ID
stringlengths 6
8
| title
stringlengths 3
136
| question
stringlengths 33
235
| answer
stringlengths 51
15.3k
| image_url
stringlengths 57
817
| entities
sequence |
|---|---|---|---|---|---|
15901_T | Lamentation (Gerard David) | How does Lamentation (Gerard David) elucidate its Provenance? | Both this and the companion Adoration may have been in a sale of the pictures of Frederick Benjamin King (a bankrupt sugar-refiner) at Christie's in London in June 1830, where Lot 82 was an Adoration described as by "J. de Maubeuge", that is to say Jan Gossaert, who was born in Maubeuge. The Lamentation was merely described as "Flemish". They fetched £4 and £4,12 shillings respectively, but different buyers are recorded. Both paintings have a pink paper label inscribed "King 157" pasted on their reverses.If they were separated at this point, they were reunited by 1831, when their certain history begins, in the collection of Karl Aders, a German merchant resident in London. Both were auctioned again in August 1835 and bought by a Dr Willis, later passing to a surgeon, Joseph Henry Green, who lived in Monken Hadley, a little way north of London. Both paintings were exhibited in the huge and important Art Treasures Exhibition, held in Manchester in 1857. Green died in 1863 and his widow (Anne Eliza, d. 1879) bequeathed all the Dutch and Flemish paintings in the collection to the National Gallery, who received them in 1880. No loans to outside exhibitions are recorded since (to 1998). | [
"Jan Gossaert",
"Christ",
"Christie's",
"Maubeuge",
"Monken Hadley",
"Art Treasures Exhibition, held in Manchester in 1857",
"National Gallery",
"London"
] |
|
15901_NT | Lamentation (Gerard David) | How does this artwork elucidate its Provenance? | Both this and the companion Adoration may have been in a sale of the pictures of Frederick Benjamin King (a bankrupt sugar-refiner) at Christie's in London in June 1830, where Lot 82 was an Adoration described as by "J. de Maubeuge", that is to say Jan Gossaert, who was born in Maubeuge. The Lamentation was merely described as "Flemish". They fetched £4 and £4,12 shillings respectively, but different buyers are recorded. Both paintings have a pink paper label inscribed "King 157" pasted on their reverses.If they were separated at this point, they were reunited by 1831, when their certain history begins, in the collection of Karl Aders, a German merchant resident in London. Both were auctioned again in August 1835 and bought by a Dr Willis, later passing to a surgeon, Joseph Henry Green, who lived in Monken Hadley, a little way north of London. Both paintings were exhibited in the huge and important Art Treasures Exhibition, held in Manchester in 1857. Green died in 1863 and his widow (Anne Eliza, d. 1879) bequeathed all the Dutch and Flemish paintings in the collection to the National Gallery, who received them in 1880. No loans to outside exhibitions are recorded since (to 1998). | [
"Jan Gossaert",
"Christ",
"Christie's",
"Maubeuge",
"Monken Hadley",
"Art Treasures Exhibition, held in Manchester in 1857",
"National Gallery",
"London"
] |
|
15902_T | Statue of Thomas Starr King (San Francisco) | Focus on Statue of Thomas Starr King (San Francisco) and analyze the abstract. | A statue of Thomas Starr King by Daniel Chester French is installed in San Francisco's Golden Gate Park, in the U.S. state of California.The 1892 statue is made of bronze and has a granite base. | [
"U.S. state",
"granite",
"San Francisco",
"Golden Gate Park",
"bronze",
"Thomas Starr King",
"California",
"Daniel Chester French"
] |
|
15902_NT | Statue of Thomas Starr King (San Francisco) | Focus on this artwork and analyze the abstract. | A statue of Thomas Starr King by Daniel Chester French is installed in San Francisco's Golden Gate Park, in the U.S. state of California.The 1892 statue is made of bronze and has a granite base. | [
"U.S. state",
"granite",
"San Francisco",
"Golden Gate Park",
"bronze",
"Thomas Starr King",
"California",
"Daniel Chester French"
] |
|
15903_T | Statue of Thomas Starr King (San Francisco) | In Statue of Thomas Starr King (San Francisco), how is the Inscription discussed? | The following inscription is on the front of the statue:
THOMAS STARR KING
IN HIM ELOQVENCE, STRENGTH
AND VIRTVE WERE DEVOTED
WITH FEARLESS COVRAGE TO TRVTH
COVNTRY AND HIS FELLOW-MEN1824–1864 | [] |
|
15903_NT | Statue of Thomas Starr King (San Francisco) | In this artwork, how is the Inscription discussed? | The following inscription is on the front of the statue:
THOMAS STARR KING
IN HIM ELOQVENCE, STRENGTH
AND VIRTVE WERE DEVOTED
WITH FEARLESS COVRAGE TO TRVTH
COVNTRY AND HIS FELLOW-MEN1824–1864 | [] |
|
15904_T | Azelin chandelier | Focus on Azelin chandelier and explore the abstract. | The Azelin chandelier 1018 A.D (German: Azelinleuchter) is a Romanesque wheel chandelier, made in the 11th century for the Hildesheim Cathedral in Hildesheim, Germany, a UNESCO World Cultural Heritage site since 1985. It is the oldest of four extant wheel chandeliers from that period, along with the Hezilo chandelier, also in Hildesheim, the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg. It was believed to be donated by Bishop Azelin, however his predecessor Thietmar is more likely to be the patron. Therefore, the chandelier is also called the Thietmar chandelier (Thietmarleuchter). | [
"Bishop",
"wheel chandelier",
"Hezilo",
"World Cultural Heritage",
"Romanesque",
"Abbey of Comburg",
"Azelin",
"Hezilo chandelier",
"Thietmar",
"Comburg",
"Aachen Cathedral",
"Hildesheim",
"Barbarossa chandelier",
"Hildesheim Cathedral"
] |
|
15904_NT | Azelin chandelier | Focus on this artwork and explore the abstract. | The Azelin chandelier 1018 A.D (German: Azelinleuchter) is a Romanesque wheel chandelier, made in the 11th century for the Hildesheim Cathedral in Hildesheim, Germany, a UNESCO World Cultural Heritage site since 1985. It is the oldest of four extant wheel chandeliers from that period, along with the Hezilo chandelier, also in Hildesheim, the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg. It was believed to be donated by Bishop Azelin, however his predecessor Thietmar is more likely to be the patron. Therefore, the chandelier is also called the Thietmar chandelier (Thietmarleuchter). | [
"Bishop",
"wheel chandelier",
"Hezilo",
"World Cultural Heritage",
"Romanesque",
"Abbey of Comburg",
"Azelin",
"Hezilo chandelier",
"Thietmar",
"Comburg",
"Aachen Cathedral",
"Hildesheim",
"Barbarossa chandelier",
"Hildesheim Cathedral"
] |
|
15905_T | Azelin chandelier | Focus on Azelin chandelier and explain the Description. | A wheel chandelier is also called a corona (crown) and circular chandelier. Like the later and larger Hezilo chandelier, the Azelin chandelier is a circular hoop of gilt copper and tinplate, decorated with twelve towers and twelve gatehouses. However, the decoration is much sparser, limited to a braided bar in the middle of the hoop and an openwork wreath of foliage on the upper edge of the hoop. The twelve gatehouses, to which the ropes holding the chandelier up are attached, are basically rectangular in shape with rounded arches and roofing. It is possible that they once held figures, but these would have had to have been very small and flat. The twelve towers are more elaborate, with a hexagonal groundplan. On the outside there are three niches closed with openwork doors, on the inside there is one niche flanked by two (alternately round or square) towers decorated with battlements and imitation brickwork. The spires of the towers extend above the top of the chandelier's hoop and are alternately round or hexagonal, with openwork windows in imitation of roof lanterns.
The Azelin chandelier has been repeatedly altered by additions, removals, and repairs over the centuries. The overall image of the New Jerusalem, lit up and floating in the air, which all works of this type present, has been maintained. An important and meticulous restoration of the chandelier was carried out between 1982 and 1989, repairing the damage World War II. | [
"roof lantern",
"wheel chandelier",
"Hezilo",
"openwork",
"New Jerusalem",
"Azelin",
"Hezilo chandelier",
"tinplate",
"braid"
] |
|
15905_NT | Azelin chandelier | Focus on this artwork and explain the Description. | A wheel chandelier is also called a corona (crown) and circular chandelier. Like the later and larger Hezilo chandelier, the Azelin chandelier is a circular hoop of gilt copper and tinplate, decorated with twelve towers and twelve gatehouses. However, the decoration is much sparser, limited to a braided bar in the middle of the hoop and an openwork wreath of foliage on the upper edge of the hoop. The twelve gatehouses, to which the ropes holding the chandelier up are attached, are basically rectangular in shape with rounded arches and roofing. It is possible that they once held figures, but these would have had to have been very small and flat. The twelve towers are more elaborate, with a hexagonal groundplan. On the outside there are three niches closed with openwork doors, on the inside there is one niche flanked by two (alternately round or square) towers decorated with battlements and imitation brickwork. The spires of the towers extend above the top of the chandelier's hoop and are alternately round or hexagonal, with openwork windows in imitation of roof lanterns.
The Azelin chandelier has been repeatedly altered by additions, removals, and repairs over the centuries. The overall image of the New Jerusalem, lit up and floating in the air, which all works of this type present, has been maintained. An important and meticulous restoration of the chandelier was carried out between 1982 and 1989, repairing the damage World War II. | [
"roof lantern",
"wheel chandelier",
"Hezilo",
"openwork",
"New Jerusalem",
"Azelin",
"Hezilo chandelier",
"tinplate",
"braid"
] |
|
15906_T | Azelin chandelier | Explore the History of this artwork, Azelin chandelier. | The Azelin chandelier, named for its supposed donor, the bishop Azelin (1044–1054) is the predecessor of the Hezilo chandelier, which was probably commissioned by Azelin's successor Hezilo. Perhaps the two wheel chandeliers were originally planned as a set, just as they then hung in the cathedral for centuries: the Hezilo chandelier in the nave, the Azelin chandelier (which is about half the size) in the choir. The chandeliers were created after the devastating fire of 1046, in which the cathedral of Altfrid and many nearby buildings in the Domhof were destroyed. Before this, a gold and silver wheel chandelier, gifted by Bernward of Hildesheim had hung in the nave. This earlier chandelier was definitely destroyed in the fire. The chandelier was thought to have been commissioned by Bishop Azelin after this fire, but according to a lost document from the 16th century his predecessor Thietmar of Hildesheim was the patron. It is not clear, in that case, how the chandelier survived the fire of 1046.
From 1960, when the cathedral and the adjacent buildings were rebuilt, the chandelier hung in the church of St. Antonius, adjacent to the cloisters of the cathedral. After the completion of extensive restorations of the cathedral, reopened on 15 August 2014, and the conversion of St. Antonius to a part of the Cathedral museum, the Azelin chandelier was returned to the cathedral and placed again above the altar in the crossing, while the Hezilo chandelier, which hung there before, was returned to its original location in the nave. | [
"Bishop",
"cloisters",
"Thietmar of Hildesheim",
"wheel chandelier",
"Hezilo",
"Domhof",
"Bernward of Hildesheim",
"choir",
"Azelin",
"Hezilo chandelier",
"Thietmar",
"Altfrid",
"Hildesheim"
] |
|
15906_NT | Azelin chandelier | Explore the History of this artwork. | The Azelin chandelier, named for its supposed donor, the bishop Azelin (1044–1054) is the predecessor of the Hezilo chandelier, which was probably commissioned by Azelin's successor Hezilo. Perhaps the two wheel chandeliers were originally planned as a set, just as they then hung in the cathedral for centuries: the Hezilo chandelier in the nave, the Azelin chandelier (which is about half the size) in the choir. The chandeliers were created after the devastating fire of 1046, in which the cathedral of Altfrid and many nearby buildings in the Domhof were destroyed. Before this, a gold and silver wheel chandelier, gifted by Bernward of Hildesheim had hung in the nave. This earlier chandelier was definitely destroyed in the fire. The chandelier was thought to have been commissioned by Bishop Azelin after this fire, but according to a lost document from the 16th century his predecessor Thietmar of Hildesheim was the patron. It is not clear, in that case, how the chandelier survived the fire of 1046.
From 1960, when the cathedral and the adjacent buildings were rebuilt, the chandelier hung in the church of St. Antonius, adjacent to the cloisters of the cathedral. After the completion of extensive restorations of the cathedral, reopened on 15 August 2014, and the conversion of St. Antonius to a part of the Cathedral museum, the Azelin chandelier was returned to the cathedral and placed again above the altar in the crossing, while the Hezilo chandelier, which hung there before, was returned to its original location in the nave. | [
"Bishop",
"cloisters",
"Thietmar of Hildesheim",
"wheel chandelier",
"Hezilo",
"Domhof",
"Bernward of Hildesheim",
"choir",
"Azelin",
"Hezilo chandelier",
"Thietmar",
"Altfrid",
"Hildesheim"
] |
|
15907_T | Azelin chandelier | Focus on Azelin chandelier and discuss the Literature. | Bernhard Gallistl: Bedeutung und Gebrauch der großen Lichterkrone im Hildesheimer Dom. In: Concilium medii aevi 12, 2009, S. 43–88, online: [1] (German) (PDF; 2,9 MB). Retrieved 18 January 2012
Adolf Bertram, Geschichte des Bisthums Hildesheim, (German) vol. 1, Hildesheim 1899, p. 106.
Christine Wulf: Die Inschriften der Stadt Hildesheim. (German) Wiesbaden 2003 (Die deutschen Inschriften 58). vol. 2. pp. 213–216. | [
"Adolf Bertram",
"Hildesheim"
] |
|
15907_NT | Azelin chandelier | Focus on this artwork and discuss the Literature. | Bernhard Gallistl: Bedeutung und Gebrauch der großen Lichterkrone im Hildesheimer Dom. In: Concilium medii aevi 12, 2009, S. 43–88, online: [1] (German) (PDF; 2,9 MB). Retrieved 18 January 2012
Adolf Bertram, Geschichte des Bisthums Hildesheim, (German) vol. 1, Hildesheim 1899, p. 106.
Christine Wulf: Die Inschriften der Stadt Hildesheim. (German) Wiesbaden 2003 (Die deutschen Inschriften 58). vol. 2. pp. 213–216. | [
"Adolf Bertram",
"Hildesheim"
] |
|
15908_T | The Bewitched Man | How does The Bewitched Man elucidate its abstract? | The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight.
This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid. It is held by the National Gallery, London. | [
"Francisco José de Goya y Lucientes",
"Antonio de Zamora",
"Duchess of Osuna",
"Duke",
"Spanish",
"Alameda de Osuna",
"National Gallery",
"London"
] |
|
15908_NT | The Bewitched Man | How does this artwork elucidate its abstract? | The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight.
