xuande emperor by an inscription on its shoulder. Its painted decoration features an animated dragon undulating across a sparsely clouded sky. Text from: www.metmuseum.org/art/collection/search/39666

Title: Jar with dragon Period: Ming dynasty (1368–1644), Xuande mark and period (1426–35) Date: early 15th century Culture: China Medium: Porcelain painted with cobalt blue under transparent glaze (Jingdezhen ware) Dimensions: H. 19 in. (48.3 cm); Diam. 19 in. (48.3 cm) Classification: Ceramics Credit Line: Gift of Robert E. Tod, 1937 Object Number: 37.191.1 White porcelain painted with cobalt blue, a style that first flourished in China in the fourteenth century, is arguably the most important development in the history of ceramics. Commissioned by the court, this spectacular storage jar, made in the kilns in Jingdezhen, is dated to the rule of the Xuande emperor by an inscription on its shoulder. Its painted decoration features an animated dragon undulating across a sparsely clouded sky. Text from: www.metmuseum.org/art/collection/search/39666

Barbotine Jar Unknown (Artist) Date: 3rd-4th century A.D. Culture: Roman Category: Containers-Vessels, Glass Medium: blown, tooled glass Collection: Ancient Art Geography: Syria Dimensions: Overall: 2 3/8 in. (6.03 cm) Object Number: 59.29.5 Text from: www.vmfa.museum/piction/6027262-8064179

Barbotine Jar Unknown (Artist) Date: 3rd-4th century A.D. Culture: Roman Category: Containers-Vessels, Glass Medium: blown, tooled glass Collection: Ancient Art Geography: Syria Dimensions: Overall: 2 3/8 in. (6.03 cm) Object Number: 59.29.5 Text from: www.vmfa.museum/piction/6027262-8064179

The [archaeological] museum [in Giardini-Naxos, Sicily] is next to the ancient Greek town area. Open from 9am up to an hour before sunset. The Museum is close to Capo Schisò and the modern harbour of Giardini Naxos, on the border with the archaeological area of the ancient town of Naxos, which can also be reached from the museum itself, through an exhibition route, which partly following an important road of the 5th c. BC, takes you up to the western side of the walls. The museum is divided into three buildings, two of which are dedicated to the exhibition. Building "A" was constructed in the 70s when the museum was founded, and building "B", the embattled tower of the Bourbon blockhouse, whose large pieces of walls still stand. The museum illustrates the history of the Greek colony of Naxos, also considering the prehistorical evidences which prove the human presence in the site from the Neolithic up to the arrival of the Greeks, as well as the findings within the territory (Cocolonazzo di Mola, Monaci cave, Fiumedenisi, Malvagna). Naxos was founded in 734 BC by the Calcidians, who had sailed from the Greek island of Eubea led by Theocles. The town, developed along the route which boats coming from Eubea followed to reach Ischia to trade with the Etruscans, was the heart of the Calcidian spread in Sicily, and from here Theocles moved to found Leontinoi and Katane. The history of the town, marked by the rivalry with the powerful Siracusa, was quite short and it disappeared in three centuries, when it was destroyed by Dionysius of Siracusa in 403 BC. The collections are mostly composed of finds from the excavations which have been carried since 1953 in the site of the ancient colony. A few materials found at the turn of the century come from the Archaelogical Museums of Palermo and Siracusa, and very recently, from Heildeberg University Museum which receded a fragment of arula with sphinxes, bought in 1902 by F. von Duhn in Taormina and perfectly reconnected to the one exhibited in Naxos. The large number of handmade pottery is evidence of the different phases of life in the town, its commercial relations and its material culture. The figured and architectural terracottas, the antefixes with Silenian masks attest the thriving of a sacred monumental architecture at the beginning of the 6th c., as well as the presence of lively workshops which produced terracotta objects. Various artefacts are evidence of settlements along the coast dated back to the Byzantine period. Other items found in this area are also displayed, such as the beautiful bronze helmet made in Moio, in the Alcantara Valley, during the Hellenistic period. Part of the exhibition is dedicated to underwater findings, such as several anchor stocks and some transport amphoras. The arrangement follows chronological criteria Ground floor - The prehistoric period - Items found at the turn of the last century - The oldest phase of the colonial settlement: late-geometrical ceramic materials of Corinthian and Eubeian-cicladian productions, as well as imitations; outfits found in the northern necropolis; archaic transport amphoras of different production, all reutilized as graves First floor - Coins dated back to the 5th c. BC from the northern district of the town - The sacred areas of the town: architectural covers and antefixes with Silenian masks - The archaic and classic settlement, the necropoli of the 5th c. BC, and those of the Hellenistic period (3rd c. BC) Embattled tower of the Bourbon blockhouse - Underwater finds (anchor stocks, millstones, amphoras) Text and more information about individual artifacts from: www.regione.sicilia.it/beniculturali/dirbenicult/musei/mu...

