Walters' "Recurrence" fills space but suceeeds
While images of Isis and Horus are rather similar to one another, there are several variations. There are two main gestures (Isis presenting Horus or nursing him) as well as two variations on Isis' crown (either cow-horns with a disk in the center or a throne).
Supplementing these Ancient and Medieval images of a mother with her child is one of Eastern and more recent origin. Created in 1886 by Japanese artist Miyagawa Kozan, Kosodate Kannon provides an alternative interpretation of the mother with her child. Kozan's exquisite porcelain sculpture depicts the male Bodhisattvan Kannon holding a child.
The juxtaposition of Ancient Egyptian, Christian and 19th century Japanese figures in The Walters, with a common theme, provides an interesting glimpse into how images can be reinterpreted in radically different cultures.
The exhibition also features the motif of the old sage in Chinese and Japanese art, as well as the image of youths engaging in conversation that can be found in Ancient Greek iconography.
The exhibition, as small as it is, asks pertinent questions and satisfactorily complements The Walters' featured exhibition. By incorporating works of both Western and Eastern origin, the Walters' space-filler provides a valuable lesson in the merit of engaging critical problems of art history with a cross-cultural perspective.
Supplementing these Ancient and Medieval images of a mother with her child is one of Eastern and more recent origin. Created in 1886 by Japanese artist Miyagawa Kozan, Kosodate Kannon provides an alternative interpretation of the mother with her child. Kozan's exquisite porcelain sculpture depicts the male Bodhisattvan Kannon holding a child.
The juxtaposition of Ancient Egyptian, Christian and 19th century Japanese figures in The Walters, with a common theme, provides an interesting glimpse into how images can be reinterpreted in radically different cultures.
The exhibition also features the motif of the old sage in Chinese and Japanese art, as well as the image of youths engaging in conversation that can be found in Ancient Greek iconography.
The exhibition, as small as it is, asks pertinent questions and satisfactorily complements The Walters' featured exhibition. By incorporating works of both Western and Eastern origin, the Walters' space-filler provides a valuable lesson in the merit of engaging critical problems of art history with a cross-cultural perspective.
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