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Image of 2002.7.1 - Unknown

2002.7.1 - Unknown

Double spouted vessel in the shape of a hawk on one side, hawk has a whistle in the back of its head, painted in yellow, black, white, and orange, from the Wari culture of Peru.

Image of 2002.7.44 -

2002.7.44 -

Moche ceramic frog/toad vessel in orange and tan, toad's body is half tan half orange and handle is orange, stirrup spout vessel used for drinking ceremonial chicha or corn beer, the toad was a shamanistic device to accompany the user into a trance or psychic flight. The ceramic Vessel in the form of a frog or toad seen here is part of a long-standing Moche tradition of portrait-like ceramic vessels that included both animals and human heads. While it is easy to be charmed by these works on an aesthetic level, it is important to remember that it is likely that they were functioning simultaneously on a symbolic plane in what Rebecca Stone-Miller has described as an emphasis on verity over

Image of 2002.7.9 -

2002.7.9 -

This Huarmey tapestry sleeve has images of two warriors holding staffs, central rectangular panel with two animal images, zigzag pattern in blue along bottom, red, white, blue, yellow, purple, and black colors. According to the Andean scholar Rebecca Stone-Miller, Huari textiles "seem to celebrate geometry itself; their designs read as grid-based, rectilinear, strikingly coloristic, dynamic, and, above all, illegible pattern." As illegible as the fragment may appear, it is nevertheless clear that Huari weavers-typically women, often in collaboration-learned to express themselves, and to express state initiatives, in a language of abstraction. The abstracted iconography favored by Huari wea

Image of 2003.3.1 -

2003.3.1 -

This sculpted Muchalinda Buddha is an icon that records the Enlightenment at Bodh Gaya, one of the eight major events in the life of Buddha. Once painted with lacquer, the sculpture represents the artistic tradition of Southeast Asia. This is the region where Theravada Buddhism prevailed, with its focus upon the historical Buddha and his former incarnations. Positioned frontally, the Buddha sits cross-legged in a posture of meditation on bulging snake coils with honeycomb scales. Buddha is attired in the vestments of a monk, his sash and robe defined by curving double lines. His strongly structured face, rendered with a tranquil but profound expression, features a broad forehead, wide, sq

Image of 2007.11.2 -

2007.11.2 -

Central coast cultures such as the Chancay are known primarily through burial goods. Vast numbers of textiles have been preserved from the area, though little is known about their specific context because most were recovered by looters, and only a few have been excavated scientifically. Chancay tombs were notable for their textiles and included elaborate gauzes such as the cotton Panel seen here. This type of monochrome openwork with square spaces and embroidery is unique to Chancay and is reminiscent of fishing net. As such, it reflects a textile tradition that developed out of net-making needs, and it signifies the culture's long history fishing the Humboldt Current off the Peruvian coas

Image of 98.4.1 -

98.4.1 -

Woven decorative fringed border with mythological beings. Keeping in mind that some Paracas embroideries measured up to 85 feet long,this piece is a small fragment of the border of a much larger piece. It nevertheless contains a great deal of valuable information for understanding the Paracas textile tradition and the culture as a whole. The border strip shows a row of repeating anthropomorphic figures with outstretched limbs, suggesting that they are in flight. The color scheme is typical of Block Color embroideries (see Notes), with a predominance of rich green, red, yellow, and orange hues. The figures wear stylized masks revealing only a triangular chignon of hair that seems to proje

Image of P89 - Potter, Paulus

P89 - Potter, Paulus

Etching "Cows" by Paulus Potter (c.1625-1654).

Image of 57.50 -

57.50 -

Set on a trumpet-shaped, octagonal foot, this lamp has an elongated body and flaring spout. The oval loop handle in the rear of the lamp is surmounted by a small bird. The keyhole-shaped opening in the top of the body, used for filling the lamp with oil, originally would have had a hinged lid, possibly with a second small bird on top (as known from other surviving examples of such lamps); part of the hinge is visible on the rim. Seljuq period, 13th century AD

Image of 57.70 -

57.70 -

The design on the inside of this bowl depicts horses and riders within arabesques under the inside rim; possibly a fifth figure was depicted in the worn bottom medallion. The horsemen have been identified as polo players. The game of polo dates back to the 6th century BC in Iran. It was played by aristocrats and kings, and this may explain why the horses represented on this bowl are arrayed in decorated fabrics. The figures and facial types of both people and horses are characteristic of Seljuq ceramics of the 12th to early 13th century, especially ceramics from Kashan workshops. The luster technique of decorating pottery was developed during the Abbasid period, in the 9th century. The metall

Image of 57.71 -

57.71 -

This one-handled jug has a melon-shaped body and beaked spout. It is decorated with geometric motifs, and animal figures that correspond nicely to the contours of the vessel. On the main panel of the body is a figure of a standing woman. Silhouette figures often stand-alone though it is usual for human and animal forms, whenever they occur, to be superimposed on a foliage background. Fish, water, woman and horse all relate to Sufi mystical metaphors. The stippled pattern on the female figure may have been intended to give the image depth. The shape of this pitcher is common in Seljuq metalwork. It is a phenomenon of many cultures, including Islamic ones, to imitate objects of more expensi