The [archaeological] museum [in Giardini-Naxos, Sicily] is next to the ancient Greek town area. Open from 9am up to an hour before sunset. The Museum is close to Capo Schisò and the modern harbour of Giardini Naxos, on the border with the archaeological area of the ancient town of Naxos, which can also be reached from the museum itself, through an exhibition route, which partly following an important road of the 5th c. BC, takes you up to the western side of the walls. The museum is divided into three buildings, two of which are dedicated to the exhibition. Building "A" was constructed in the 70s when the museum was founded, and building "B", the embattled tower of the Bourbon blockhouse, whose large pieces of walls still stand. The museum illustrates the history of the Greek colony of Naxos, also considering the prehistorical evidences which prove the human presence in the site from the Neolithic up to the arrival of the Greeks, as well as the findings within the territory (Cocolonazzo di Mola, Monaci cave, Fiumedenisi, Malvagna). Naxos was founded in 734 BC by the Calcidians, who had sailed from the Greek island of Eubea led by Theocles. The town, developed along the route which boats coming from Eubea followed to reach Ischia to trade with the Etruscans, was the heart of the Calcidian spread in Sicily, and from here Theocles moved to found Leontinoi and Katane. The history of the town, marked by the rivalry with the powerful Siracusa, was quite short and it disappeared in three centuries, when it was destroyed by Dionysius of Siracusa in 403 BC. The collections are mostly composed of finds from the excavations which have been carried since 1953 in the site of the ancient colony. A few materials found at the turn of the century come from the Archaelogical Museums of Palermo and Siracusa, and very recently, from Heildeberg University Museum which receded a fragment of arula with sphinxes, bought in 1902 by F. von Duhn in Taormina and perfectly reconnected to the one exhibited in Naxos. The large number of handmade pottery is evidence of the different phases of life in the town, its commercial relations and its material culture. The figured and architectural terracottas, the antefixes with Silenian masks attest the thriving of a sacred monumental architecture at the beginning of the 6th c., as well as the presence of lively workshops which produced terracotta objects. Various artefacts are evidence of settlements along the coast dated back to the Byzantine period. Other items found in this area are also displayed, such as the beautiful bronze helmet made in Moio, in the Alcantara Valley, during the Hellenistic period. Part of the exhibition is dedicated to underwater findings, such as several anchor stocks and some transport amphoras. The arrangement follows chronological criteria Ground floor - The prehistoric period - Items found at the turn of the last century - The oldest phase of the colonial settlement: late-geometrical ceramic materials of Corinthian and Eubeian-cicladian productions, as well as imitations; outfits found in the northern necropolis; archaic transport amphoras of different production, all reutilized as graves First floor - Coins dated back to the 5th c. BC from the northern district of the town - The sacred areas of the town: architectural covers and antefixes with Silenian masks - The archaic and classic settlement, the necropoli of the 5th c. BC, and those of the Hellenistic period (3rd c. BC) Embattled tower of the Bourbon blockhouse - Underwater finds (anchor stocks, millstones, amphoras) Text and more information about individual artifacts from: www.regione.sicilia.it/beniculturali/dirbenicult/musei/mu...

Jar and Tall Stand Period: Three Kingdoms period, Silla kingdom (57 B.C.–A.D. 668) Date: mid-5th century Culture: Korea Medium: Stoneware with traces of incidental ash glaze Dimensions: H. 21 1/2 in. (54.6 cm) Classification: Ceramic Credit Line: Purchase, Lila Acheson Wallace Gift, 1997 Accession Number: 1997.34.24a, b Description: This combination of a bulbous jar and a tall stand with a perforated design is representative of high-fired, wheel-thrown gray stoneware from the Silla kingdom and Gaya federation. Silla vessels, particularly those featuring dramatic bases, seem to have functioned primarily as burial objects. Text from: www.metmuseum.org/Collections/search-the-collections/6000...

