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A Yakut woman in traditional dress. The Yakuts engage in animal husbandry, traditionally having focused on rearing horses, mainly the Yakutian horse, reindeer and the Sakha Ynagha ('Yakutian cow'), a hardy kind of cattle known as Yakutian cattle which is well adapted to the harsh local weather.
There are a number of museums as well. These include the National Fine Arts Museum of Sakha, the Museum of Local Lore and History named after E. Yaroslavsky, and the Khomus Museum and Museum of Permafrost. In September 2020, the Gagarin Center for Culture and Contemporary Art was opened in the Gagarin District of Yakutsk. [65]
The image depicts a woman, evidently an ama (a shell diver), enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual ...
Nicholson, Elizabeth S. G. "Diana Scultori." Italian Women Artists from Renaissance to Baroque: National Museum of Women in the Arts. Milano: Skira, 2007; Rocco, Patricia. The Devout Hand: Women, Virtue, and Visual Culture in Early Modern Italy, McGill-Queen's Press – MQUP, 2017 “Splendid Japanese Women Artists of the Edo Period”.
Women in Native American communities have been producing art intertwined with spirituality, life, and beauty for centuries. Women have worked to produce traditional art, passing these crafts down generation by generation, as well as contemporary art in the form of photography, printmaking, and performance art. [1]
After the Yakuts adopted Christianity from the Russians, they began to use Russian clerical names in official concerns.The naming conventions are similar to those of Russian names.
Detail of the lady's head. The painting was executed in oils on a relatively small, 54 cm × 39 cm (21 in × 15 in) walnut wood panel. [9] [10] It depicts a half-height woman turned toward her right at a three-quarter angle, but with her face turned toward her left. [11]
Art historian Mary Garrard believes that Judith Slaying Holofernes portrays Judith as a "socially liberated woman who punishes masculine wrongdoing". [13] Although the painting depicts a scene from the Bible, art historians have suggested that Gentileschi drew herself as Judith and her mentor Agostino Tassi , who was tried for and convicted of ...