Image of 58.32 -

58.32 -

This open bowl has a gently curved body profile and a scalloped rim. The interior is decorated with a blue and white trellis design, inhabited by birds, fish, and plants. The free-form nature of the figural motifs adds to the charm of the object. The overall apparent symmetry of the pattern is not strictly maintained; note the two stylized forms and the frog that interrupt the radiating row of fish. When filled with water, the animals would appear to swim in the bowl, and the animals rimming the bowl’s interior would be reflected in the surface of the water. This bowl is a lovely example of "minai" ware from Kashan, with enamel painting on a white ground. This type of polychrome pottery wa

Image of 58.33 -

58.33 -

This turquoise terracotta bowl shows two birds with spread wings, separated by two quatrefoils on a plum ground. In this example decoration was applied onto the pot, painted in black slip under a turquoise glaze to create a silhouette effect. Large birds, animals, and fabulous creatures form the bulk of the imagery from this period. Iran, 800 AD - 1000 AD

Image of 59.128 -

59.128 -

Circular plaque or seal with a seated figure in a low relief, the figure sits on a chair with a high back and holds a stick or sword and is surrounded by scorpions and other animals/forms, the reverse is smooth, possibly East Christian or Byzantine. 500-1200 AD

Image of 61.10 - Barye, Antoine-Louis

61.10 - Barye, Antoine-Louis

Antoine-Louis Barye (1796-1875) was an innovator who popularized sculptures of animals in many phases of their lives. He set in motion a school of sculptors known as the "animaliers." His knowledge of animals and the way he proportioned their bodily structures give his works great vitality and force. Authentic "Barye Bronzes" are superb renderings, showing the unobstructed powers of animals, their emotions and a breadth-of-life quality. This bronze sculpture is characteristic of Barye's work, and its greenish casting that makes a dull sound when tapped is due to the special alloy of copper and lead. There are no die-stamp numbers on the base, so it is impossible to know the number of this

Image of 59.177 - Beyer, M.

59.177 - Beyer, M.

Made in Augsburg, Germany, about the middle of the 17th century, this piece stands 2 feet high and is made from carved wood with silver inlaid details. It represents a peasant woman carrying a basket on her back. Her head is crowned with grapes and in the grapes are the grasshopper, a lizard and a bird eating a grape. She has big eyes and old face with wrinkles on her forehead and cheeks. She is dressed in traditional folk dress. In the middle ages rich farm women would wear gold coins on their costumes. The coins jingle when a woman walks warning everyone around that a prominent person is arriving. This peasant woman is wearing traditional dress with ruffled shirt and belt. Her skirt is gath

Image of 59.19 -

59.19 -

Egyptian mummy case for a falcon, carved wood with traces of paint, back is missing, dated to Third Intermediate-Late Period, 1070-664 BCE, 1085-332 BC, by Dr. R. Bianchi (4/91).

Image of 61.66 -

61.66 -

Coptic tapestry woven oval textile fragment from a tunic, black on brown background with birds and fish on border, two figures and tree in center. In the Byzantine period artisans transformed the imagery available to them to relate to Christian iconography, such as is seen in the central image of Adam and Eve and the tree of life on the fragment here.

Image of 61.3 -

61.3 -

This ivory lion statuette, seated with all paws on the base, is convincingly depicted. The carver demonstrates the precision of his skill with stylized details, such as rendering the top of the lion’s tail and neck with parallel lines. There is also an added touch at the top of the lion’s head, where strands of curving hair break from the stylized pattern of the rest of the mane. These stylized motifs could demonstrate that this statuette is from India, since lions are important motifs in Buddhist sculpture and are portrayed as lifelike. Unfortunately, however, there is no indication whether it is a Buddhist or a secular lion. Ivory carvings produced during the Mughal period in India (1526

Image of 61.65 -

61.65 -

Coptic Egyptian black on brown tapestry woven textile fragment, square with medallion center, border decorated with putti, animals, and vegetal designs. This fragment shows the classical motifs of the spiral and wave pattern in the borders. Craftsmen had at their disposal a vast storehouse of images, many of which circulated in the form of patterns, a few of which have survived on pappyri. Examples of classical imagery are seen on this tunic fragment.

Image of 61.74 -

61.74 -

This tomb figure, in the form of an imposing creature, is powerful in appearance although small in stature. Full-bodied and winged as an "incorporeal spirit," it is positioned on squat hind legs on a raised double cylindrical platform. The muscular beast turns its head to the left, with a severe grimace and frowning expression indicated by squinting eyes and straining eyebrows. The lively gesture and pose of the beast are necessary for a guardian tomb figure, whose sole purpose is to protect the deceased from trespassers and evil spirits. Other outstanding features that define its mythic, unearthly dimension include fleshy, antenna-like horns, a coiling snake that nestles beneath its chin, an