Title/Object Name: Octagonal Jar with Decoration of Flowering Cherry and Chrysanthemum Culture: Japan Period: Edo period (1615–1868) Date: late 17th century Medium: Porcelain with overglaze enamels (Arita ware, Kakiemon-related type) Dimensions: H. 16 1/4 in. (41.3 cm); Diam. 13 1/2 in. (34.3 cm); Diam. of rim: 8 in. (20.3 cm); Diam. of foot: 7 1/4 in. (18.4 cm) Classification: Ceramic Credit Line: Dr. and Mrs. Roger G. Gerry Collection, Bequest of Dr. and Mrs. Roger G. Gerry, 2000 Accession Number: 2002.447.64 Text from: www.metmuseum.org/Works_of_Art/collection_database/asian_...

Covered Jar Ming dynasty, ca. first half of the 16th century Porcelaneous ware with carved, pierced, and relief decoration in the biscuit and under colored glazes. Accession # 61.200.15 Text from the Metropolitan Museum of Art label.

Covered Jar Ming dynasty, ca. first half of the 16th century Porcelaneous ware with carved, pierced, and relief decoration in the biscuit and under colored glazes. Accession # 61.200.15 Text from the Metropolitan Museum of Art label.

Covered Jar (Hu) 2nd–1st century B.C. Object Details Period: Western Han dynasty (206 B.C.–A.D. 9) Date: 2nd–1st century B.C. Culture: China Medium: Earthenware with painted decoration Dimensions: H. 18 in. (45.7 cm); Diam. 11 in. 27.9 cm); Diam. of rim 6 7/8 in. (17.5 cm); Diam. of foot 8 1/2 in. (21.6 cm) Classification: Tomb Pottery Credit Line: Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 Accession Number: 1992.165.20a, b This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu. Text from: www.metmuseum.org/art/collection/search/49539

Covered Jar (Hu) 2nd–1st century B.C. Object Details Period: Western Han dynasty (206 B.C.–A.D. 9) Date: 2nd–1st century B.C. Culture: China Medium: Earthenware with painted decoration Dimensions: H. 18 in. (45.7 cm); Diam. 11 in. 27.9 cm); Diam. of rim 6 7/8 in. (17.5 cm); Diam. of foot 8 1/2 in. (21.6 cm) Classification: Tomb Pottery Credit Line: Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 Accession Number: 1992.165.20a, b This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu. Text from: www.metmuseum.org/art/collection/search/49539

Covered Jar (Hu) 2nd–1st century B.C. Object Details Period: Western Han dynasty (206 B.C.–A.D. 9) Date: 2nd–1st century B.C. Culture: China Medium: Earthenware with painted decoration Dimensions: H. 18 in. (45.7 cm); Diam. 11 in. 27.9 cm); Diam. of rim 6 7/8 in. (17.5 cm); Diam. of foot 8 1/2 in. (21.6 cm) Classification: Tomb Pottery Credit Line: Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 Accession Number: 1992.165.20a, b This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu. Text from: www.metmuseum.org/art/collection/search/49539

Covered Jar (Hu) 2nd–1st century B.C. Object Details Period: Western Han dynasty (206 B.C.–A.D. 9) Date: 2nd–1st century B.C. Culture: China Medium: Earthenware with painted decoration Dimensions: H. 18 in. (45.7 cm); Diam. 11 in. 27.9 cm); Diam. of rim 6 7/8 in. (17.5 cm); Diam. of foot 8 1/2 in. (21.6 cm) Classification: Tomb Pottery Credit Line: Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 Accession Number: 1992.165.20a, b This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu. Text from: www.metmuseum.org/art/collection/search/49539

