Pesquisando por: "texture of rock" - Fotoarena - Agência de fotojornalismo

alb3666275 Speculum Romanae Magnificentiae: The Column of Trajan. Artist: Anonymous, Italian, 16th century; After Antonio da Labacco (Italian, near Vigevano ca. 1495-after 1567). Dimensions: mount: 26 5/16 x 19 1/2 in. (66.8 x 49.6 cm)sheet: 21 1/8 x 14 3/8 in. (53.6 x 36.5 cm). Publisher: Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 1, plate 95 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3644433 Buddha Preaching, a section from the Illustrated Sutra of Past and Present Karma (Kako genzai inga kyo emaki). Artist: Unidentified Artist Japanese, mid-8th century. Culture: Japan. Dimensions: Image: 10 1/8 × 10 3/4 in. (25.7 × 27.3 cm)Overall with mounting: 49 3/16 × 16 3/4 in. (125 × 42.6 cm)Overall with knobs: 49 3/16 × 17 13/16 in. (125 × 45.3 cm). Date: mid-8th century.Depicting the Buddha preaching in a grove of trees beside a rocky outcrop, this section of a longer scroll is a succinct summary of the early development of East Asian figural and landscape traditions. A circle of figures framed by trees and tufts of grass creates a shallow foreground space. Spatial relationships are further defined by pivoted bodies, turned heads, and the tentative overlapping of forms. The rock is similarly primitive in its evocation of three-dimensionality--suggested through a succession of receding contour lines and alternating light and dark passages of color. Equally schematic renderings of landscape--notably without the use of interior texture strokes--are seen in eighth-century Tang dynasty tomb murals.The work is a section of The Illustrated Sutra of Past and Present Karma (Kako genzai inga kyo emaki), a Buddhist scripture that narrates the life of the Buddha. It is also known as The Illustrated Sutra of Cause and Effect (E-inga-kyo). The single sheet of paper, a fragment of a scroll that originally featured the first half of the fourth chapter, was cut out and remounted as a hanging scroll--making it suitable for display in an alcove (tokonoma)--probably sometime in the Edo period (1615-1868).The text and images of the complete sutra describe the ascetic exercises of the Buddha in a former life, and then presents a chronicle of his life in historic times, from his birth in the palace of the Gotama clan to the time he attained enlightenment and led others to salvation. In this scene, Shakyamuni has already achieved enlightenment, demonstrated by the halo (mandorla) framing his head. He is preaching a message to King Bimbisara (558-491 BC), who not only became emperor of the Magadha empire in northern India, but also became an ardent supporter of Buddhist teachings. Museum: Metropolitan Museum of Art, New York, USA.