This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid. It is held by the National Gallery, London. | [
"Francisco José de Goya y Lucientes",
"Antonio de Zamora",
"Duchess of Osuna",
"Duke",
"Spanish",
"Alameda de Osuna",
"National Gallery",
"London"
] |
|
15909_T | Bacchanalia (Rubens) | Focus on Bacchanalia (Rubens) and analyze the abstract. | Bacchanalia is a c. 1615 oil painting of Bacchus, Silenus, bacchantes and satyrs by Peter Paul Rubens. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892.Rubens frequently returned to the theme of Bacchus, such as in his Drunken Hercules (1612-1618, Gemäldegalerie, Dresden) Young Bacchus Supported by Two Satyrs (post 1614, now lost but known through the engraving of Jonas Suyderhoef CG Voorhelm-Schneevoogt's engraving in Catalog des estampes gravees d'apres PP Rubens, Haarlem 1875, p.133.), Sylvester's Retinue (1618, Alte Pinakothek, Munich) and the studio work Bacchanalia (1612-1614, Palazzo Durazzo-Pallavicini, Genoa). They all draw on classical art, particularly a relief sculpture of a drunken Hercules and Bacchic sarcophagi scenes - one of the latter is now in Moscow and was known to Rubens, who based a sketch entitled Drunken Heracles with a Faun on it.It was recorded in 1735 in Robert Walpole's collection at Houghton Hall until was bought for the Hermitage Museum in 1779. It would be transferred to the Pushkin Museum in 1930. | [
"Silenus",
"Satyr",
"bacchante",
"Peter Paul Rubens",
"satyr",
"Robert Walpole",
"Hermitage Museum",
"Moscow",
"Houghton Hall",
"Bacchus",
"Pushkin Museum",
"Gemäldegalerie, Dresden",
"Two Satyrs",
"Palazzo Durazzo-Pallavicini",
"Alte Pinakothek"
] |
|
15909_NT | Bacchanalia (Rubens) | Focus on this artwork and analyze the abstract. | Bacchanalia is a c. 1615 oil painting of Bacchus, Silenus, bacchantes and satyrs by Peter Paul Rubens. Originally painted on panel, it was transferred to canvas by A. Sidorov in 1892.Rubens frequently returned to the theme of Bacchus, such as in his Drunken Hercules (1612-1618, Gemäldegalerie, Dresden) Young Bacchus Supported by Two Satyrs (post 1614, now lost but known through the engraving of Jonas Suyderhoef CG Voorhelm-Schneevoogt's engraving in Catalog des estampes gravees d'apres PP Rubens, Haarlem 1875, p.133.), Sylvester's Retinue (1618, Alte Pinakothek, Munich) and the studio work Bacchanalia (1612-1614, Palazzo Durazzo-Pallavicini, Genoa). They all draw on classical art, particularly a relief sculpture of a drunken Hercules and Bacchic sarcophagi scenes - one of the latter is now in Moscow and was known to Rubens, who based a sketch entitled Drunken Heracles with a Faun on it.It was recorded in 1735 in Robert Walpole's collection at Houghton Hall until was bought for the Hermitage Museum in 1779. It would be transferred to the Pushkin Museum in 1930. | [
"Silenus",
"Satyr",
"bacchante",
"Peter Paul Rubens",
"satyr",
"Robert Walpole",
"Hermitage Museum",
"Moscow",
"Houghton Hall",
"Bacchus",
"Pushkin Museum",
"Gemäldegalerie, Dresden",
"Two Satyrs",
"Palazzo Durazzo-Pallavicini",
"Alte Pinakothek"
] |
|
15910_T | Tabernacle of the Linaioli | In Tabernacle of the Linaioli, how is the abstract discussed? | The Tabernacle of the Linaioli (Italian: Tabernacolo dei Linaioli, literally "Tabernacle of the Linen manufacturers") is a marble aedicula designed by Lorenzo Ghiberti, with paintings by Fra Angelico, dating to 1432–1433. It is housed in the National Museum of San Marco, Florence, Italy. | [
"San Marco, Florence",
"aedicula",
"Fra Angelico",
"Lorenzo Ghiberti"
] |
|
15910_NT | Tabernacle of the Linaioli | In this artwork, how is the abstract discussed? | The Tabernacle of the Linaioli (Italian: Tabernacolo dei Linaioli, literally "Tabernacle of the Linen manufacturers") is a marble aedicula designed by Lorenzo Ghiberti, with paintings by Fra Angelico, dating to 1432–1433. It is housed in the National Museum of San Marco, Florence, Italy. | [
"San Marco, Florence",
"aedicula",
"Fra Angelico",
"Lorenzo Ghiberti"
] |
|
15911_T | Tabernacle of the Linaioli | Focus on Tabernacle of the Linaioli and explore the History. | The tabernacle was commissioned for the exterior of the seat of the Linaioli (the guild of linen workers in Florence), in the former Old Market, in the October 1432. The marble parts were executed by Simone di Nanni da Fiesole, under design by Lorenzo Ghiberti. The contract for the internal paintings was signed by Angelico on 2 July 1433, for a total of 190 golden florins. The predella is generally dated to 1433–1435.The work was a large one, comparable only to Cimabue's Santa Trinita Maestà or Duccio di Buoninsegna's Rucellai Madonna. It has been speculated that the marble frame was sized according to a pre-existing painting, which was later replaced by Fra Angelico's, or that the size was inspired by that of the statues in Orsanmichele niches.Work had been moved to the Palazzo della Borsa as early as 1777, together with other works commissioned by the city's guilds. In that year it was transferred to the Uffizi, whence it was transferred to the current location in 1924.
The tabernacle was restored in 2010. | [
"Uffizi",
"Cimabue",
"Maestà",
"Duccio",
"Duccio di Buoninsegna",
"Santa Trinita Maestà",
"florins",
"Orsanmichele",
"Fra Angelico",
"Lorenzo Ghiberti",
"predella",
"Rucellai Madonna"
] |
|
15911_NT | Tabernacle of the Linaioli | Focus on this artwork and explore the History. | The tabernacle was commissioned for the exterior of the seat of the Linaioli (the guild of linen workers in Florence), in the former Old Market, in the October 1432. The marble parts were executed by Simone di Nanni da Fiesole, under design by Lorenzo Ghiberti. The contract for the internal paintings was signed by Angelico on 2 July 1433, for a total of 190 golden florins. The predella is generally dated to 1433–1435.The work was a large one, comparable only to Cimabue's Santa Trinita Maestà or Duccio di Buoninsegna's Rucellai Madonna. It has been speculated that the marble frame was sized according to a pre-existing painting, which was later replaced by Fra Angelico's, or that the size was inspired by that of the statues in Orsanmichele niches.Work had been moved to the Palazzo della Borsa as early as 1777, together with other works commissioned by the city's guilds. In that year it was transferred to the Uffizi, whence it was transferred to the current location in 1924.
The tabernacle was restored in 2010. | [
"Uffizi",
"Cimabue",
"Maestà",
"Duccio",
"Duccio di Buoninsegna",
"Santa Trinita Maestà",
"florins",
"Orsanmichele",
"Fra Angelico",
"Lorenzo Ghiberti",
"predella",
"Rucellai Madonna"
] |
|
15912_T | Tabernacle of the Linaioli | Focus on Tabernacle of the Linaioli and explain the Description. | The tabernacle is composed of a rectangular marble frame, with a triangular top with a sculpted almond depicting the "Blessing Christ and Cherubim". In the center, within an arched opening, are Fra Angelico's panel of the Maestà with twelve musician angels.
At the front are two shutter panels with further paintings of saints. These are, internally, John the Baptist (left) and John the Evangelist (right); and externally Mark the Evangelist (left) and Saint Peter (right). The panels are completed by a predella, placed below, with three scenes of St. Peter Dictating the Gospel to St. Mark, Adoration of the Magi and Martyrdom of St. Mark. The figure of Mark is recurrent due to his status as the patron of the corporation which commissioned the work.
The central panel, although damaged, has a style similar to Angelico's early works, with a marble step over which is the throne. Behind two draperies (perhaps a hint to the guild's textile activities) is a ceiling painted in blue with stars and the Holy Spirit dove, which is similar to Masolino's Annunciation in Washington, DC. | [
"Mark the Evangelist",
"Annunciation",
"Washington, DC",
"Maestà",
"John the Baptist",
"Masolino",
"left",
"Fra Angelico",
"Saint Peter",
"predella",
"John the Evangelist"
] |
|
15912_NT | Tabernacle of the Linaioli | Focus on this artwork and explain the Description. | The tabernacle is composed of a rectangular marble frame, with a triangular top with a sculpted almond depicting the "Blessing Christ and Cherubim". In the center, within an arched opening, are Fra Angelico's panel of the Maestà with twelve musician angels.
At the front are two shutter panels with further paintings of saints. These are, internally, John the Baptist (left) and John the Evangelist (right); and externally Mark the Evangelist (left) and Saint Peter (right). The panels are completed by a predella, placed below, with three scenes of St. Peter Dictating the Gospel to St. Mark, Adoration of the Magi and Martyrdom of St. Mark. The figure of Mark is recurrent due to his status as the patron of the corporation which commissioned the work.
The central panel, although damaged, has a style similar to Angelico's early works, with a marble step over which is the throne. Behind two draperies (perhaps a hint to the guild's textile activities) is a ceiling painted in blue with stars and the Holy Spirit dove, which is similar to Masolino's Annunciation in Washington, DC. | [
"Mark the Evangelist",
"Annunciation",
"Washington, DC",
"Maestà",
"John the Baptist",
"Masolino",
"left",
"Fra Angelico",
"Saint Peter",
"predella",
"John the Evangelist"
] |
|
15913_T | Naked Young Woman in Front of a Mirror | Explore the abstract of this artwork, Naked Young Woman in Front of a Mirror. | Naked Young Woman in Front of a Mirror is an oil on poplar panel painting by Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna. | [
"Giovanni Bellini",
"Giorgione",
"tonalism",
"1515",
"James Hamilton, 1st Duke of Hamilton",
"Leopold William of Austria",
"Kunsthistorisches Museum",
"Vienna",
"Brussels"
] |
|
15913_NT | Naked Young Woman in Front of a Mirror | Explore the abstract of this artwork. | Naked Young Woman in Front of a Mirror is an oil on poplar panel painting by Giovanni Bellini. Dating to 1515, it was one of his last works, showing him responding to the tonalism introduced by Giorgione. It was acquired by James Hamilton, 1st Duke of Hamilton in 1638 and remained with his family until 1659, when it was acquired in Brussels by Leopold William of Austria. It is now in the Kunsthistorisches Museum in Vienna. | [
"Giovanni Bellini",
"Giorgione",
"tonalism",
"1515",
"James Hamilton, 1st Duke of Hamilton",
"Leopold William of Austria",
"Kunsthistorisches Museum",
"Vienna",
"Brussels"
] |
|
15914_T | Bust of Antonio Cepparelli | Focus on Bust of Antonio Cepparelli and discuss the abstract. | The Bust of Antonio Cepparelli is a sculptural portrait bust by the Italian artist Gian Lorenzo Bernini. It was executed around 1622. It is in the museum of the church of San Giovanni dei Fiorentini in Rome. | [
"Gian Lorenzo Bernini",
"Rome",
"San Giovanni dei Fiorentini"
] |
|
15914_NT | Bust of Antonio Cepparelli | Focus on this artwork and discuss the abstract. | The Bust of Antonio Cepparelli is a sculptural portrait bust by the Italian artist Gian Lorenzo Bernini. It was executed around 1622. It is in the museum of the church of San Giovanni dei Fiorentini in Rome. | [
"Gian Lorenzo Bernini",
"Rome",
"San Giovanni dei Fiorentini"
] |
|
15915_T | Colonne Pascale | How does Colonne Pascale elucidate its The artwork? | La Colonne Pascale consisted of pots in vitreous enamel, which were used in the past by the housewives to protect the food and the drinks. La Colonne Pascale is a simple and uncluttered dynamic line rising in the sky, located in the heart of a roundabout in the extremely lively quarter New Bell of Douala.
It is 12 meters (39 ft) high and constituted of a pile of 76 marmites and 38 lids.
The intention of the artist was to pay homage to African women giving value to the culinary culture of the Cameroonian tradition. Nevertheless, the artwork was the subject of debates and tensions from local residents. People's controversies depend both on the physical position of the Colonne Pascale, appealing to historical events (the square was the epicenter of the riots that led to the independence of the country), and for its symbolic interpretation, since according to many people the artwork recalls and highlights the poverty of New Bell.
The Colonne was renovated in 2013. | [
"culinary culture of the Cameroonian tradition",
"Cameroon",
"pots",
"historical events",
"Douala",
"New Bell",
"artwork",
"vitreous enamel"
] |
|
15915_NT | Colonne Pascale | How does this artwork elucidate its The artwork? | La Colonne Pascale consisted of pots in vitreous enamel, which were used in the past by the housewives to protect the food and the drinks. La Colonne Pascale is a simple and uncluttered dynamic line rising in the sky, located in the heart of a roundabout in the extremely lively quarter New Bell of Douala.
It is 12 meters (39 ft) high and constituted of a pile of 76 marmites and 38 lids.
The intention of the artist was to pay homage to African women giving value to the culinary culture of the Cameroonian tradition. Nevertheless, the artwork was the subject of debates and tensions from local residents. People's controversies depend both on the physical position of the Colonne Pascale, appealing to historical events (the square was the epicenter of the riots that led to the independence of the country), and for its symbolic interpretation, since according to many people the artwork recalls and highlights the poverty of New Bell.
The Colonne was renovated in 2013. | [
"culinary culture of the Cameroonian tradition",
"Cameroon",
"pots",
"historical events",
"Douala",
"New Bell",
"artwork",
"vitreous enamel"
] |
|
15916_T | Charles IV in his Hunting Clothes | Focus on Charles IV in his Hunting Clothes and analyze the abstract. | Charles IV in his Hunting Clothes is an oil on canvas painting of 1799 by the Spanish artist Francisco Goya, the second of his two portraits of King Charles IV of Spain.
While Goya devotes a great deal of attention to his depiction of the king's sash and cloth, he emphasises his weakness in his rendering of a near-portly belly and indecisive stare. The art critic Robert Hughes describes a "big nosed face, framed in the tricorned hat like the head of an affable turtle poking from its shell". It is part of the Spanish national collection, now displayed in the Royal Palace of Madrid.During his career, Goya depicted both father and son in hunting dress. The inspiration for the older man's outfit is probably taken from Velázquez's portrait of Philip IV, which the artist would have opportunity to see as then court painter. Goya pays tribute to Titian's Portrait of Charles V with a dog by depicting a dog loyally sniffing at the royal crotch. | [
"Francisco Goya",
"Spanish national collection",
"Portrait of Charles V with a dog",
"Philip IV",
"Charles IV of Spain",
"father",
"Spanish",
"Titian",
"Velázquez",
"Spain",
"Royal Palace of Madrid",
"Robert Hughes",
"Madrid"
] |
|
15916_NT | Charles IV in his Hunting Clothes | Focus on this artwork and analyze the abstract. | Charles IV in his Hunting Clothes is an oil on canvas painting of 1799 by the Spanish artist Francisco Goya, the second of his two portraits of King Charles IV of Spain.
While Goya devotes a great deal of attention to his depiction of the king's sash and cloth, he emphasises his weakness in his rendering of a near-portly belly and indecisive stare. The art critic Robert Hughes describes a "big nosed face, framed in the tricorned hat like the head of an affable turtle poking from its shell". It is part of the Spanish national collection, now displayed in the Royal Palace of Madrid.During his career, Goya depicted both father and son in hunting dress. The inspiration for the older man's outfit is probably taken from Velázquez's portrait of Philip IV, which the artist would have opportunity to see as then court painter. Goya pays tribute to Titian's Portrait of Charles V with a dog by depicting a dog loyally sniffing at the royal crotch. | [
"Francisco Goya",
"Spanish national collection",
"Portrait of Charles V with a dog",
"Philip IV",
"Charles IV of Spain",
"father",
"Spanish",
"Titian",
"Velázquez",
"Spain",
"Royal Palace of Madrid",
"Robert Hughes",
"Madrid"
] |
|
15917_T | Charles IV in his Hunting Clothes | In Charles IV in his Hunting Clothes, how is the Goya and the Bourbon kings discussed? | Goya had earlier been court painter to Charles III, who was widely viewed as the more astute political operator of the pair. While not lacking intelligence, Carlos IV is broadly seen as an idler compared to his father; ultimately he was outmaneuvered by Napoleon at a time when he was more interested in sport and hunting than affairs of state.
Goya had painted Charles III in 1780, when the artist himself was a young man. Although few of his thoughts survive for art historians, it is generally believed that the sentiment of later works such as Charles IV of Spain and His Family lend credence to the theory that he held his weakling King in little regard. Charles IV is rendered as portly and sightly confused, seemingly more suited to the role of country gentleman than regal, absolute head. | [
"Napoleon",
"Charles IV of Spain",
"Charles IV of Spain and His Family",
"father",
"Charles III",
"Spain"
] |
|
15917_NT | Charles IV in his Hunting Clothes | In this artwork, how is the Goya and the Bourbon kings discussed? | Goya had earlier been court painter to Charles III, who was widely viewed as the more astute political operator of the pair. While not lacking intelligence, Carlos IV is broadly seen as an idler compared to his father; ultimately he was outmaneuvered by Napoleon at a time when he was more interested in sport and hunting than affairs of state.
Goya had painted Charles III in 1780, when the artist himself was a young man. Although few of his thoughts survive for art historians, it is generally believed that the sentiment of later works such as Charles IV of Spain and His Family lend credence to the theory that he held his weakling King in little regard. Charles IV is rendered as portly and sightly confused, seemingly more suited to the role of country gentleman than regal, absolute head. | [
"Napoleon",
"Charles IV of Spain",
"Charles IV of Spain and His Family",
"father",
"Charles III",
"Spain"
] |
|
15918_T | Murder in Mississippi (painting) | Focus on Murder in Mississippi (painting) and explore the abstract. | Murder in Mississippi, as named by the artist, is a 1965 painting by Norman Rockwell which was commissioned for an article titled "Southern Justice" in the American magazine Look. The painting depicts the 1964 murders of civil rights activists James Chaney, Andrew Goodman and Michael Schwerner, and was intended to illustrate an article written on the murders by civil rights attorney Charles Morgan Jr. The painting is oil on canvas 53 x 42 inches (134.5 X 106.5 cm), and also has a pencil on board study of the same title, both of which reside in the collections of the Norman Rockwell Museum. | [
"Norman Rockwell Museum",
"Charles Morgan Jr.",
"James Chaney",
"Michael Schwerner",
"Andrew Goodman",
"Norman Rockwell"
] |
|
15918_NT | Murder in Mississippi (painting) | Focus on this artwork and explore the abstract. | Murder in Mississippi, as named by the artist, is a 1965 painting by Norman Rockwell which was commissioned for an article titled "Southern Justice" in the American magazine Look. The painting depicts the 1964 murders of civil rights activists James Chaney, Andrew Goodman and Michael Schwerner, and was intended to illustrate an article written on the murders by civil rights attorney Charles Morgan Jr. The painting is oil on canvas 53 x 42 inches (134.5 X 106.5 cm), and also has a pencil on board study of the same title, both of which reside in the collections of the Norman Rockwell Museum. | [
"Norman Rockwell Museum",
"Charles Morgan Jr.",
"James Chaney",
"Michael Schwerner",
"Andrew Goodman",
"Norman Rockwell"
] |
|
15919_T | Murder in Mississippi (painting) | Focus on Murder in Mississippi (painting) and explain the Development of the painting. | Originally Murder in Mississippi was to fill two pages; with the victims on left page and the murderers, Deputy Price and the klansmen, on the right page. Pencil sketches were made for both panels. A preparatory study in black and white shows the complete horizontal picture with Price pointing a pistol, and several klansmen with sticks (incorrectly, as they were later found to have had rifles). On the bottom left hand corner another klansman is featured – making the three young men surrounded. However, when reduced to the left page only, the murderers on both sides of the young men were removed, leaving only the shadows cast from the group on the right.