Covered Jar (Hu) 2nd–1st century B.C. Object Details Period: Western Han dynasty (206 B.C.–A.D. 9) Date: 2nd–1st century B.C. Culture: China Medium: Earthenware with painted decoration Dimensions: H. 18 in. (45.7 cm); Diam. 11 in. 27.9 cm); Diam. of rim 6 7/8 in. (17.5 cm); Diam. of foot 8 1/2 in. (21.6 cm) Classification: Tomb Pottery Credit Line: Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 Accession Number: 1992.165.20a, b This mortuary vessel is decorated with the animated drama of a blue beast with bared fangs lunging at a mounted archer. Roaming the other side of the hu is a long striding tiger. Executed with brilliant pigments and confident black brushstrokes, the decoration perfectly expresses the boldly assertive character of the Western Han dynasty and is, moreover, one of the finest known examples of Han painting. The iconography is celestial: the blue beast represents the star Sirius, known in China as the Heavenly Wolf, and the archer is a personification of the adjoining constellation, Bow, whose arrow always points directly at the Wolf. Their companion on the other side is the White Tiger, cosmological symbol of the West, whose domain in the nightly sky borders that of the Wolf and the Bow. The Wolf is a baleful star. He governs thievery and looting and represents the Xiongnu tribes (Huns) who warred with the Han people on the northwestern borders of China. It is said that when the twinklings of the Wolf star change color, banditry will curse the land; when the star shifts from its normal position, the Xiongnu will be on the warpath. Fortunately, there is the vigilant Bow, who "punishes rebels and knows those who are crafty and evil." Forever pointed at the Wolf, across whose body is an array of ill-boding meteors, the Bow was considered the protector of China. The mounted archer, the eternal image of the nomadic peoples of the Eurasian steppe, is shown hunting the symbolic representation of the Xiongnu. Text from: www.metmuseum.org/art/collection/search/49539

Jar Date: 14th century Geography: Syria Medium: Stonepaste; polychrome painted under transparent glaze Dimensions: H. 13 1/4 in. (33.7 cm) Classification: Ceramics Credit Line: Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 Accession Number: 91.1.130 Text from: www.metmuseum.org/Collections/search-the-collections/1400... The main decoration on this jar is the large inscription in thuluth script: "Lasting glory, increasing prosperity, and good fortune." Text from the Metropolitan Museum of Art label.

Spouted jar Period: Iron Age II Date: ca. 9th century B.C. Geography: Iran, Hasanlu Medium: Ceramic Dimensions: H. 8 1/2 in. (21.7 cm) Classification: Ceramics-Vessel Credit Line: Rogers Fund, 1960 Accession Number: 60.20.15 Description: Hasanlu in northwestern Iran is best known as the site of a citadel that was destroyed in about 800 B.C., most likely by an army from Urartu coming from eastern Turkey. Thousands of artifacts of terracotta, bronze, iron, gold, silver, and ivory were recovered from the monumental buildings, which were characterized by an elaborate entrance and a large central hall with columns that supported a two-story superstructure. This gray-ware jar and stand, found in a burial in the cemetery of Hasanlu, is typical of Iron Age pottery of northwestern Iran. Many other aspects of culture, including architectural form, mode of burial, and style of bronze weapons and small objects, were altered at this time, leading some scholars to suggest a migration of new people into the region at the beginning of the Iron Age. Text from: www.metmuseum.org/Collections/search-the-collections/3000...

Jar with a frieze of bulls, Neo-Assyrian; 8th–7th century B.C. Iran, Kurdistan Glazed ceramic; H. 43.5 cm Purchase, Joseph Pulitzer Bequest, 1955 (55.121.2) Glazing and glassmaking have a long history in the ancient Near East. A glaze is a layer of glass over a ceramic body. The first objects with a glazed surface were small beads and amulets made of faience, dating to the Ubaid period of the mid-sixth millennium B.C. While isolated examples of true glass beads have been found in contexts of the third millennium B.C., glass was produced on a large scale for the first time around 1600 B.C., perhaps in the Mitanni state of northern Mesopotamia. This large jar—glazed in green, blue, brown, yellow, white, and black—represents an advanced glazing technique that was in widespread use during the first millennium B.C. Its shoulder is decorated with a wreath of petals, and its body by bulls kneeling before trees. It is one of three jars in the Museum's collection that reportedly were found at the early first millennium B.C. site of Ziwiye in northwestern Iran, but it is also similar in shape and decoration to examples excavated at the Assyrian city of Ashur on the Tigris River in northern Iraq. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=3&view...