![]() ![]() The lacquer artist Tsuishu Yōzei XX is credited with revitalizing and modernizing the carved lacquer art form in the early 20th century. Inside the box, a plain black lacquer finish provides a setting for the simple inkstone and golden water-dropper decorated with cherry blossom petals carried in a flowing stream. The overall 6 millimeters of depth would have required a build-up of over 200 layers of black, yellow, and red lacquer before the work of carving could begin. The crispness and depth of carving is staggering. These elements complement the luscious red-lacquered azalea, subtly carved in undulating form with small black leaves. Set against an orange ground, simply carved yellow-lacquered flower heads are balanced by strong black-lacquered serrated leaves. This box features a balanced design of red azalea and yellow double-flowered kerria. Due to his love of hunting wild ass ( gūr), he became known as Bahrām Gūr. The Khamsa includes the Haft Paykar (Seven Portraits), a narrative poem composed c.1197, describing the exploits of Bahrām V. This detached sheet is from an illuminated manuscript of the Khamsa, a collection of five long poems by Ilyas Yusuf Nizami (c.1141–c.1209) from Ganja in present-day Azerbaijan. Passages of Persian script are visible above and below the image. Other women of his court look in from upper balconies and windows. The pavilion here is green and corresponded with the moon, considered a planet in the 15th-century.īahrām V and Pari Naz are seated on cushions while female attendants serve wine and play music. A famous Persian epic tale imagined that Bahrām married seven princesses, who each lived in a colored, domed pavilion that aligned with a planet and day of the week. This painting shows Sassanian king Bahrām V (r.420–438), ruler of the vast Empire of Iranians, visiting Princess Pari Naz of Khwarazm in the Green Pavilion on a Monday. He became an international figure who was widely published and emulated, and whose influence can be measured around the globe. Wright transcended both his midwestern roots and an American context. Wright was an influential member of the Prairie School, the Midwest’s greatest contribution to the American Arts and Crafts movement. These and other custom-designed furnishings, such as this ceiling lamp, developed from a shared language of motifs and produced a unified design experience. These design features echo the midwestern landscape’s “quiet level.” Leaded glass lanterns, sconces, table lamps as well as windows and screens were important elements in Wright’s Prairie School homes. Frank Lloyd Wright’s Prairie School structures, like the Little House, are long and low with gently sloping roofs, sheltering overhangs, and projecting terraces. In its form, the lamp embodies the home it was designed to illuminate. Large and small squares of colored iridescent glass dot the shade’s perimeter and corners. ![]() This lamp’s shade is a complex grid of intersecting rectangles and squares overhanging a cube-shaped light box. ![]()
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