The left panel was submitted as a rough oil color sketch to Look magazine's art director Allen Hurlburt. Based on the oil sketch Look gave Rockwell the okay to proceed and finish the painting. However, later when Hurlburt received the finished painting he decided that the more impressionistic sketch suited the article better and the finished painting was not published. This was the only time that one of Rockwell's sketches was published instead of his finished painting. Rockwell's oil sketch had only taken an hour, though Rockwell himself later admitted that by the time he finished the final painting, "all the anger that was in the sketch had gone out of it."The composition of Murder in Mississippi is similar to Aid from the Padre, a 1962 photograph taken during El Porteñazo in Venezuela. Schwerner and Chaney are posed similar to a priest and a wounded soldier in the photograph.The oil sketch for Murder in Mississippi is also known as Southern Justice after the title of the article where it appeared instead of the finished painting on June 29, 1965. The sketch is oil on board, 15" x 12¾", and, like the painting, is held in the permanent collection of the Norman Rockwell Museum. | [
"Norman Rockwell Museum",
"Venezuela",
"El Porteñazo",
"Norman Rockwell"
] |
|
15919_NT | Murder in Mississippi (painting) | Focus on this artwork and explain the Development of the painting. | Originally Murder in Mississippi was to fill two pages; with the victims on left page and the murderers, Deputy Price and the klansmen, on the right page. Pencil sketches were made for both panels. A preparatory study in black and white shows the complete horizontal picture with Price pointing a pistol, and several klansmen with sticks (incorrectly, as they were later found to have had rifles). On the bottom left hand corner another klansman is featured – making the three young men surrounded. However, when reduced to the left page only, the murderers on both sides of the young men were removed, leaving only the shadows cast from the group on the right.
The left panel was submitted as a rough oil color sketch to Look magazine's art director Allen Hurlburt. Based on the oil sketch Look gave Rockwell the okay to proceed and finish the painting. However, later when Hurlburt received the finished painting he decided that the more impressionistic sketch suited the article better and the finished painting was not published. This was the only time that one of Rockwell's sketches was published instead of his finished painting. Rockwell's oil sketch had only taken an hour, though Rockwell himself later admitted that by the time he finished the final painting, "all the anger that was in the sketch had gone out of it."The composition of Murder in Mississippi is similar to Aid from the Padre, a 1962 photograph taken during El Porteñazo in Venezuela. Schwerner and Chaney are posed similar to a priest and a wounded soldier in the photograph.The oil sketch for Murder in Mississippi is also known as Southern Justice after the title of the article where it appeared instead of the finished painting on June 29, 1965. The sketch is oil on board, 15" x 12¾", and, like the painting, is held in the permanent collection of the Norman Rockwell Museum. | [
"Norman Rockwell Museum",
"Venezuela",
"El Porteñazo",
"Norman Rockwell"
] |
|
15920_T | Portrait of Mrs. Cecil Wade | Explore the abstract of this artwork, Portrait of Mrs. Cecil Wade. | Portrait of Mrs. Cecil Wade or Portrait of a Lady is a large oil-on-canvas painting by John Singer Sargent, depicting Frances Frew Wade, a Scottish socialite. Painted in 1886, it currently hangs in the Nelson-Atkins Museum of Art in Kansas City, Missouri. | [
"Nelson-Atkins Museum of Art",
"John Singer Sargent",
"Kansas City, Missouri"
] |
|
15920_NT | Portrait of Mrs. Cecil Wade | Explore the abstract of this artwork. | Portrait of Mrs. Cecil Wade or Portrait of a Lady is a large oil-on-canvas painting by John Singer Sargent, depicting Frances Frew Wade, a Scottish socialite. Painted in 1886, it currently hangs in the Nelson-Atkins Museum of Art in Kansas City, Missouri. | [
"Nelson-Atkins Museum of Art",
"John Singer Sargent",
"Kansas City, Missouri"
] |
|
15921_T | Portrait of Mrs. Cecil Wade | Focus on Portrait of Mrs. Cecil Wade and discuss the Background. | After the scandal caused by Sargent’s Portrait of Madame X at the Paris Salon of 1884, the artist lost much of his French clientele and relocated to England in 1886 in search of new commissions. Sargent’s Portrait of Mrs. Cecil Wade was his first major project after the 1884 Salon and formally retreats from many of the controversial aspects of Madame X.
Mrs. Cecil Wade (née Frances Mackay Frew; June 17, 1863 – December 30, 1908) was born in Glasgow, Scotland, and married London stockbroker Cecil Lowry Wade (1857 – 1908) in 1883. She was 23 years old when she sat for Sargent in her London home, wearing the white satin gown she wore to be presented before Queen Victoria. | [
"Portrait of Madame X",
"Paris Salon",
"Glasgow",
"Queen Victoria"
] |
|
15921_NT | Portrait of Mrs. Cecil Wade | Focus on this artwork and discuss the Background. | After the scandal caused by Sargent’s Portrait of Madame X at the Paris Salon of 1884, the artist lost much of his French clientele and relocated to England in 1886 in search of new commissions. Sargent’s Portrait of Mrs. Cecil Wade was his first major project after the 1884 Salon and formally retreats from many of the controversial aspects of Madame X.
Mrs. Cecil Wade (née Frances Mackay Frew; June 17, 1863 – December 30, 1908) was born in Glasgow, Scotland, and married London stockbroker Cecil Lowry Wade (1857 – 1908) in 1883. She was 23 years old when she sat for Sargent in her London home, wearing the white satin gown she wore to be presented before Queen Victoria. | [
"Portrait of Madame X",
"Paris Salon",
"Glasgow",
"Queen Victoria"
] |
|
15922_T | Portrait of Mrs. Cecil Wade | How does Portrait of Mrs. Cecil Wade elucidate its Description? | Portrait of Mrs. Cecil Wade shows Sargent's virtuosity in painting both portraits and interiors, as well as his willingness to boldly experiment with light and darkness. The painting features a full-length rendering of Mrs. Wade in profile glancing to her right, her body portrayed at a sight angle, with a bright light washing over her fair skin and white satin dress. She sits on a wooden bench upholstered with a red floral cushion, and is adorned with sparkling bracelets and a choker in addition to a white fan.
In the dimly lit background, midday light trickles in through a window covered by a yellow curtain and illuminates a small table and chair with a plant nearby. | [] |
|
15922_NT | Portrait of Mrs. Cecil Wade | How does this artwork elucidate its Description? | Portrait of Mrs. Cecil Wade shows Sargent's virtuosity in painting both portraits and interiors, as well as his willingness to boldly experiment with light and darkness. The painting features a full-length rendering of Mrs. Wade in profile glancing to her right, her body portrayed at a sight angle, with a bright light washing over her fair skin and white satin dress. She sits on a wooden bench upholstered with a red floral cushion, and is adorned with sparkling bracelets and a choker in addition to a white fan.
In the dimly lit background, midday light trickles in through a window covered by a yellow curtain and illuminates a small table and chair with a plant nearby. | [] |
|
15923_T | Portrait of Mrs. Cecil Wade | Focus on Portrait of Mrs. Cecil Wade and analyze the Exhibition history. | Portrait of Mrs. Cecil Wade was exhibited once during Sargent’s life, in 1887 at an exhibition of artists calling themselves the New English Art Club at the Dudley Gallery in London.The painting was also included in two posthumous exhibitions of Sargent’s work, once in 1925 at the Walker Art Gallery in Liverpool, England, and again in 1926 at the Royal Academy of Arts in London.After its acquisition by the Nelson-Atkins Museum of Art in 1986, Portrait of Mrs. Cecil Wade was featured in three additional special exhibitions. The first was an exhibition of selected new acquisitions at the Nelson-Atkins Museum in 1987, in which it received special distinction amongst the other highlighted works.The painting then was included in Made in America: Ten Centuries of American Art a traveling exhibition of American paintings. Between 1995 and 1996 the exhibition visited four major American Museums: the Minneapolis Institute of Arts in Minnesota, Saint Louis Art Museum in Missouri, Toledo Museum of Art in Ohio, and Carnegie Museum of Art in Pittsburgh, PA, in addition to a stop at the Nelson-Atkins Museum.Most recently, Portrait of Mrs. Cecil Wade was included in a 1997 exhibition featuring paintings from Sargent’s early career at the Clark Art Institute in Williamstown, MA. | [
"Royal Academy of Arts",
"Toledo Museum of Art",
"Minneapolis Institute of Art",
"Clark Art Institute",
"Nelson-Atkins Museum of Art",
"Minneapolis Institute of Arts",
"Saint Louis Art Museum",
"Walker Art Gallery",
"Dudley Gallery",
"Carnegie Museum of Art",
"New English Art Club"
] |
|
15923_NT | Portrait of Mrs. Cecil Wade | Focus on this artwork and analyze the Exhibition history. | Portrait of Mrs. Cecil Wade was exhibited once during Sargent’s life, in 1887 at an exhibition of artists calling themselves the New English Art Club at the Dudley Gallery in London.The painting was also included in two posthumous exhibitions of Sargent’s work, once in 1925 at the Walker Art Gallery in Liverpool, England, and again in 1926 at the Royal Academy of Arts in London.After its acquisition by the Nelson-Atkins Museum of Art in 1986, Portrait of Mrs. Cecil Wade was featured in three additional special exhibitions. The first was an exhibition of selected new acquisitions at the Nelson-Atkins Museum in 1987, in which it received special distinction amongst the other highlighted works.The painting then was included in Made in America: Ten Centuries of American Art a traveling exhibition of American paintings. Between 1995 and 1996 the exhibition visited four major American Museums: the Minneapolis Institute of Arts in Minnesota, Saint Louis Art Museum in Missouri, Toledo Museum of Art in Ohio, and Carnegie Museum of Art in Pittsburgh, PA, in addition to a stop at the Nelson-Atkins Museum.Most recently, Portrait of Mrs. Cecil Wade was included in a 1997 exhibition featuring paintings from Sargent’s early career at the Clark Art Institute in Williamstown, MA. | [
"Royal Academy of Arts",
"Toledo Museum of Art",
"Minneapolis Institute of Art",
"Clark Art Institute",
"Nelson-Atkins Museum of Art",
"Minneapolis Institute of Arts",
"Saint Louis Art Museum",
"Walker Art Gallery",
"Dudley Gallery",
"Carnegie Museum of Art",
"New English Art Club"
] |
|
15924_T | Portrait of Mrs. Cecil Wade | In Portrait of Mrs. Cecil Wade, how is the Provenance discussed? | After the 1908 death of the sitter, Francis Frew Wade (who had owned and kept the painting in London since 1886), the piece passed into the ownership of her daughter, Aileen Wade, who remained living in London. Aileen Wade bequeathed the painting to her nephew, Sir Ruthven L. Wade, and he received the work in 1955. It was under his ownership in Dinton, England until 1986, when it was auctioned at Sotheby’s New York and bought by the Enid and Crosby Kemper Foundation in Kansas City, Missouri. In 1986, Enid and Crosby Kemper gifted the painting to the Nelson-Atkins Museum of Art, where it currently hangs prominently in the Sarah and Landon Rowland American art galleries. | [
"Nelson-Atkins Museum of Art",
"Kansas City, Missouri"
] |
|
15924_NT | Portrait of Mrs. Cecil Wade | In this artwork, how is the Provenance discussed? | After the 1908 death of the sitter, Francis Frew Wade (who had owned and kept the painting in London since 1886), the piece passed into the ownership of her daughter, Aileen Wade, who remained living in London. Aileen Wade bequeathed the painting to her nephew, Sir Ruthven L. Wade, and he received the work in 1955. It was under his ownership in Dinton, England until 1986, when it was auctioned at Sotheby’s New York and bought by the Enid and Crosby Kemper Foundation in Kansas City, Missouri. In 1986, Enid and Crosby Kemper gifted the painting to the Nelson-Atkins Museum of Art, where it currently hangs prominently in the Sarah and Landon Rowland American art galleries. | [
"Nelson-Atkins Museum of Art",
"Kansas City, Missouri"
] |
|
15925_T | Portrait of Mrs. Cecil Wade | Focus on Portrait of Mrs. Cecil Wade and explore the Critical reception. | At its debut in the New English Art Club exhibition in 1887, Portrait of Mrs. Cecil Wade was given very mixed reviews. F.D. Maurice and Charles Kingsley from The Spectator extolled the "individuality and life in the face of the sitter," while also chastising its "forced" use of light in the foreground and "cold" manner in which the painting was executed, resulting in "no hint of tenderness, no suspicion of poetry" in the work at large. Furthermore, while the Saturday Review (London) praised Sargent, who "[sent] a brilliant and admirably handled likeness of a lady in white (cat. no. 55) against a charmingly painted interior," the Illustrated London News noted once more Sargent's disregard for the personhood of Mrs. Wade, stating that "Mr. Sargent's 'Portrait of a Lady' (cat. no. 55) in white satin suggests that her arms and face were made of cardboard".At its acquisition by the Nelson-Atkins Museum in 1986, the painting was regarded as "a stellar example of Sargent's work", and fetched the highest price ever paid for a Sargent painting at that time. | [
"Saturday Review (London)",
"Illustrated London News",
"The Spectator",
"New English Art Club"
] |
|
15925_NT | Portrait of Mrs. Cecil Wade | Focus on this artwork and explore the Critical reception. | At its debut in the New English Art Club exhibition in 1887, Portrait of Mrs. Cecil Wade was given very mixed reviews. F.D. Maurice and Charles Kingsley from The Spectator extolled the "individuality and life in the face of the sitter," while also chastising its "forced" use of light in the foreground and "cold" manner in which the painting was executed, resulting in "no hint of tenderness, no suspicion of poetry" in the work at large. Furthermore, while the Saturday Review (London) praised Sargent, who "[sent] a brilliant and admirably handled likeness of a lady in white (cat. no. 55) against a charmingly painted interior," the Illustrated London News noted once more Sargent's disregard for the personhood of Mrs. Wade, stating that "Mr. Sargent's 'Portrait of a Lady' (cat. no. 55) in white satin suggests that her arms and face were made of cardboard".At its acquisition by the Nelson-Atkins Museum in 1986, the painting was regarded as "a stellar example of Sargent's work", and fetched the highest price ever paid for a Sargent painting at that time. | [
"Saturday Review (London)",
"Illustrated London News",
"The Spectator",
"New English Art Club"
] |
|
15926_T | Gassed (painting) | Focus on Gassed (painting) and explain the abstract. | Gassed is a very large oil painting completed in March 1919 by John Singer Sargent. It depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. The painting was finished in March 1919 and voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum. It visited the US in 1999 for a series of retrospective exhibitions, and then from 2016 to 2018 for exhibitions commemorating the centenary of the First World War. | [
"John Singer Sargent",
"dressing station",
"Western Front",
"mustard gas",
"Royal Academy of Arts",
"Ypres",
"First World War",
"centenary of the First World War.",
"British War Memorials Committee",
"American Expeditionary Forces",
"gas",
"Imperial War Museum",
"Arras",
"Guards Division",
"oil painting"
] |
|
15926_NT | Gassed (painting) | Focus on this artwork and explain the abstract. | Gassed is a very large oil painting completed in March 1919 by John Singer Sargent. It depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras, and then with the American Expeditionary Forces near Ypres. The painting was finished in March 1919 and voted picture of the year by the Royal Academy of Arts in 1919. It is now held by the Imperial War Museum. It visited the US in 1999 for a series of retrospective exhibitions, and then from 2016 to 2018 for exhibitions commemorating the centenary of the First World War. | [
"John Singer Sargent",
"dressing station",
"Western Front",
"mustard gas",
"Royal Academy of Arts",
"Ypres",
"First World War",
"centenary of the First World War.",
"British War Memorials Committee",
"American Expeditionary Forces",
"gas",
"Imperial War Museum",
"Arras",
"Guards Division",
"oil painting"
] |
|
15927_T | Gassed (painting) | Explore the Details of this artwork, Gassed (painting). | The painting measures 231.0 by 611.1 centimetres (7 ft 6.9 in × 20 ft 0.6 in). The composition includes a central group of eleven soldiers depicted nearly life-size. Nine wounded soldiers walk in a line, in three groups of three, along a duckboard towards a dressing station, suggested by the ropes on the right side of the picture. Their eyes are bandaged, blinded by the effect of the gas, so they are assisted by two medical orderlies. The line of tall, blond soldiers forms a naturalist allegorical frieze, with connotations of a religious procession. Many other dead or wounded soldiers lie around the central group, and a similar train of eight wounded, with two orderlies, advances in the background. Biplanes dogfight in the evening sky above, as a watery setting sun creates a pinkish yellow haze and burnishes the subjects with a golden light. In the background, the moon also rises, and uninjured men play association football in blue and red shirts, seemingly unconcerned at the suffering all around them. | [
"duckboard",
"dressing station",
"right",
"association football",
"gas",
"medical orderlies"
] |
|
15927_NT | Gassed (painting) | Explore the Details of this artwork. | The painting measures 231.0 by 611.1 centimetres (7 ft 6.9 in × 20 ft 0.6 in). The composition includes a central group of eleven soldiers depicted nearly life-size. Nine wounded soldiers walk in a line, in three groups of three, along a duckboard towards a dressing station, suggested by the ropes on the right side of the picture. Their eyes are bandaged, blinded by the effect of the gas, so they are assisted by two medical orderlies. The line of tall, blond soldiers forms a naturalist allegorical frieze, with connotations of a religious procession. Many other dead or wounded soldiers lie around the central group, and a similar train of eight wounded, with two orderlies, advances in the background. Biplanes dogfight in the evening sky above, as a watery setting sun creates a pinkish yellow haze and burnishes the subjects with a golden light. In the background, the moon also rises, and uninjured men play association football in blue and red shirts, seemingly unconcerned at the suffering all around them. | [
"duckboard",
"dressing station",
"right",
"association football",
"gas",
"medical orderlies"
] |
|
15928_T | Gassed (painting) | Focus on Gassed (painting) and discuss the History. | In May 1918, Sargent was one of several painters commissioned by the British War Memorials Committee of the British Ministry of Information to create a large painting for a planned Hall of Remembrance. The plan was a complement to the artworks commissioned by the Canadian War Memorials Fund since 1916 at the instigation of Lord Beaverbrook, who, by 1918, was serving as the British Minister of Information. Other works were commissioned from Percy Wyndham Lewis, Paul Nash, Henry Lamb, John Nash and Stanley Spencer. The large scale of the works was inspired by Uccello's triptych The Battle of San Romano. The plan for a Hall of Remembrance decorated by large paintings was abandoned when the project was incorporated with that for Imperial War Museum.
