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art inde - Death Of Bali (1790)
An emotional scene of grief and pathos, The Death of Bali depicts an incident from the Ramayana, one of the great epics of Indian literature. The painting originally formed part of a manuscript of the story. In search of his kidnapped love Sita, the hero Rama has befriended the king of the monkeys, Sugriva, whose throne has been taken by his evil brother Bali. Rama promises to help Sugriva regain his throne if he and his followers will help search for Sita. Sugriva agrees and then challenges Bali. Just as Sugriva seems to be losing the battle, Rama intervenes, mortally wounding Bali with an arrow.The painting depicts the moment when Bali, close to death, admonishes Rama for shooting him. Rama, dressed in a leafy skirt and accompanied by his brother Laksmana, is unrepentant, declaring that Bali deserves to die for usurping Sugriva's throne. While Bali's courtiers grieve openly or huddle together in stunned confusion, Sugriva has taken back his golden chain of office and sits to the far left, grimly observing the scene. Bali's wife Tara, who has taken human form, tenderly pillows his head in her lap. Overcome, Angada, Bali's son, embraces his bleeding father. A great cave with the golden palace of the monkey king can be seen in the background. The landscape depicted is not that of the dry, rocky area of Kiskindha where the story takes place, but rather the lush landscape of the region of Kangra in northern India, where this painting was made.The series to which this painting belongs dates from the reign of Raja Sansar Chand (1775-1823), when the full lyrical naturalism of Kangra painting was realized.
Manohar - Scenes From The Childhood Krishna (1655)
art egyptien - Stele of Zezen-nakht (about 2000 BCE) ()
The figure of Zezen-nakht stands as a commanding presence on this stele, a free-standing marker stone, set up in the offering chamber of Zezen-nakht's tomb in the huge cemetery at Naga-ed-DÄ™r, a village about seventy miles northwest of Luxor. Zezen-nakht must have been the ruler of an area along the Nile River during the First Intermediate Period, after the centralized government of the Old KingdomÂ—the age of the pyramid buildersÂ—had collapsed, but just before the reunification of Egypt under the first kings of the Middle Kingdom.The boldly painted figure embodies the power and nobility idealized by the Egyptians. The trappings of wealth and success are neatly renderedÂ—curled wig; clean-shaven face; broad collar and wrist bands made of carnelian (red), gold (yellow), and faience (blue) beads; linen kilt; and tooled leather sandals. Zezen-nakht is shown with reddish-brown skin, the Egyptian convention for men, who worked out of doors in the sun. The long staff and scepter are traditional emblems of authority.The Stele's bottom register depicts offerings for Zezen-nakht to consume in the afterlife: bread and onions, beef and birds, beer, and alabaster jars filled with wine and perfumes. Hieroglyphic words are oriented to the right, to show that they are spoken by Zezen-nakht:(line 1) An offering which the king gives to Anubis, he who is upon his mountain, he who is bandaged, lord of the necropolis, that the voice may go forth with bread and beer for (2) the Hereditary Prince, Overseer of the Army, he who speaks up (3) and the nobles are silent on the day of the great council, (4) Zezen-Nakht says: "I am one beloved of his father, (5) praised of his mother, whom his brothers and sisters love, (6) I am one beloved of his young recruits, pleasant to his family."
mondrian (piet) - Composition With Red, Blue, Yellow, Black, And Gray 1922 The Toledo Museum of Art.jpg