Sophie Taeuber-Arp, Watercolor, 1927
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Sophie Taeuber-Arp, Watercolor, 1927
Louis H. Sullivan (American, 1856–1924), Spandrel Panel from the Gage Building, Chicago, Illinois.
Modeled by Kristian Schneider (American, born Norway, 1864–1935) Cast by Winslow Brothers Iron Works (American, 1887–1921).
Processional Cross. Ethiopian, 18th to 20th Century.
Dallas Museum of Art.
Taishakuten (Indra/Śakra), Japanese, 839, at Tō-ji, a Shingon Buddhist temple in the Minami-ku ward of Kyoto, Japan.
Indra, also called Śakra (“the powerful”), is the ruler of the Trāyastriṃśa Heaven in Buddhist cosmology and is known as the “Lord of the Devas.” His name and role originate in the Rigveda, and he appears across many Asian traditions under different names (e.g., Dìshìtiān in China, Taishakuten in Japan).
He resides atop Mount Meru, in a heaven closely connected to the human world. Although long-lived, Śakra is not immortal—each one is eventually replaced by another deity.
Śakra is married to Sujā, daughter of an asura leader, reflecting a complex relationship between gods and asuras, who are often in conflict. Despite this, he is portrayed as a wise ruler who avoids unnecessary violence.
In Buddhist texts like the Jataka tales, Śakra frequently appears as a moral figure who consults the Buddha. Alongside Brahmā, he is regarded as a protector (dharmapala) of Buddhism.
Detail from the Tang-e Savashi relief, the Alborz mountain range, Iran, Qajar, Fath-Ali Shah (r. 1797-1834).
Fath-Ali Shah Qajar (Persian: فتحعلىشاه قاجار, romanized: Fatḥ-ʻAli Šâh Qâjâr; 5 August 1772 – 24 October 1834) was the second shah of Qajar Iran, ruling from 17 June 1797 until his death on 24 October 1834. His reign was marked by the permanent loss of Iran’s northern Caucasian territories—including present-day Georgia, Dagestan, Azerbaijan, and Armenia—to the Russian Empire following the Russo-Persian Wars of 1804–1813 and 1826–1828, and the treaties of Gulistan and Turkmenchay that followed. These defeats have significantly shaped his historical reputation among Iranians, many of whom regard him as an ineffective ruler.
At the same time, Fath-Ali Shah succeeded in transforming what had largely been a Turkic tribal khanate into a more centralized and durable monarchy modeled on older imperial traditions. Under his rule, Iran experienced a period of relative stability and prosperity, saw the strengthening of ties between the state and religious institutions, and witnessed the establishment of key administrative structures. His reign also encouraged a cultural and artistic revival that became a defining characteristic of the Qajar era.
Toward the end of his life, however, mounting financial difficulties and weakening military strength pushed the country toward crisis, a situation further exacerbated by the succession disputes that followed his death. Fath-Ali Shah also commissioned numerous portraits of himself and his court as instruments of royal self-promotion. Most notable among these were the rock reliefs carved at sites in Ray, Fars, and Kermanshah alongside those of the pre-Islamic Sasanian Empire (224–651), reflecting his desire to present himself not only as ruler of Iran, but as the rightful heir to ancient Persian kingship. One such inscription survives at Cheshmeh-Ali in Rey, near Tehran. Photo: Mehr New Agency
“Envelope” (2014) ⊞ Caetano de Almeida · hand-drawn intersecting line grid on paper
“Mirror Image, Peace Demonstration, New Haven, 1970” as “the architecture of social protest formed by mirror, landscape and young people on different sides of the coin.”
Photographer: © Burk Uzzle/courtesy of the Ackland Art Museum, The University of North Carolina at Chapel Hill
Paul Gadegaard
-Nasturtiums-
Sol, Lead votive plaque, Roman, probably 3rd century CE
Barbara Brash (Australian) - Skull of a Triceratops (color screenprint, 1971)
John Pule (Niuean-New Zealander) - Deep Niue Evening (oil, varnish, ink, enamel on canvas, 2023)
Moufouli Bello (Beninese, 1987), Little Big Sister, 2022. Acrylic on linen, 180 x 170 cm.
Carol Baines (British-Australian) - Whimsical (acrylic on linen, 2023)
Djilatendo (Congolese) - Untitled (painting, 1931)
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