As an American painter, Sargent was asked to create a work embodying Anglo-American co-operation. Although he was 62, he travelled to the Western Front in July 1918, accompanied by Henry Tonks. He spent time with the Guards Division near Arras and then with the American Expeditionary Forces near Ypres. He was determined to paint an epic work with many human figures but struggled to find a situation with American and British figures in the same scene. On 11 September 1918, Sargent wrote to Evan Charteris:The Ministry of Information expects an epic – and how can one do an epic without masses of men? Excepting at night I have only seen three fine subjects with masses of men – one a harrowing sight, a field full of gassed and blindfolded men – another a train of trucks packed with "chair à cannon" – and another frequent sight a big road encumbered with troops and traffic, I daresay the latter, combining English and Americans, is the best thing to do, if it can be prevented from looking like going to the Derby.The "harrowing sight" referred to the aftermath of a German barrage that Sargent witnessed on 21 August 1918, at Le Bac-du-Sud, near Bailleulval between Arras and Doullens, in which mustard gas had been used against the advancing 99th Brigade of the 2nd Infantry Division and 8th Brigade of the 3rd Infantry Division of the British Army, during the Second Battle of Arras of 1918. Tonks described the experience in a letter from to Alfred Yockney on 19 March 1920:After tea we heard that on the Doullens Road at the Corps dressing station at le Bac-du-sud there were a good many gassed cases, so we went there. The dressing station was situated on the road and consisted of a number of huts and a few tents. Gassed cases kept coming in, lead along in parties of about six just as Sargent has depicted them, by an orderly. They sat or lay down on the grass, there must have been several hundred, evidently suffering a great deal, chiefly I fancy from their eyes which were covered up by a piece of lint.... Sargent was very struck by the scene and immediately made a lot of notes. It was a very fine evening and the sun toward setting.In his memoirs, General Haldane, the commander of VI Corps, one of Third Army's corps west of Bapaume, states that at 10:40 on 21 August the sun "burst through the mist" and so the German mustard gas was vaporized. One of his divisions, 2nd Division, had been advanced through the gassed area and had paused prior to resuming its successful advance: "without warning a considerable number of officers and men were 'gassed' and temporarily placed hors de combat. As the unfortunate victims were being helped, practically blinded, by their comrades on a field ambulance, John Sergeant happened to arrive on the scene. Shortly before he had told me that he had been commissioned to paint a picture which should be typical of the war, and I suggested 'tanks,' they being the latest military machine and a novel feature of it." However, as he later told Haldane, on seeing the gassed soldiers being led to the ambulance, "he decided that he has before him what he was seeking".Sargent worked on preparatory sketches for a road scene crowded with soldiers but decided to focus on the dressing station. The War Memorials Committee agreed to change the subject of the commission, and the painting was created at Sargent's studio in Fulham from late 1918 to early 1919.In 2023 the varnish which had been added during a previous restoration in the 1970s was replaced. It had slowly yellowed, changing the appearance of the painting. | [
"Henry Tonks",
"dressing station",
"Paul Nash",
"The Battle of San Romano",
"Western Front",
"VI Corps",
"mustard gas",
"General Haldane",
"2nd Infantry Division",
"Henry Lamb",
"Ypres",
"3rd Infantry Division",
"Stanley Spencer",
"Bailleulval",
"Alfred Yockney",
"Doullens",
"Fulham",
"Ministry of Information",
"Evan Charteris",
"British War Memorials Committee",
"American Expeditionary Forces",
"gas",
"British Army",
"Wyndham Lewis",
"Imperial War Museum",
"chair à cannon",
"8th Brigade",
"Arras",
"John Nash",
"Guards Division",
"Uccello",
"Hall of Remembrance",
"Percy Wyndham Lewis",
"Lord Beaverbrook"
] |
|
15928_NT | Gassed (painting) | Focus on this artwork and discuss the History. | In May 1918, Sargent was one of several painters commissioned by the British War Memorials Committee of the British Ministry of Information to create a large painting for a planned Hall of Remembrance. The plan was a complement to the artworks commissioned by the Canadian War Memorials Fund since 1916 at the instigation of Lord Beaverbrook, who, by 1918, was serving as the British Minister of Information. Other works were commissioned from Percy Wyndham Lewis, Paul Nash, Henry Lamb, John Nash and Stanley Spencer. The large scale of the works was inspired by Uccello's triptych The Battle of San Romano. The plan for a Hall of Remembrance decorated by large paintings was abandoned when the project was incorporated with that for Imperial War Museum.
As an American painter, Sargent was asked to create a work embodying Anglo-American co-operation. Although he was 62, he travelled to the Western Front in July 1918, accompanied by Henry Tonks. He spent time with the Guards Division near Arras and then with the American Expeditionary Forces near Ypres. He was determined to paint an epic work with many human figures but struggled to find a situation with American and British figures in the same scene. On 11 September 1918, Sargent wrote to Evan Charteris:The Ministry of Information expects an epic – and how can one do an epic without masses of men? Excepting at night I have only seen three fine subjects with masses of men – one a harrowing sight, a field full of gassed and blindfolded men – another a train of trucks packed with "chair à cannon" – and another frequent sight a big road encumbered with troops and traffic, I daresay the latter, combining English and Americans, is the best thing to do, if it can be prevented from looking like going to the Derby.The "harrowing sight" referred to the aftermath of a German barrage that Sargent witnessed on 21 August 1918, at Le Bac-du-Sud, near Bailleulval between Arras and Doullens, in which mustard gas had been used against the advancing 99th Brigade of the 2nd Infantry Division and 8th Brigade of the 3rd Infantry Division of the British Army, during the Second Battle of Arras of 1918. Tonks described the experience in a letter from to Alfred Yockney on 19 March 1920:After tea we heard that on the Doullens Road at the Corps dressing station at le Bac-du-sud there were a good many gassed cases, so we went there. The dressing station was situated on the road and consisted of a number of huts and a few tents. Gassed cases kept coming in, lead along in parties of about six just as Sargent has depicted them, by an orderly. They sat or lay down on the grass, there must have been several hundred, evidently suffering a great deal, chiefly I fancy from their eyes which were covered up by a piece of lint.... Sargent was very struck by the scene and immediately made a lot of notes. It was a very fine evening and the sun toward setting.In his memoirs, General Haldane, the commander of VI Corps, one of Third Army's corps west of Bapaume, states that at 10:40 on 21 August the sun "burst through the mist" and so the German mustard gas was vaporized. One of his divisions, 2nd Division, had been advanced through the gassed area and had paused prior to resuming its successful advance: "without warning a considerable number of officers and men were 'gassed' and temporarily placed hors de combat. As the unfortunate victims were being helped, practically blinded, by their comrades on a field ambulance, John Sergeant happened to arrive on the scene. Shortly before he had told me that he had been commissioned to paint a picture which should be typical of the war, and I suggested 'tanks,' they being the latest military machine and a novel feature of it." However, as he later told Haldane, on seeing the gassed soldiers being led to the ambulance, "he decided that he has before him what he was seeking".Sargent worked on preparatory sketches for a road scene crowded with soldiers but decided to focus on the dressing station. The War Memorials Committee agreed to change the subject of the commission, and the painting was created at Sargent's studio in Fulham from late 1918 to early 1919.In 2023 the varnish which had been added during a previous restoration in the 1970s was replaced. It had slowly yellowed, changing the appearance of the painting. | [
"Henry Tonks",
"dressing station",
"Paul Nash",
"The Battle of San Romano",
"Western Front",
"VI Corps",
"mustard gas",
"General Haldane",
"2nd Infantry Division",
"Henry Lamb",
"Ypres",
"3rd Infantry Division",
"Stanley Spencer",
"Bailleulval",
"Alfred Yockney",
"Doullens",
"Fulham",
"Ministry of Information",
"Evan Charteris",
"British War Memorials Committee",
"American Expeditionary Forces",
"gas",
"British Army",
"Wyndham Lewis",
"Imperial War Museum",
"chair à cannon",
"8th Brigade",
"Arras",
"John Nash",
"Guards Division",
"Uccello",
"Hall of Remembrance",
"Percy Wyndham Lewis",
"Lord Beaverbrook"
] |
|
15929_T | Gassed (painting) | How does Gassed (painting) elucidate its Completion? | The painting was completed in March 1919, and Sargent was paid his £600 fee. It was first displayed at the Royal Academy in London in 1919. It was voted picture of the year by the Royal Academy of Arts in 1919. The painting was not universally liked: E. M. Forster considered it too heroic. Winston Churchill praised its "brilliant genius and painful significance", but Virginia Woolf attacked its patriotism. It is now held by the Imperial War Museum, along with several charcoal studies for the painting. Other charcoal sketches are held by the Corcoran Gallery of Art. A small 10½ x 27¼ in. (26 x 69 cm) oil sketch, originally owned by Evan Charteris, was sold by Christie's in 2003 for £162,050 ($267,869).The painting provides a powerful testimony of the effects of chemical weapons, vividly described in Wilfred Owen's poem Dulce et Decorum Est. Mustard gas is a persistent vesicant gas, with effects that only become apparent several hours after exposure. It attacks the skin, the eyes and the mucous membranes, causing large skin blisters, blindness, choking and vomiting. Death, although rare, can occur within two days, but suffering may be prolonged over several weeks.Sargent's painting refers to Bruegel's 1568 work The Parable of the Blind, with the blind leading the blind, and it also alludes to Rodin's Burghers of Calais. | [
"Dulce et Decorum Est",
"Christie's",
"Mustard gas",
"blind leading the blind",
"Royal Academy of Arts",
"Winston Churchill",
"The Parable of the Blind",
"Virginia Woolf",
"Corcoran Gallery of Art",
"Evan Charteris",
"gas",
"Imperial War Museum",
"London",
"vesicant",
"Wilfred Owen",
"E. M. Forster",
"Burghers of Calais"
] |
|
15929_NT | Gassed (painting) | How does this artwork elucidate its Completion? | The painting was completed in March 1919, and Sargent was paid his £600 fee. It was first displayed at the Royal Academy in London in 1919. It was voted picture of the year by the Royal Academy of Arts in 1919. The painting was not universally liked: E. M. Forster considered it too heroic. Winston Churchill praised its "brilliant genius and painful significance", but Virginia Woolf attacked its patriotism. It is now held by the Imperial War Museum, along with several charcoal studies for the painting. Other charcoal sketches are held by the Corcoran Gallery of Art. A small 10½ x 27¼ in. (26 x 69 cm) oil sketch, originally owned by Evan Charteris, was sold by Christie's in 2003 for £162,050 ($267,869).The painting provides a powerful testimony of the effects of chemical weapons, vividly described in Wilfred Owen's poem Dulce et Decorum Est. Mustard gas is a persistent vesicant gas, with effects that only become apparent several hours after exposure. It attacks the skin, the eyes and the mucous membranes, causing large skin blisters, blindness, choking and vomiting. Death, although rare, can occur within two days, but suffering may be prolonged over several weeks.Sargent's painting refers to Bruegel's 1568 work The Parable of the Blind, with the blind leading the blind, and it also alludes to Rodin's Burghers of Calais. | [
"Dulce et Decorum Est",
"Christie's",
"Mustard gas",
"blind leading the blind",
"Royal Academy of Arts",
"Winston Churchill",
"The Parable of the Blind",
"Virginia Woolf",
"Corcoran Gallery of Art",
"Evan Charteris",
"gas",
"Imperial War Museum",
"London",
"vesicant",
"Wilfred Owen",
"E. M. Forster",
"Burghers of Calais"
] |
|
15930_T | Dai Gohonzon | Focus on Dai Gohonzon and analyze the abstract. | The Dai Gohonzon of the High Sanctuary of the Essential Teachings, commonly known as the Dai Gohonzon (Japanese: 大 御 本 尊 The Supreme (Great) Gohonzon or Honmon—Kaidan—no—Dai—Gohonzon, Japanese: 本 門 戒 壇 の 大 御 本 尊) is a venerated mandala image inscribed with both Sanskrit and Chinese logographs on a median log trunk of Japanese camphorwood.
The image is worshipped in Nichiren Shoshu Buddhism, which claims to possess within both the Dharma teachings and Tamashi of Nichiren as inscribed by him on wood, then carved by his artisan disciple Izumi Ajari Nippo.
The High Priests of Nichiren Shoshu copy and transcribe their own rendition of the image, which is loaned to the followers of the sect. Due to its accorded sacrosanct nature, the mandala can only be audienced to registered Hokkeko believers.The image was first explicitly mentioned in the last will and testament of Nikko Shonin for his designated successor Nichimoku, annually displayed every April 6 or 7 during the Goreiho O-mushibarai Daiho-e ceremony (English: The Airing of Sacred Treasures; 御霊宝虫払大法会) at the Head Temple.
Buildings at Taiseki-ji Head Temple in Shizuoka, Japan that have housed the Dai Gohonzon are the Shimonobo (1290), the Mutsubo (1332), the Mieido (1680), Gohozo (1717), the Hoanden (1955), the Shohondo (1978), and the Hoando (2002). | [
"English",
"Japanese camphorwood",
"Chinese",
"log",
"Nichiren Shoshu Buddhism",
"Taiseki-ji",
"Nikko Shonin",
"Nichiren",
"Hokkeko",
"Shizuoka, Japan",
"Japanese",
"last will and testament",
"mandala",
"Nichiren Shoshu",
"Shohondo",
"Nichimoku",
"Japan",
"Taiseki-ji Head Temple",
"Dharma",
"Gohonzon",
"Tamashi",
"Sanskrit"
] |
|
15930_NT | Dai Gohonzon | Focus on this artwork and analyze the abstract. | The Dai Gohonzon of the High Sanctuary of the Essential Teachings, commonly known as the Dai Gohonzon (Japanese: 大 御 本 尊 The Supreme (Great) Gohonzon or Honmon—Kaidan—no—Dai—Gohonzon, Japanese: 本 門 戒 壇 の 大 御 本 尊) is a venerated mandala image inscribed with both Sanskrit and Chinese logographs on a median log trunk of Japanese camphorwood.
The image is worshipped in Nichiren Shoshu Buddhism, which claims to possess within both the Dharma teachings and Tamashi of Nichiren as inscribed by him on wood, then carved by his artisan disciple Izumi Ajari Nippo.
The High Priests of Nichiren Shoshu copy and transcribe their own rendition of the image, which is loaned to the followers of the sect. Due to its accorded sacrosanct nature, the mandala can only be audienced to registered Hokkeko believers.The image was first explicitly mentioned in the last will and testament of Nikko Shonin for his designated successor Nichimoku, annually displayed every April 6 or 7 during the Goreiho O-mushibarai Daiho-e ceremony (English: The Airing of Sacred Treasures; 御霊宝虫払大法会) at the Head Temple.
Buildings at Taiseki-ji Head Temple in Shizuoka, Japan that have housed the Dai Gohonzon are the Shimonobo (1290), the Mutsubo (1332), the Mieido (1680), Gohozo (1717), the Hoanden (1955), the Shohondo (1978), and the Hoando (2002). | [
"English",
"Japanese camphorwood",
"Chinese",
"log",
"Nichiren Shoshu Buddhism",
"Taiseki-ji",
"Nikko Shonin",
"Nichiren",
"Hokkeko",
"Shizuoka, Japan",
"Japanese",
"last will and testament",
"mandala",
"Nichiren Shoshu",
"Shohondo",
"Nichimoku",
"Japan",
"Taiseki-ji Head Temple",
"Dharma",
"Gohonzon",
"Tamashi",
"Sanskrit"
] |
|
15931_T | Dai Gohonzon | In Dai Gohonzon, how is the Etymology discussed? | The Japanese meanings note:
Dai — "Great" or "Supreme" — (大)
Go — "Sacred" — (御)
Hon—zon — "Object of Worship" — (本尊) | [
"log",
"Japanese",
"Japan"
] |
|
15931_NT | Dai Gohonzon | In this artwork, how is the Etymology discussed? | The Japanese meanings note:
Dai — "Great" or "Supreme" — (大)
Go — "Sacred" — (御)
Hon—zon — "Object of Worship" — (本尊) | [
"log",
"Japanese",
"Japan"
] |
|
15932_T | Dai Gohonzon | Focus on Dai Gohonzon and explore the Description. | The Dai Gohonzon mandala is a half-log wooden trunk, composed of fragrant Japanese camphorwood believed to be inscribed by Nichiren Daishonin and rendered into wood by Nikko Shonin. The image measures approximately 56.6 inches (144 cm) by 25.6 inches (65 cm). It is coated in black Urushi lacquer with gilded characters composed of grounded 24-karat gold dust. The bottom portion features the great Zo-han personal signature seal of Nichiren. It features a semi-rounded backing cage and rippled textured surface.
Carved deeply on the image are names of Buddhas, Buddhist and Indian gods along with mystical creatures representing the "Treasure Tower" of the Lotus Sutra which is also claimed to possess and imbue the immortal soul and legacy of Nichiren himself. Furthermore, it also claims to possess the internal enlightenment of Nichiren revealed from a mysterious timeless past, termed as “Nai-Sho.”The venerated mandala has the following inscriptions on the right lower portion of the image:"Honmon-no-Kaidan" (本門戒壇)
"Ganshu Ya-shiro Kuni-shige" (願主弥四郎国重)
"Hokke-shura Keihaku" (法華講衆等敬白)English Translation: "…Mr. Yashiro Kunishige is (now) applying for ordination platform of the High Sanctuary of Essential Teachings through this (Image) of the Lotus believers."
This Gohonzon is also sometimes venerated as "Ichien-Bodai-Soyo Gohonzon" which refers to its bestowal to the world. Various theories continue to speculate the true identity of "Yashiro Kunishige." The High Priest Nittatsu Shonin once remarked the vague possibility that "Ya-shiro" refers to "Jin-shiro", the older brother of Yaroguro, one the three martyred disciples in 1279.
The Dai Gohonzon image is transcribed by the living incumbent who serves as High Priest of the sect (Hossu). As High Priest, this permits the rendition of the mandala to range from being fully transcribed or abbreviated or to add and subtract whatever is deemed appropriate into the Gohonzon. There are two recognized forms of a transcription of the Dai-Gohonzon:Moji Mandala — (Transcribed on paper)
Ita Gohonzon — (Transcription on wooden board)The application for transcribing the Dai Gohonzon image is found in five forms:Joju Gohonzon — oftentimes granted to designated temples, propagation buildings and personalities who have directly served and protected the Dai Gohonzon over the centuries.
Okatagi Gohonzon — a woodblocking printed rendition that is loaned to general membership of the sect, usually framed in an ornamental scroll.
Tokubetsu "Special" Okatagi Gohonzon — A larger size on a silk frame that is sometimes granted to highly commendable members on the sole discretion of a temple Chief Priest.
Doshi Gohonzon — a special funeral paper Gohonzon that is portably used in religious ceremonies where a memorial remembrance is held. It oftentimes bears two extraordinary deities, the King Yenma and the "Godomyokan" (The infernal officials who assist King Yenma from the Five Lower Worlds). The 26th High Priest Nichikan Shonin transcribed Gohonzons in this manner, which has also since been customary for future High Priests to emulate.
Omamori Gohonzon — a miniature paper Gohonzon in abbreviated format designated for traveling practitioners. This Gohonzon is typically sealed in a protective display case.Every year on April 6 or 7 at the O-Mushibarai ceremony, the High Priest of Nichiren Shoshu takes on the formal task of cleaning the accumulated dust on the surface of the Dai Gohonzon. The recitation of Ushitora Gongyo is not directed to the mandala, rather the Buddhist ritual of Gokaihi (御開扉; "Opening the Butsudan doors") is directly offered instead. | [
"English",
"Japanese camphorwood",
"Lotus Sutra",
"log",
"Nichiren Daishonin",
"Nikko Shonin",
"King Yenma",
"Nichiren",
"Japanese",
"mandala",
"Nichiren Shoshu",
"Japan",
"Gohonzon",
"Butsudan",
"Ushitora Gongyo",
"Urushi"
] |
|
15932_NT | Dai Gohonzon | Focus on this artwork and explore the Description. | The Dai Gohonzon mandala is a half-log wooden trunk, composed of fragrant Japanese camphorwood believed to be inscribed by Nichiren Daishonin and rendered into wood by Nikko Shonin. The image measures approximately 56.6 inches (144 cm) by 25.6 inches (65 cm). It is coated in black Urushi lacquer with gilded characters composed of grounded 24-karat gold dust. The bottom portion features the great Zo-han personal signature seal of Nichiren. It features a semi-rounded backing cage and rippled textured surface.
Carved deeply on the image are names of Buddhas, Buddhist and Indian gods along with mystical creatures representing the "Treasure Tower" of the Lotus Sutra which is also claimed to possess and imbue the immortal soul and legacy of Nichiren himself. Furthermore, it also claims to possess the internal enlightenment of Nichiren revealed from a mysterious timeless past, termed as “Nai-Sho.”The venerated mandala has the following inscriptions on the right lower portion of the image:"Honmon-no-Kaidan" (本門戒壇)
"Ganshu Ya-shiro Kuni-shige" (願主弥四郎国重)
"Hokke-shura Keihaku" (法華講衆等敬白)English Translation: "…Mr. Yashiro Kunishige is (now) applying for ordination platform of the High Sanctuary of Essential Teachings through this (Image) of the Lotus believers."
This Gohonzon is also sometimes venerated as "Ichien-Bodai-Soyo Gohonzon" which refers to its bestowal to the world. Various theories continue to speculate the true identity of "Yashiro Kunishige." The High Priest Nittatsu Shonin once remarked the vague possibility that "Ya-shiro" refers to "Jin-shiro", the older brother of Yaroguro, one the three martyred disciples in 1279.
The Dai Gohonzon image is transcribed by the living incumbent who serves as High Priest of the sect (Hossu). As High Priest, this permits the rendition of the mandala to range from being fully transcribed or abbreviated or to add and subtract whatever is deemed appropriate into the Gohonzon. There are two recognized forms of a transcription of the Dai-Gohonzon:Moji Mandala — (Transcribed on paper)
Ita Gohonzon — (Transcription on wooden board)The application for transcribing the Dai Gohonzon image is found in five forms:Joju Gohonzon — oftentimes granted to designated temples, propagation buildings and personalities who have directly served and protected the Dai Gohonzon over the centuries.
Okatagi Gohonzon — a woodblocking printed rendition that is loaned to general membership of the sect, usually framed in an ornamental scroll.
Tokubetsu "Special" Okatagi Gohonzon — A larger size on a silk frame that is sometimes granted to highly commendable members on the sole discretion of a temple Chief Priest.
Doshi Gohonzon — a special funeral paper Gohonzon that is portably used in religious ceremonies where a memorial remembrance is held. It oftentimes bears two extraordinary deities, the King Yenma and the "Godomyokan" (The infernal officials who assist King Yenma from the Five Lower Worlds). The 26th High Priest Nichikan Shonin transcribed Gohonzons in this manner, which has also since been customary for future High Priests to emulate.
Omamori Gohonzon — a miniature paper Gohonzon in abbreviated format designated for traveling practitioners. This Gohonzon is typically sealed in a protective display case.Every year on April 6 or 7 at the O-Mushibarai ceremony, the High Priest of Nichiren Shoshu takes on the formal task of cleaning the accumulated dust on the surface of the Dai Gohonzon. The recitation of Ushitora Gongyo is not directed to the mandala, rather the Buddhist ritual of Gokaihi (御開扉; "Opening the Butsudan doors") is directly offered instead. | [
"English",
"Japanese camphorwood",
"Lotus Sutra",
"log",
"Nichiren Daishonin",
"Nikko Shonin",
"King Yenma",
"Nichiren",
"Japanese",
"mandala",
"Nichiren Shoshu",
"Japan",
"Gohonzon",
"Butsudan",
"Ushitora Gongyo",
"Urushi"
] |
|
15933_T | Dai Gohonzon | Focus on Dai Gohonzon and explain the Mythos. | Legend claims that a Tennyo goddess named Shichimen (disguised as a little girl) kept following Nichiren Daishonin who at the time was reciting the Lotus Sutra at the Koza stone in Myosekibo temple (妙 石 坊). Nichiren confronted her, and the mystical figure introduced herself as a water deity seeking to be absolved from past Negative Karma. Nichiren then took a reflective vase (mirror) and placed it before her, revealing her true identity as a red water dragon, gaining Buddhahood at that moment. Nichiren then instructed her to return to the lake "Ichi—no—ike" and remain there to protect the Kuon Ji Temple. This same deity is claimed to have sent the log of what would become the Dai Gohonzon when Nippo Shonin wanted to carve a statue of his master, Nichiren.According to the doctrines of Nichiren Shoshu based on the Gosho writing Jogyo-Shu-den-Sho, Nippo underwent immense fasting and prayer to the dragon goddess Shichimen, the patroness of Yamanashi prefecture. The goddess, owing her enlightenment to Nichiren, answered his prayer by sending a log in a nearby river. The Dai Gohonzon image was inscribed on a wood log procured from the water goddess by Nippo Shonin, one of his junior disciples. Recounted in the legend:"Nippo (disciple) wanted to carve a statue of Nichiren. He then prayed to (Goddess) Shichimen Dai-myo-jin. Was it an answer (Kannu) to his prayers? He found a log floating in the (river).
Once stored in the Kuon-ji temple in Yamanashi Prefecture, the image was later confiscated by Nikko Shonin, who designated his strongest disciple, Hyakken-bo to carry the image on his backside through the forest into the Taisekiji complex, where it remains today. Additionally, the statue of Nichiren carved by Nippo from the leftover remains of the original Camphorwood log is stored in a stupa next to the Dai-Gohonzon in the Hoando at Taisekiji.
Accordingly, this mythological account is disputed as one of the many apocryphal forgeries invented by Nichiren Shoshu according to other opposing Nichiren sects. | [
"Lotus Sutra",
"Taisekiji",
"Camphorwood",
"log",
"Nichiren Daishonin",
"Nikko Shonin",
"apocryphal",
"Yamanashi Prefecture",
"Nichiren",
"Buddhahood",
"Nichiren Shoshu",
"Karma",
"Gohonzon",
"mirror",
"Tennyo"
] |
|
15933_NT | Dai Gohonzon | Focus on this artwork and explain the Mythos. | Legend claims that a Tennyo goddess named Shichimen (disguised as a little girl) kept following Nichiren Daishonin who at the time was reciting the Lotus Sutra at the Koza stone in Myosekibo temple (妙 石 坊). Nichiren confronted her, and the mystical figure introduced herself as a water deity seeking to be absolved from past Negative Karma. Nichiren then took a reflective vase (mirror) and placed it before her, revealing her true identity as a red water dragon, gaining Buddhahood at that moment. Nichiren then instructed her to return to the lake "Ichi—no—ike" and remain there to protect the Kuon Ji Temple. This same deity is claimed to have sent the log of what would become the Dai Gohonzon when Nippo Shonin wanted to carve a statue of his master, Nichiren.According to the doctrines of Nichiren Shoshu based on the Gosho writing Jogyo-Shu-den-Sho, Nippo underwent immense fasting and prayer to the dragon goddess Shichimen, the patroness of Yamanashi prefecture. The goddess, owing her enlightenment to Nichiren, answered his prayer by sending a log in a nearby river. The Dai Gohonzon image was inscribed on a wood log procured from the water goddess by Nippo Shonin, one of his junior disciples. Recounted in the legend:"Nippo (disciple) wanted to carve a statue of Nichiren. He then prayed to (Goddess) Shichimen Dai-myo-jin. Was it an answer (Kannu) to his prayers? He found a log floating in the (river).
Once stored in the Kuon-ji temple in Yamanashi Prefecture, the image was later confiscated by Nikko Shonin, who designated his strongest disciple, Hyakken-bo to carry the image on his backside through the forest into the Taisekiji complex, where it remains today. Additionally, the statue of Nichiren carved by Nippo from the leftover remains of the original Camphorwood log is stored in a stupa next to the Dai-Gohonzon in the Hoando at Taisekiji.
Accordingly, this mythological account is disputed as one of the many apocryphal forgeries invented by Nichiren Shoshu according to other opposing Nichiren sects. | [
"Lotus Sutra",
"Taisekiji",
"Camphorwood",
"log",
"Nichiren Daishonin",
"Nikko Shonin",
"apocryphal",
"Yamanashi Prefecture",
"Nichiren",
"Buddhahood",
"Nichiren Shoshu",
"Karma",
"Gohonzon",
"mirror",
"Tennyo"
] |
|
15934_T | Dai Gohonzon | Explore the Account tales of persecution of this artwork, Dai Gohonzon. | The Fuji School Branch refers to the Nichiren Buddhist denominations stemming from Nichiren's disciple Nikko Shonin. These schools believe that Nichiren inscribed the Dai Gohonzon.The Fuji Branch believes that in the autumn of 1279, a number of Nichiren's laypeople in the Fuji District were targeted by Gyōchi (行 智), the chief priest of a temple where Nisshū (日 秀), one of Nichiren's disciples lived. The peasant farmers from the village of Atsuhara had come to help Nisshū with the harvest of his private rice crop. The priest Gyōchi called some local warriors to arrest the peasants, accusing them of illegally harvesting the rice. The peasants decided to defend themselves when the warriors arrived but were no match, and several were wounded; twenty were arrested and hauled off to Kamakura for trial. When they arrived, a local police officer named Hei no Saemon Yoritsuna attempted to intimidate the peasants into renouncing their faith — on pain of death if they did not, but in exchange for their freedom if they did. Despite repeated threats and even torture, they remained steadfast. Hei no Saemon had three beheaded, but the other 17 refused to back down and he eventually freed them. The Fuji Branch believes that these events took place on 15 October 1279.The Nichiren Shoshu sect claims the following regarding the Dai Gohonzon's nature and purpose:That Nichiren Daishonin decided to inscribe the Dai Gohonzon as a result of these persecuting events. Furthermore, it taught as a doctrine that this served his purpose in entering the sahā world, (出世の本懐, Shusse—no—Honkai). On 12 October 1279, he inscribed the Gohonzon known as the "Dai Gohonzon," which – in contrast to other Gohonzon inscribed in this period – is intended for worship by all his disciples and believers, contemporary and future, rather than just the specific individual named on it. Furthermore, only the Sovereign of Japan can enshrine the image in its permanent Temple when widespread propagation of the religion is accomplished.
The sect teaches that due to the Kamakura Shogunate refusing to heed Nichiren's prophecies on natural disasters and incoming foreign invasion, the Buddhist deities have began to abandon Japan in its natural environment, claiming the result of arson at the Tsurugaoka Hachimangū Shrine in 14 November 1280, approximately one year after the inscription of the Dai Gohonzon image.
The sect further teaches that the returning Karma punishment from the Dai Gohonzon was imposed on the police officer " Hei no Saemon-no-jō Yoritsuna" on 29 May 1293, fourteen years after murdering three of the first Hokkeko believers during the "Atsuhara Persecutions" in Suruga province. These mystical punishments included their political defeat and joint—suicide of his younger son Tametsuna Iinuma (Sukemune) and eldest son Munetsuna Nagasaki who was expelled and died in Sado island (via suicide into the sea according to pious legends). | [
"sahā",
"Kamakura",
"torture",
"Suruga province",
"Buddhist deities",
"arson",
"Nichiren Daishonin",
"Nichiren Buddhist",
"Sovereign of Japan",
"peasant",
"Nikko Shonin",
"Kamakura Shogunate",
"Nichiren",
"Hokkeko",
"Tsurugaoka Hachimangū",
"behead",
"Sado island",
"Shogun",
"Nichiren Shoshu",
"Karma",
"Japan",
"police officer",
"Gohonzon",
"suicide"
] |
|
15934_NT | Dai Gohonzon | Explore the Account tales of persecution of this artwork. | The Fuji School Branch refers to the Nichiren Buddhist denominations stemming from Nichiren's disciple Nikko Shonin. These schools believe that Nichiren inscribed the Dai Gohonzon.The Fuji Branch believes that in the autumn of 1279, a number of Nichiren's laypeople in the Fuji District were targeted by Gyōchi (行 智), the chief priest of a temple where Nisshū (日 秀), one of Nichiren's disciples lived. The peasant farmers from the village of Atsuhara had come to help Nisshū with the harvest of his private rice crop. The priest Gyōchi called some local warriors to arrest the peasants, accusing them of illegally harvesting the rice. The peasants decided to defend themselves when the warriors arrived but were no match, and several were wounded; twenty were arrested and hauled off to Kamakura for trial. When they arrived, a local police officer named Hei no Saemon Yoritsuna attempted to intimidate the peasants into renouncing their faith — on pain of death if they did not, but in exchange for their freedom if they did. Despite repeated threats and even torture, they remained steadfast. Hei no Saemon had three beheaded, but the other 17 refused to back down and he eventually freed them. The Fuji Branch believes that these events took place on 15 October 1279.The Nichiren Shoshu sect claims the following regarding the Dai Gohonzon's nature and purpose:That Nichiren Daishonin decided to inscribe the Dai Gohonzon as a result of these persecuting events. Furthermore, it taught as a doctrine that this served his purpose in entering the sahā world, (出世の本懐, Shusse—no—Honkai). On 12 October 1279, he inscribed the Gohonzon known as the "Dai Gohonzon," which – in contrast to other Gohonzon inscribed in this period – is intended for worship by all his disciples and believers, contemporary and future, rather than just the specific individual named on it. Furthermore, only the Sovereign of Japan can enshrine the image in its permanent Temple when widespread propagation of the religion is accomplished.
The sect teaches that due to the Kamakura Shogunate refusing to heed Nichiren's prophecies on natural disasters and incoming foreign invasion, the Buddhist deities have began to abandon Japan in its natural environment, claiming the result of arson at the Tsurugaoka Hachimangū Shrine in 14 November 1280, approximately one year after the inscription of the Dai Gohonzon image.
The sect further teaches that the returning Karma punishment from the Dai Gohonzon was imposed on the police officer " Hei no Saemon-no-jō Yoritsuna" on 29 May 1293, fourteen years after murdering three of the first Hokkeko believers during the "Atsuhara Persecutions" in Suruga province. These mystical punishments included their political defeat and joint—suicide of his younger son Tametsuna Iinuma (Sukemune) and eldest son Munetsuna Nagasaki who was expelled and died in Sado island (via suicide into the sea according to pious legends). | [
"sahā",
"Kamakura",
"torture",
"Suruga province",
"Buddhist deities",
"arson",
"Nichiren Daishonin",
"Nichiren Buddhist",
"Sovereign of Japan",
"peasant",
"Nikko Shonin",
"Kamakura Shogunate",
"Nichiren",
"Hokkeko",
"Tsurugaoka Hachimangū",
"behead",
"Sado island",
"Shogun",
"Nichiren Shoshu",
"Karma",
"Japan",
"police officer",
"Gohonzon",
"suicide"
] |
|
15935_T | Dai Gohonzon | Focus on Dai Gohonzon and discuss the Claims of origin. | The Nichiren Shōshū sect claims that Nichiren inscribed the Dai Gohonzon on 12 October 1279 (Japanese: Ko-an). Nichiren Shōshū adherents cite the following passage in Nichiren's "On Persecutions Befalling the Sage" addressed to the Buddhist Samurai warrior Shijo Nakatsukasa Saburō Saemon—no—jō Yorimoto (四条中務三郎左衛門尉頼基, 1230–1296), which they assert supports the origin story of the image: "...Shakyamuni Buddha fulfilled the purpose of his advent in a little over 40 years, — the Great Teacher Zhiyi took about 30 years — and the Great Teacher Saichō, some 20 years. I have spoken repeatedly of the indescribable persecutions they suffered during those years.
For myself, Nichiren, it took 27 years, and the great persecutions I faced during this period are well known to you all."
According to the sect, the creation of the Dai Gohonzon image is the ultimate purpose of Nichiren's entrance into the Sahā world of humans. Furthermore, they claim that this particular Gohonzon was inscribed so that all people in the Third Age of Buddhism can attain Buddhahood in their present life existence (Sokushin Jobutsu). Nikko Shonin's last will and testament document to Nichimoku Shonin, "Articles to be Observed After the Passing of Nikko" ("Nikko ato jojo no koto"), states "...The Dai-Gohonzon of the second year of Kō`an (1279), which Nikko inherited, is hereby bequeathed to Nichimoku." Two original transfer documents exist written by Nikko Shonin. Of the two, the first document is a draft written in the second year of Gentoku (1330). The second is the actual transfer document itself, dated the first year of Shoukei (1332). Both documents are signed by Nikko Shonin. The signatures on these documents have been determined to be consistent with Nikko Shonin's signature from the period in his life.
Additionally, the third High Priest, Nichimoku Shonin, stated "...The Dai-Gohonzon, which was entrusted upon the person of Nikko, is the plank Gohonzon. It is now here at this temple (Taisekiji)." From documents written by Nikko Shonin and Nichimoku Shonin, the Dai-Gohonzon was transferred between the successive high priests of Nichiren Shoshu. The sect further claims that the Dai Gohonzon may only be publicly enshrined for widespread access when Japan converts to this religion, including the Emperor of Japan who is charged the formal task to decree that a national shrine for the image can be built at the foot of Mount Fuji.The fourteenth High Priest, Nisshu Shonin, stated in his writing "On Articles to Be Observed after the Passing of Nikko" ("Nikko ato jojo no koto jisho"), "...The Gohonzon concerns the transfer matters of Taiseki-ji, which denotes the exclusive transfer from one high priest to another. The Dai Gohonzon of the High Sanctuary of the Essential Teaching, which Nikko Shonin inherited from the Daishonin and transferred to Nichimoku Shonin in the era of Shoan, is exactly and changelessly the whole entity of the transfer through the Nichiren–Nikko–Nichimoku lineage in the Latter Day of the Law."The Nichiren Shoshu sect teaches that the image is inherited from one singular High Priest to the next living incumbent. Accordingly, the sect teaches that there are two kinds of transmission of its Dharma essence: "specific transmission," referred to by the sect as the "Heritage of the Entity of the Law," which claims the Dai Gohonzon image is bestowed and entrusted to each of the successive High Priests passed on by one person at a given time; and "general transmission," referred to by the sect as "Heritage of Faith" and pertaining to both disciples and believers who chant and follow closely its doctrines. Accordingly, the priesthood of the sect claims that due to the present incompleteness of the altar of the Dai Gohonzon, it is not enshrined with Japanese Shikimi evergreen plants nor Taiko drums. In addition, they believe that the Dai Gohonzon should not be exposed for public view until kosen-rufu is achieved, primarily referring to Nichiren Shoshu becoming the main religion on the planet.The 26th High Priest, Nichikan Shonin, declared in his treatise "Exegesis on the True Object of Worship" ("Kanjin no honzon-sho mondan") the following regarding the image: "...The Gohonzon of the High Sanctuary of the Essential Teaching, inscribed in the second year of Koan (1279), is the ultimate, the absolute, and the final cause of the Daishonin's advent. It is the greatest among the Three Great Secret Laws and the supreme object of worship in the entire world." Due to this charge of protecting the image, 59th High Priest Nichiko Hori declared the following regarding the matter: "In the early times, this matter (the Dai-Gohonzon) was not publicized within our school nor outside." On 16 September 1972, the 66th High Priest Nittatsu Hosoi Shonin in Hokeiji Temple in Omuta, Fukuoka Prefecture asserted the authenticity of the wooden image, and cited the procurement of the log from a secluded part of Mount Minobu in response to the claims of external sourcing of the wood by other sects. | [
"Omuta, Fukuoka",
"Zhiyi",
"Taisekiji",
"Saichō",
"Nichiren Shōshū",
"Emperor of Japan",
"log",
"Taiko",
"Taiseki-ji",
"Nikko Shonin",
"Samurai",
"Nichiren",
"Buddhahood",
"kosen-rufu",
"Japanese",
"last will and testament",
"Nichiren Shoshu",
"Sahā",
"Shakyamuni Buddha",
"Nichimoku",
"Mount Fuji",
"Japan",
"Nittatsu Hosoi",
"Dharma",
"Gohonzon",
"Shikimi",
"Third Age of Buddhism"
] |
|
15935_NT | Dai Gohonzon | Focus on this artwork and discuss the Claims of origin. | The Nichiren Shōshū sect claims that Nichiren inscribed the Dai Gohonzon on 12 October 1279 (Japanese: Ko-an). Nichiren Shōshū adherents cite the following passage in Nichiren's "On Persecutions Befalling the Sage" addressed to the Buddhist Samurai warrior Shijo Nakatsukasa Saburō Saemon—no—jō Yorimoto (四条中務三郎左衛門尉頼基, 1230–1296), which they assert supports the origin story of the image: "...Shakyamuni Buddha fulfilled the purpose of his advent in a little over 40 years, — the Great Teacher Zhiyi took about 30 years — and the Great Teacher Saichō, some 20 years. I have spoken repeatedly of the indescribable persecutions they suffered during those years.
For myself, Nichiren, it took 27 years, and the great persecutions I faced during this period are well known to you all."
According to the sect, the creation of the Dai Gohonzon image is the ultimate purpose of Nichiren's entrance into the Sahā world of humans. Furthermore, they claim that this particular Gohonzon was inscribed so that all people in the Third Age of Buddhism can attain Buddhahood in their present life existence (Sokushin Jobutsu). Nikko Shonin's last will and testament document to Nichimoku Shonin, "Articles to be Observed After the Passing of Nikko" ("Nikko ato jojo no koto"), states "...The Dai-Gohonzon of the second year of Kō`an (1279), which Nikko inherited, is hereby bequeathed to Nichimoku." Two original transfer documents exist written by Nikko Shonin. Of the two, the first document is a draft written in the second year of Gentoku (1330). The second is the actual transfer document itself, dated the first year of Shoukei (1332). Both documents are signed by Nikko Shonin. The signatures on these documents have been determined to be consistent with Nikko Shonin's signature from the period in his life.
Additionally, the third High Priest, Nichimoku Shonin, stated "...The Dai-Gohonzon, which was entrusted upon the person of Nikko, is the plank Gohonzon. It is now here at this temple (Taisekiji)." From documents written by Nikko Shonin and Nichimoku Shonin, the Dai-Gohonzon was transferred between the successive high priests of Nichiren Shoshu. The sect further claims that the Dai Gohonzon may only be publicly enshrined for widespread access when Japan converts to this religion, including the Emperor of Japan who is charged the formal task to decree that a national shrine for the image can be built at the foot of Mount Fuji.The fourteenth High Priest, Nisshu Shonin, stated in his writing "On Articles to Be Observed after the Passing of Nikko" ("Nikko ato jojo no koto jisho"), "...The Gohonzon concerns the transfer matters of Taiseki-ji, which denotes the exclusive transfer from one high priest to another. The Dai Gohonzon of the High Sanctuary of the Essential Teaching, which Nikko Shonin inherited from the Daishonin and transferred to Nichimoku Shonin in the era of Shoan, is exactly and changelessly the whole entity of the transfer through the Nichiren–Nikko–Nichimoku lineage in the Latter Day of the Law."The Nichiren Shoshu sect teaches that the image is inherited from one singular High Priest to the next living incumbent. Accordingly, the sect teaches that there are two kinds of transmission of its Dharma essence: "specific transmission," referred to by the sect as the "Heritage of the Entity of the Law," which claims the Dai Gohonzon image is bestowed and entrusted to each of the successive High Priests passed on by one person at a given time; and "general transmission," referred to by the sect as "Heritage of Faith" and pertaining to both disciples and believers who chant and follow closely its doctrines. Accordingly, the priesthood of the sect claims that due to the present incompleteness of the altar of the Dai Gohonzon, it is not enshrined with Japanese Shikimi evergreen plants nor Taiko drums. In addition, they believe that the Dai Gohonzon should not be exposed for public view until kosen-rufu is achieved, primarily referring to Nichiren Shoshu becoming the main religion on the planet.The 26th High Priest, Nichikan Shonin, declared in his treatise "Exegesis on the True Object of Worship" ("Kanjin no honzon-sho mondan") the following regarding the image: "...The Gohonzon of the High Sanctuary of the Essential Teaching, inscribed in the second year of Koan (1279), is the ultimate, the absolute, and the final cause of the Daishonin's advent. It is the greatest among the Three Great Secret Laws and the supreme object of worship in the entire world." Due to this charge of protecting the image, 59th High Priest Nichiko Hori declared the following regarding the matter: "In the early times, this matter (the Dai-Gohonzon) was not publicized within our school nor outside." On 16 September 1972, the 66th High Priest Nittatsu Hosoi Shonin in Hokeiji Temple in Omuta, Fukuoka Prefecture asserted the authenticity of the wooden image, and cited the procurement of the log from a secluded part of Mount Minobu in response to the claims of external sourcing of the wood by other sects. | [
"Omuta, Fukuoka",
"Zhiyi",
"Taisekiji",
"Saichō",
"Nichiren Shōshū",
"Emperor of Japan",
"log",
"Taiko",
"Taiseki-ji",
"Nikko Shonin",
"Samurai",
"Nichiren",
"Buddhahood",
"kosen-rufu",
"Japanese",
"last will and testament",
"Nichiren Shoshu",
"Sahā",
"Shakyamuni Buddha",
"Nichimoku",
"Mount Fuji",
"Japan",
"Nittatsu Hosoi",
"Dharma",
"Gohonzon",
"Shikimi",
"Third Age of Buddhism"
] |
|
15936_T | Dai Gohonzon | In the context of Dai Gohonzon, analyze the Fraudulent pious invention of the Claims of forgery. | Some sects of Nichiren Shu and modernist factions of the Soka Gakkai reject the image as fraudulent, citing independent analysis of the calligraphy style, and asserting that Nichiren never mentions this particular mandala in any of his authenticated preserved writings. Such varying Nichiren sects claim that these types of wooden mandalas were rampant among Hokkeko believers during the latter Muromachi period.Furthermore, such sects maintain that Nichiren never meant to permanently enshrine Buddhist Mandalas in a written format, but intended to permit both written form and Buddhist statues in the Gohonzon arrangement after his own demise. Owing to the scarcity of financial sources during Nichiren's own lifetime, they dismiss the claim of a Dai-Gohonzon's purpose and exclusive privilege to the present time. | [
"Soka Gakkai",
"Muromachi period",
"Nichiren Shu",
"Nichiren",
"Hokkeko",
"mandala",
"Gohonzon"
] |
|
15936_NT | Dai Gohonzon | In the context of this artwork, analyze the Fraudulent pious invention of the Claims of forgery. | Some sects of Nichiren Shu and modernist factions of the Soka Gakkai reject the image as fraudulent, citing independent analysis of the calligraphy style, and asserting that Nichiren never mentions this particular mandala in any of his authenticated preserved writings. Such varying Nichiren sects claim that these types of wooden mandalas were rampant among Hokkeko believers during the latter Muromachi period.Furthermore, such sects maintain that Nichiren never meant to permanently enshrine Buddhist Mandalas in a written format, but intended to permit both written form and Buddhist statues in the Gohonzon arrangement after his own demise. Owing to the scarcity of financial sources during Nichiren's own lifetime, they dismiss the claim of a Dai-Gohonzon's purpose and exclusive privilege to the present time. | [
"Soka Gakkai",
"Muromachi period",
"Nichiren Shu",
"Nichiren",
"Hokkeko",
"mandala",
"Gohonzon"
] |
|
15937_T | Dai Gohonzon | Describe the characteristics of the Multiple Dai Gohonzons in Dai Gohonzon's Claims of forgery. | Researchers of the Nichiren Mandala Study Workshop claim that the Head Temple Taisekiji have had at least four different Dai Gohonzons, alleging that the current version of the Dai Gohonzon is just one of several modern reproductions made over time after fires at Taiseki-ji destroyed previous copies. The most notable and significant size changes after fire outbreaks have been recorded in the years 1600, 1764, 1911 and the current Dai Gohonzon, which was allegedly created by the 67th High Priest Nikken Shonin. However, no objective proof exists to substantiate these claims.The researchers further state that the image, having been analyzed by independent calligraphers, is a combination image based on a latter Gohonzon from Taiyu Ajari Nichizon (太夫阿闍梨日尊, 1265 — 1345), a disciple of Nikko Shonin in the 14th century. This claim is dated to 8 May 1280 and was allegedly bought and sold through the Kitayama Honmonji temple by the 56th High Priest Nichi-O shonin, who founded the Grand Hodo-in Temple in Tokyo and later used it as the official Gohonzon for Taisekiji. This Nichizon Gohonzon is presently stored in Taisekiji and is displayed for the public to see during the April ceremonies. Due the Dai-Gohonzon not being open to the public, evidence of this claim has not been proven. | [
"Taisekiji",
"Taiseki-ji",
"Nikko Shonin",
"Nichiren",
"Gohonzon"
] |
|
15937_NT | Dai Gohonzon | Describe the characteristics of the Multiple Dai Gohonzons in this artwork's Claims of forgery. | Researchers of the Nichiren Mandala Study Workshop claim that the Head Temple Taisekiji have had at least four different Dai Gohonzons, alleging that the current version of the Dai Gohonzon is just one of several modern reproductions made over time after fires at Taiseki-ji destroyed previous copies. The most notable and significant size changes after fire outbreaks have been recorded in the years 1600, 1764, 1911 and the current Dai Gohonzon, which was allegedly created by the 67th High Priest Nikken Shonin. However, no objective proof exists to substantiate these claims.The researchers further state that the image, having been analyzed by independent calligraphers, is a combination image based on a latter Gohonzon from Taiyu Ajari Nichizon (太夫阿闍梨日尊, 1265 — 1345), a disciple of Nikko Shonin in the 14th century. This claim is dated to 8 May 1280 and was allegedly bought and sold through the Kitayama Honmonji temple by the 56th High Priest Nichi-O shonin, who founded the Grand Hodo-in Temple in Tokyo and later used it as the official Gohonzon for Taisekiji. This Nichizon Gohonzon is presently stored in Taisekiji and is displayed for the public to see during the April ceremonies. Due the Dai-Gohonzon not being open to the public, evidence of this claim has not been proven. | [
"Taisekiji",
"Taiseki-ji",
"Nikko Shonin",
"Nichiren",
"Gohonzon"
] |
|
15938_T | Dai Gohonzon | In the context of Dai Gohonzon, explore the Falsified dating strata and amalgamation of the Claims of forgery. | In addition, some researchers state that the Dai Gohonzon image is fake and not consistent with any other Gohonzon that Nichiren inscribed in 1279. Instead, they claim the scholarly calligraphy style of the Dai Gohonzon is more accurately dated to 8 May 1280, instead of 12 October 1279. Accordingly, a 19th-century calligraphy scholar and priest Kaiso Inada (稲田海素, 1 November 1869 — 26 February 1956), was a colleague of the Nichiren Shoshu 59th High Priest Nichiko Shonin. The priest Inada had recorded that he was granted lodging at Taiseki-ji and was able to examine the Dai Gohonzon image and other Nichiren mandalas stored within the Head Temple. He concluded that the Dai Gohonzon stored at Taiseki-ji was created using different sheets traced from at least two other Nichiren mandalas. His Colleague Hori Nichiko Shonin strongly disagreed with his conclusion, and dealt very critically with claims against the authenticity of the Dai-Gohonzon. | [
"Taiseki-ji",
"Nichiren",
"mandala",
"Nichiren Shoshu",
"Gohonzon"
] |
|
15938_NT | Dai Gohonzon | In the context of this artwork, explore the Falsified dating strata and amalgamation of the Claims of forgery. | In addition, some researchers state that the Dai Gohonzon image is fake and not consistent with any other Gohonzon that Nichiren inscribed in 1279. Instead, they claim the scholarly calligraphy style of the Dai Gohonzon is more accurately dated to 8 May 1280, instead of 12 October 1279. Accordingly, a 19th-century calligraphy scholar and priest Kaiso Inada (稲田海素, 1 November 1869 — 26 February 1956), was a colleague of the Nichiren Shoshu 59th High Priest Nichiko Shonin. The priest Inada had recorded that he was granted lodging at Taiseki-ji and was able to examine the Dai Gohonzon image and other Nichiren mandalas stored within the Head Temple. He concluded that the Dai Gohonzon stored at Taiseki-ji was created using different sheets traced from at least two other Nichiren mandalas. His Colleague Hori Nichiko Shonin strongly disagreed with his conclusion, and dealt very critically with claims against the authenticity of the Dai-Gohonzon. | [
"Taiseki-ji",
"Nichiren",
"mandala",
"Nichiren Shoshu",
"Gohonzon"
] |
|
15939_T | Dai Gohonzon | Focus on Dai Gohonzon and explain the Parallel legends. | A celebrated Samurai warrior named Taira—no—Morihisa allegedly experienced the same miraculous events similar to the execution of Nichiren at Shichirigahama beach prior to inscribing the Dai Gohonzon mandala eighty-six years earlier. In year 1193 (Kenkyu Year), Morihisa was a surviving warrior that was defeated by the Genji clan after the Genpei War. On the way to Kamakura, he claimed to have received a dream from the Buddhist deities instructing him to recite the Lotus Sutra for salvation. He held on to reading a copy of the Chapter 25 of the Lotus Sutra dedicated to the goddess Kanzeon. As the executioner prepared to behead him, a great light allegedly appeared from the Sutra scroll which blinded his eyesight and destroyed the executioners sword.
Morihisa presented this miraculous account of testimony to Lord Minamoto no Yoritomo, the first Kamakura Shogun of Japan, who claimed he experienced a similar vision and granted him clemency and freedom. Nichiren Shoshu teaches that this account is the same proof that the Dai Gohonzon offers in the nearing advent of Nichiren, who they interpret as the "True Buddha of Compassion" (but disguised as Kanzeon bodhisattva). | [
"Kamakura",
"Kanzeon",
"Lotus Sutra",
"Genji",
"Buddhist deities",
"Minamoto no Yoritomo",
"Samurai",
"Shichirigahama",
"Nichiren",
"Genpei War",
"behead",
"mandala",
"Shogun",
"Nichiren Shoshu",
"Japan",
"Gohonzon"
] |
|
15939_NT | Dai Gohonzon | Focus on this artwork and explain the Parallel legends. | A celebrated Samurai warrior named Taira—no—Morihisa allegedly experienced the same miraculous events similar to the execution of Nichiren at Shichirigahama beach prior to inscribing the Dai Gohonzon mandala eighty-six years earlier. In year 1193 (Kenkyu Year), Morihisa was a surviving warrior that was defeated by the Genji clan after the Genpei War. On the way to Kamakura, he claimed to have received a dream from the Buddhist deities instructing him to recite the Lotus Sutra for salvation. He held on to reading a copy of the Chapter 25 of the Lotus Sutra dedicated to the goddess Kanzeon. As the executioner prepared to behead him, a great light allegedly appeared from the Sutra scroll which blinded his eyesight and destroyed the executioners sword.
Morihisa presented this miraculous account of testimony to Lord Minamoto no Yoritomo, the first Kamakura Shogun of Japan, who claimed he experienced a similar vision and granted him clemency and freedom. Nichiren Shoshu teaches that this account is the same proof that the Dai Gohonzon offers in the nearing advent of Nichiren, who they interpret as the "True Buddha of Compassion" (but disguised as Kanzeon bodhisattva). | [
"Kamakura",
"Kanzeon",
"Lotus Sutra",
"Genji",
"Buddhist deities",
"Minamoto no Yoritomo",
"Samurai",
"Shichirigahama",
"Nichiren",
"Genpei War",
"behead",
"mandala",
"Shogun",
"Nichiren Shoshu",
"Japan",
"Gohonzon"
] |
|
15940_T | Dai Gohonzon | Explore the Dai-Gohonzon replicas of this artwork, Dai Gohonzon. | In addition to the Nichiren Shoshu sect, other mandalas given the appellation of "Dai Gohonzon" are in the possession of the Kitayama Honmonji sect, the Fujisan Honmon Shoshu sect and one by the Soka Gakkai.The general sentiment among these sects is that neither Nichiren nor his disciple Nikko Shonin ever specified a particular special mandala as the singular object of worship nor to be granted the national title of "Honmonji", a claim that the Taisekiji temple claims as their sole inherited right via the successorship of Nikko Shonin and possession of their mandala.The Kitayama Honmonji temple of Nichiren Shu sect — Located in Omosu, Suruga Province of Japan, claims another Dai Gohonzon inscribed by Nichiren. This temple claims to be the grave site of Nikkō Shōnin, whom they regard as their own temple founder.
The Fujisan Honmon Shoshu sect — In Kamakura city in Kanagawa Prefecture there also claims possession of a Dai Gohonzon inscribed by Nichiren, which they refer to as the Dai-Honzon, enshrined at Hota Myohonji Temple. This mandala carries the inscription of The Great Object of Worship to Save and Protect for Ten Thousand Years and carries a signature of Jogyo Nichiren.
The Soka Gakkai International — a modern lay Buddhist organization formerly affiliated with the Taisekiji Head Temple possesses a 1974 wooden copy as transcribed by the 64th Nichiren Shoshu High Priest Nissho Shonin, then carved by Japanese artisan Takeshi Akazawa. Originally enshrined at the Soka Gakkai building in Osaka, that Gohonzon is now enshrined within "The Hall of the Great Vow for Kosen-rufu" (広 宣 流 布 大 誓 堂, Kosen—Rufu Dai—Sei—Do) in Shinanomachi, Shinjuku, Tokyo. The decision came after its longstanding claim to religious independence after splitting with the Nichiren Shoshu sect in 1991, followed by the revision of the Soka Gakkai constitution on 8 November 2014, by which Soka Gakkai President Minoru Harada declared that the original mandala in Taisekiji temple is not their "Object of Worship". The entry for the Dai Gohonzon image was removed from the "SGI Dictionary of Buddhism" in 2010. Some progressive modernist factions within Soka Gakkai maintain that the original image at Taisekiji Head Temple is fake and was manufactured by the Nichiren Shoshu priesthood. | [
"Soka Gakkai International",
"Kamakura",
"Shinjuku",
"Soka Gakkai",
"Taisekiji",
"Minoru Harada",
"Kanagawa Prefecture",
"Nikko Shonin",
"Nichiren Shu",
"Osaka",
"Nichiren",
"Japanese",
"Kosen-rufu",
"mandala",
"Nichiren Shoshu",
"Honzon",
"Japan",
"Nikkō Shōnin",
"Gohonzon",
"Suruga Province",
"Shinjuku, Tokyo"
] |
|
15940_NT | Dai Gohonzon | Explore the Dai-Gohonzon replicas of this artwork. | In addition to the Nichiren Shoshu sect, other mandalas given the appellation of "Dai Gohonzon" are in the possession of the Kitayama Honmonji sect, the Fujisan Honmon Shoshu sect and one by the Soka Gakkai.The general sentiment among these sects is that neither Nichiren nor his disciple Nikko Shonin ever specified a particular special mandala as the singular object of worship nor to be granted the national title of "Honmonji", a claim that the Taisekiji temple claims as their sole inherited right via the successorship of Nikko Shonin and possession of their mandala.The Kitayama Honmonji temple of Nichiren Shu sect — Located in Omosu, Suruga Province of Japan, claims another Dai Gohonzon inscribed by Nichiren. This temple claims to be the grave site of Nikkō Shōnin, whom they regard as their own temple founder.
The Fujisan Honmon Shoshu sect — In Kamakura city in Kanagawa Prefecture there also claims possession of a Dai Gohonzon inscribed by Nichiren, which they refer to as the Dai-Honzon, enshrined at Hota Myohonji Temple. This mandala carries the inscription of The Great Object of Worship to Save and Protect for Ten Thousand Years and carries a signature of Jogyo Nichiren.
The Soka Gakkai International — a modern lay Buddhist organization formerly affiliated with the Taisekiji Head Temple possesses a 1974 wooden copy as transcribed by the 64th Nichiren Shoshu High Priest Nissho Shonin, then carved by Japanese artisan Takeshi Akazawa. Originally enshrined at the Soka Gakkai building in Osaka, that Gohonzon is now enshrined within "The Hall of the Great Vow for Kosen-rufu" (広 宣 流 布 大 誓 堂, Kosen—Rufu Dai—Sei—Do) in Shinanomachi, Shinjuku, Tokyo. The decision came after its longstanding claim to religious independence after splitting with the Nichiren Shoshu sect in 1991, followed by the revision of the Soka Gakkai constitution on 8 November 2014, by which Soka Gakkai President Minoru Harada declared that the original mandala in Taisekiji temple is not their "Object of Worship". The entry for the Dai Gohonzon image was removed from the "SGI Dictionary of Buddhism" in 2010. Some progressive modernist factions within Soka Gakkai maintain that the original image at Taisekiji Head Temple is fake and was manufactured by the Nichiren Shoshu priesthood. | [
"Soka Gakkai International",
"Kamakura",
"Shinjuku",
"Soka Gakkai",
"Taisekiji",
"Minoru Harada",
"Kanagawa Prefecture",
"Nikko Shonin",
"Nichiren Shu",
"Osaka",
"Nichiren",
"Japanese",
"Kosen-rufu",
"mandala",
"Nichiren Shoshu",
"Honzon",
"Japan",
"Nikkō Shōnin",
"Gohonzon",
"Suruga Province",
"Shinjuku, Tokyo"
] |
|
15941_T | Dai Gohonzon | Focus on Dai Gohonzon and discuss the Former places of storage and enshrinement. | The Dai Gohonzon image was brought by Nikko Shonin to the Mutsubo, and was stored at the Shimonobo temple in Fujinomiya, the historical "Jibutsudo" residence of Nanjo Tokimitsu, the land donor of the present Taisekiji Temple. Later it was enshrined in the Great Kaidan hall as well as the Gohozo treasury building of Taisekiji. In October 1972, the image was enshrined in the Shohondo building funded by Nichiren Shoshu members, Soka Gakkai members, Kempon Hokke Shu believers, and family relatives of Nichiren Shoshu temple priests. The building was demolished in 1998.The image was removed from the Sho-Hondo building in April 1998 and was temporarily stored in the Go-Hozo treasure house. The image is presently housed in the Shumidan (English: Mount Sumeru) high altar within the Hoando building of Taisekiji, which contains 5,004 reserved seats for Nichiren Shoshu lay followers, 236 Tatami mats for priests, and a center chair for the High Priest of Nichiren Shoshu. | [
"English",
"Soka Gakkai",
"Taisekiji",
"Tatami mat",
"Nikko Shonin",
"Nichiren",
"Nichiren Shoshu",
"Mount Sumeru",
"Shohondo",
"Gohonzon",
"Tatami",
"Fujinomiya"
] |
|
15941_NT | Dai Gohonzon | Focus on this artwork and discuss the Former places of storage and enshrinement. | The Dai Gohonzon image was brought by Nikko Shonin to the Mutsubo, and was stored at the Shimonobo temple in Fujinomiya, the historical "Jibutsudo" residence of Nanjo Tokimitsu, the land donor of the present Taisekiji Temple. Later it was enshrined in the Great Kaidan hall as well as the Gohozo treasury building of Taisekiji. In October 1972, the image was enshrined in the Shohondo building funded by Nichiren Shoshu members, Soka Gakkai members, Kempon Hokke Shu believers, and family relatives of Nichiren Shoshu temple priests. The building was demolished in 1998.The image was removed from the Sho-Hondo building in April 1998 and was temporarily stored in the Go-Hozo treasure house. The image is presently housed in the Shumidan (English: Mount Sumeru) high altar within the Hoando building of Taisekiji, which contains 5,004 reserved seats for Nichiren Shoshu lay followers, 236 Tatami mats for priests, and a center chair for the High Priest of Nichiren Shoshu. | [
"English",
"Soka Gakkai",
"Taisekiji",
"Tatami mat",
"Nikko Shonin",
"Nichiren",
"Nichiren Shoshu",
"Mount Sumeru",
"Shohondo",
"Gohonzon",
"Tatami",
"Fujinomiya"
] |
|
15942_T | Saint Apollonia (Zurbarán) | Focus on Saint Apollonia (Zurbarán) and analyze the abstract. | Saint Apollonia is a 1636 oil-on-canvas painted by the Spanish artist Francisco de Zurbarán. It is currently held and exhibited at the Louvre in Paris. | [
"Saint Apollonia",
"Spanish art",
"Spanish",
"Louvre",
"Paris",
"Francisco de Zurbarán"
] |
|
15942_NT | Saint Apollonia (Zurbarán) | Focus on this artwork and analyze the abstract. | Saint Apollonia is a 1636 oil-on-canvas painted by the Spanish artist Francisco de Zurbarán. It is currently held and exhibited at the Louvre in Paris. | [
"Saint Apollonia",
"Spanish art",
"Spanish",
"Louvre",
"Paris",
"Francisco de Zurbarán"
] |
|
15943_T | Saint Apollonia (Zurbarán) | In Saint Apollonia (Zurbarán), how is the History discussed? | Bought by the Louvre in 1867 from the collection of Marshal Soult, Duke of Dalmatia, this painting was perhaps part of the high altar of San José in the church of the Discalced Fathers of Mercy in Seville, together with a Saint Joseph Crowned by Christ and a God the Father now in the Museum of Fine Arts of Seville, and possibly a Saint Lucy in the Museum of Chartres, believed to be a companion piece to the Louvre painting - this last must be a studio work, however.The painting can be grouped with the pictures for the altar in the transept of the church of San José in Seville, dated 1636. It belongs to Zurbarán's most balanced period, when he produced his greatest masterpieces.
Renaissance artists had clothed their saints in classical draperies. Adopting to a certain extent the attitude of the Middle Ages, certain 17th century painters, such as Georges de La Tour, Zurbarán, and Caravaggio dressed them in the contemporary fashion. The natural mediators between God and the faithful are thus seen in a kind of mystical familiarity.Saint Apollonia was the patroness of dentists, hence the attribute she carries. Her martyrdom is said to have included the extraction of all her teeth. | [
"Museum of Fine Arts of Seville",
"Saint Apollonia",
"Fathers of Mercy",
"Middle Ages",
"Seville",
"Museum of Chartres",
"Saint Lucy",
"Caravaggio",
"Dalmatia",
"Marshal Soult",
"Louvre",
"Chartres",
"Renaissance art",
"Georges de La Tour",
"dentists"
] |
|
15943_NT | Saint Apollonia (Zurbarán) | In this artwork, how is the History discussed? | Bought by the Louvre in 1867 from the collection of Marshal Soult, Duke of Dalmatia, this painting was perhaps part of the high altar of San José in the church of the Discalced Fathers of Mercy in Seville, together with a Saint Joseph Crowned by Christ and a God the Father now in the Museum of Fine Arts of Seville, and possibly a Saint Lucy in the Museum of Chartres, believed to be a companion piece to the Louvre painting - this last must be a studio work, however.The painting can be grouped with the pictures for the altar in the transept of the church of San José in Seville, dated 1636. It belongs to Zurbarán's most balanced period, when he produced his greatest masterpieces.
Renaissance artists had clothed their saints in classical draperies. Adopting to a certain extent the attitude of the Middle Ages, certain 17th century painters, such as Georges de La Tour, Zurbarán, and Caravaggio dressed them in the contemporary fashion. The natural mediators between God and the faithful are thus seen in a kind of mystical familiarity.Saint Apollonia was the patroness of dentists, hence the attribute she carries. Her martyrdom is said to have included the extraction of all her teeth. | [
"Museum of Fine Arts of Seville",
"Saint Apollonia",
"Fathers of Mercy",
"Middle Ages",
"Seville",
"Museum of Chartres",
"Saint Lucy",
"Caravaggio",
"Dalmatia",
"Marshal Soult",
"Louvre",
"Chartres",
"Renaissance art",
"Georges de La Tour",
"dentists"
] |
|
15944_T | The Gate of Calais | Focus on The Gate of Calais and explore the Background. | In July 1748, Hogarth took a trip to Paris, taking advantage of the armistice which preceded the signing of the Treaty of Aix-la-Chapelle in October that year. He travelled with some artist friends, including Thomas Hudson, Joseph and Alexander Van Aken, Francis Hayman, and Henry Cheere. George Vertue reports that the group split up on the return journey, with Hogarth and Hayman making their way to Calais to catch the boat to England and the others continuing their tour to Flanders and the Netherlands.
While waiting in Calais, Hogarth decided to sketch the gate of the port and drawbridge which were still adorned with the English arms (Calais having been an English enclave until 1558 and still retaining many English architectural features). His sketching of the fortifications aroused suspicion, and he was arrested and taken before the governor. Most accounts relate that Hogarth showed his other sketches to his captors; it becoming clear that he was merely an artist, he was discharged into the parole of his landlord to await the changing of the wind and the boat to England. Horace Walpole elaborates the account, reporting that Hogarth was forced to demonstrate his abilities by producing sketches and caricatures as demanded by the French, "particularly a scene of the shore, with an immense piece of beef landing for the Lion d'Argent, the English inn at Calais, and several hungry friars following it." At any rate, Hogarth was discharged and returned to England by the next boat. | [
"English enclave",
"George Vertue",
"the Netherlands",
"Thomas Hudson",
"Henry Cheere",
"Calais",
"Treaty of Aix-la-Chapelle",
"Francis Hayman",
"Joseph",
"friar",
"Flanders",
"caricature",
"Horace Walpole"
] |
|
15944_NT | The Gate of Calais | Focus on this artwork and explore the Background. | In July 1748, Hogarth took a trip to Paris, taking advantage of the armistice which preceded the signing of the Treaty of Aix-la-Chapelle in October that year. He travelled with some artist friends, including Thomas Hudson, Joseph and Alexander Van Aken, Francis Hayman, and Henry Cheere. George Vertue reports that the group split up on the return journey, with Hogarth and Hayman making their way to Calais to catch the boat to England and the others continuing their tour to Flanders and the Netherlands.
While waiting in Calais, Hogarth decided to sketch the gate of the port and drawbridge which were still adorned with the English arms (Calais having been an English enclave until 1558 and still retaining many English architectural features). His sketching of the fortifications aroused suspicion, and he was arrested and taken before the governor. Most accounts relate that Hogarth showed his other sketches to his captors; it becoming clear that he was merely an artist, he was discharged into the parole of his landlord to await the changing of the wind and the boat to England. Horace Walpole elaborates the account, reporting that Hogarth was forced to demonstrate his abilities by producing sketches and caricatures as demanded by the French, "particularly a scene of the shore, with an immense piece of beef landing for the Lion d'Argent, the English inn at Calais, and several hungry friars following it." At any rate, Hogarth was discharged and returned to England by the next boat. | [
"English enclave",
"George Vertue",
"the Netherlands",
"Thomas Hudson",
"Henry Cheere",
"Calais",
"Treaty of Aix-la-Chapelle",
"Francis Hayman",
"Joseph",
"friar",
"Flanders",
"caricature",
"Horace Walpole"
] |
|
15945_T | The Gate of Calais | Focus on The Gate of Calais and explain the Print. | The print, produced from an engraving that was completed in part by Charles Mosley, was published on 6 March 1749. Entitled "O The Roast Beef of Old England", it was priced at 5 shillings and advertised as:A print design'd and engrav'd by MR HOGARTH, representing a PRODIGY which lately appear'd before the Gate of CALAIS.O the Roast-beef of Old England, &c. To be had at the Golden Head in Leicester-Square, and at the Print Shops.
The main difference between the painting and the engraving is the crow on top of the gate, which is absent in the engraving. The crow was a late addition to the painting to disguise an accidental tear, apparently caused by the canvas falling on a nail shortly after it was completed, although no evidence of damage was found when the painting was restored in 1966. | [
"The Roast Beef of Old England",
"crow",
"engraving"
] |
|
15945_NT | The Gate of Calais | Focus on this artwork and explain the Print. | The print, produced from an engraving that was completed in part by Charles Mosley, was published on 6 March 1749. Entitled "O The Roast Beef of Old England", it was priced at 5 shillings and advertised as:A print design'd and engrav'd by MR HOGARTH, representing a PRODIGY which lately appear'd before the Gate of CALAIS.O the Roast-beef of Old England, &c. To be had at the Golden Head in Leicester-Square, and at the Print Shops.
The main difference between the painting and the engraving is the crow on top of the gate, which is absent in the engraving. The crow was a late addition to the painting to disguise an accidental tear, apparently caused by the canvas falling on a nail shortly after it was completed, although no evidence of damage was found when the painting was restored in 1966. | [
"The Roast Beef of Old England",
"crow",
"engraving"
] |
|
15946_T | The Badminton Game | Explore the abstract of this artwork, The Badminton Game. | The Badminton Game is a painting of 1973 by the English painter David Inshaw. It was inspired by the gardens of Devizes and the landscape of Wiltshire. Inshaw has described how the place gave him a feeling of "mystery and wonder". He wrote about the painting: "my main aim was to produce a picture that held a moment in time, but unlike a photograph, which only records an event. I thought a painting could give a more universal, deeper meaning to that moment by composing one instant from lots of different unrelated moments." Its original title was a line from Thomas Hardy's poem "She, to Him": Remembering mine the loss is, not the blame.The painting was exhibited at the ICA Summer Studio exhibition in London. It has been in the collection of the Tate since 1980. According to The Guardian, it is "one of the most enduringly popular images in the museum's collection". As of 2017, it was not on display.In 2011 The Badminton Game was the subject of an episode in the BBC series Hidden Paintings of the West. | [
"Devizes",
"Thomas Hardy",
"The Guardian",
"Tate",
"BBC",
"David Inshaw",
"ICA",
"Wiltshire"
] |
|
15946_NT | The Badminton Game | Explore the abstract of this artwork. | The Badminton Game is a painting of 1973 by the English painter David Inshaw. It was inspired by the gardens of Devizes and the landscape of Wiltshire. Inshaw has described how the place gave him a feeling of "mystery and wonder". He wrote about the painting: "my main aim was to produce a picture that held a moment in time, but unlike a photograph, which only records an event. I thought a painting could give a more universal, deeper meaning to that moment by composing one instant from lots of different unrelated moments." Its original title was a line from Thomas Hardy's poem "She, to Him": Remembering mine the loss is, not the blame.The painting was exhibited at the ICA Summer Studio exhibition in London. It has been in the collection of the Tate since 1980. According to The Guardian, it is "one of the most enduringly popular images in the museum's collection". As of 2017, it was not on display.In 2011 The Badminton Game was the subject of an episode in the BBC series Hidden Paintings of the West. | [
"Devizes",
"Thomas Hardy",
"The Guardian",
"Tate",
"BBC",
"David Inshaw",
"ICA",
"Wiltshire"
] |
|
15947_T | Statue of Captain James Cook, The Mall | Focus on Statue of Captain James Cook, The Mall and discuss the abstract. | A bronze statue of Captain James Cook by Thomas Brock is located near Admiralty Arch on the south side of The Mall in London, United Kingdom. The statue was completed in 1914 and is maintained by The Royal Parks. It is mounted on a stone plinth.The idea for the memorial was first proposed by Joseph Carruthers, the former prime minister of New South Wales, who had written to The Times complaining of the lack of a statue to Captain Cook in London. The completed work was unveiled on 7 July 1914 by Prince Arthur, Duke of Connaught and Strathearn. | [
"The Royal Parks",
"bronze",
"Thomas Brock",
"The Mall",
"Admiralty Arch",
"James Cook",
"The Times",
"Prince Arthur, Duke of Connaught and Strathearn",
"Joseph Carruthers",
"London",
"New South Wales"
] |
|
15947_NT | Statue of Captain James Cook, The Mall | Focus on this artwork and discuss the abstract. | A bronze statue of Captain James Cook by Thomas Brock is located near Admiralty Arch on the south side of The Mall in London, United Kingdom. The statue was completed in 1914 and is maintained by The Royal Parks. It is mounted on a stone plinth.The idea for the memorial was first proposed by Joseph Carruthers, the former prime minister of New South Wales, who had written to The Times complaining of the lack of a statue to Captain Cook in London. The completed work was unveiled on 7 July 1914 by Prince Arthur, Duke of Connaught and Strathearn. | [
"The Royal Parks",
"bronze",
"Thomas Brock",
"The Mall",
"Admiralty Arch",
"James Cook",
"The Times",
"Prince Arthur, Duke of Connaught and Strathearn",
"Joseph Carruthers",
"London",
"New South Wales"
] |
|
15948_T | Empire Towers | How does Empire Towers elucidate its abstract? | Empire Towers is a public artwork by sculptor R.M. Fischer. It currently resides on the grounds of the Indianapolis Art Center Indianapolis, Indiana, United States. It is on loan from the Carl Solway Gallery in Cincinnati, Ohio. | [
"Indianapolis",
"Carl Solway Gallery",
"Indianapolis Art Center",
"public art",
"R.M. Fischer",
"Cincinnati"
] |
|
15948_NT | Empire Towers | How does this artwork elucidate its abstract? | Empire Towers is a public artwork by sculptor R.M. Fischer. It currently resides on the grounds of the Indianapolis Art Center Indianapolis, Indiana, United States. It is on loan from the Carl Solway Gallery in Cincinnati, Ohio. | [
"Indianapolis",
"Carl Solway Gallery",
"Indianapolis Art Center",
"public art",
"R.M. Fischer",
"Cincinnati"
] |
|
15949_T | Empire Towers | Focus on Empire Towers and analyze the Description. | Empire Towers consists of two stainless steel grain silos standing tall on four poles. The tops of the silos are capped off with designs that are similar to those found on Royal Guard helmets. | [
"Royal Guard",
"helmets",
"grain silo",
"stainless steel"
] |
|
15949_NT | Empire Towers | Focus on this artwork and analyze the Description. | Empire Towers consists of two stainless steel grain silos standing tall on four poles. The tops of the silos are capped off with designs that are similar to those found on Royal Guard helmets. | [
"Royal Guard",
"helmets",
"grain silo",
"stainless steel"
] |
|
15950_T | Empire Towers | In Empire Towers, how is the Artist discussed? | Sculptor R.M. Fischer uses objects found in the industrial, plumbing and electrical industries to sculpt, by hand, functional artworks. His early works appear metallic and thin, while his current works are seen as having "a decidedly feminine character and deals with a sculptural volume that is more Botero than Giacometti." Often abstract in appearance, his works often seem robot-like in what has been described as "futuristic and nostalgic." His artworks are found in public and private permanent collections worldwide including the Port Authority of New York and New Jersey and Union Square Colonnade in San Francisco's Union Square Park.Empire Towers was commissioned by art gallery owner Carl Solway to encourage Fischer to create larger-scale sculptures. The "towers" are considered seminal works in Fischer's career, credited with triggering major commissions for the Massachusetts State House, Battery Park, MacArthur Park and the Kansas City Convention Center. | [
"futuristic",
"nostalgic",
"Botero",
"Massachusetts State House",
"art gallery",
"Kansas City Convention Center",
"robot",
"Union Square Park",
"Battery Park",
"Union Square Colonnade",
"Giacometti",
"MacArthur Park",
"abstract",
"Port Authority of New York and New Jersey",
"R.M. Fischer",
"robot-like"
] |
|
15950_NT | Empire Towers | In this artwork, how is the Artist discussed? | Sculptor R.M. Fischer uses objects found in the industrial, plumbing and electrical industries to sculpt, by hand, functional artworks. His early works appear metallic and thin, while his current works are seen as having "a decidedly feminine character and deals with a sculptural volume that is more Botero than Giacometti." Often abstract in appearance, his works often seem robot-like in what has been described as "futuristic and nostalgic." His artworks are found in public and private permanent collections worldwide including the Port Authority of New York and New Jersey and Union Square Colonnade in San Francisco's Union Square Park.Empire Towers was commissioned by art gallery owner Carl Solway to encourage Fischer to create larger-scale sculptures. The "towers" are considered seminal works in Fischer's career, credited with triggering major commissions for the Massachusetts State House, Battery Park, MacArthur Park and the Kansas City Convention Center. | [
"futuristic",
"nostalgic",
"Botero",
"Massachusetts State House",
"art gallery",
"Kansas City Convention Center",
"robot",
"Union Square Park",
"Battery Park",
"Union Square Colonnade",
"Giacometti",
"MacArthur Park",
"abstract",
"Port Authority of New York and New Jersey",
"R.M. Fischer",
"robot-like"
] |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.