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Name Ceremonial

Associated Records

Image of 2002.7.3 -

2002.7.3 -

One of the most stunning small pieces in the collection, a pair of ChimĂș ear spools from the central or north coast of Peru dating from 1200-1500 C.E., reveals a unique technique employed in Andean feather art. Here, the ear spool's blue, black, and red feathers are glued onto a wooden backing and trimmed into a flower-like pattern emanating from the center. One should note the slight difference in patterning between the two ear spools, for such variations reveal the difficulty of maintaining the strict precision in patterning that can be found in other art forms such as ceramics or woven textiles. But what these objects and other examples of feather art may lack in uniformity, they make up

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 2003.10.2 -

2003.10.2 -

Chavin painted textile section of a tunic, depicts a proto-typical staff bearing figure with fanged mouth and claws visible on the hands and feet, serpents form his staff and hang from his crown, the headband is decorated with a bean motif. A Chavin style fragment with painted images, provides some insight regarding the nature of this cultural exchange. The textile, dating from ca. 400 B.C.E., would likely have been worn by a male of high social standing. The fragment comes from the site of Karwa, located in the south coast of Peru. Some of the earliest remains of cultivated cotton, dating from about 3,500-3,000 B.C.E., were actually discovered in the central coast of Peru and Ecuador, no

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 2003.4.1 -

2003.4.1 -

Tribal mask of Shiva. This mask of Shiva from the Buta tribe in Southern India shows an intimidating face with bulging eyes, sharp pointed nose, and a demonic smile with pointed teeth and overgrown fangs. The face is decorated with traditional ornaments, including round earrings, a beaded chain below the chin, and a crown that projects outward from the brow with small dangling drops representing leaves. The outward projection of the crown signifies his divinity. On his forehead are sun, moon, and fire motifs, known as the three eyes of Shiva. This mask is of a Shivate diety, possibly Shiva, and was kept in a shrine until festival time when it was taken out for use. The workmanship of th

Image of 2008.10.2 - Jume, M.

2008.10.2 - Jume, M.

Dark wood sculpture with large grandmother leading 8 family members in ceremony by M. Jume (African, Makonde, 20th c.).

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 57.21 -

57.21 -

This porcelain vase, from the Song dynasty, 960-1279 AD, has an applied lotus design below the shoulder of the body. A simpler open lotus design, lightly etched into the clay, runs around the base of the vase. Such a piece could have been a collector's item, used as everyday ware, or even figured in rituals by virtue of its lotus decoration. Lotus flowers are important symbols in the Buddhist religion and often decorate ritual objects. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.

Image of 57.22 -

57.22 -

This highly detailed funerary pillow dating from the Song dynasty, 960 AD - 1279 AD, was produced during a period when ceramic ware was highly sought after and exported to regions as far as Eastern Europe and Africa. On this funerary pillow, the ceramic form is painted with free-flowing decoration utilizing a floral pattern of scrolling tendrils. Nested within the vine-like spandrels, a protrusion of flowers bloom to decorate the surface with a whimsical, asymmetrical, repeating surface pattern.

Image of 59.127 -

59.127 -

Circular seal decorated in intaglio with images defined by hatched lines and an inscription near the rim but it is almost impossible to identify the letters. The obverse figure is on a cross, the reverse figure is enclosed in a square, this figure appears to have a mitre on its head. 500- 1300 AD

Image of 60.22 -

60.22 -

Figure of a seated Bodhisattva. Common adornments among Gandhara Buddhism style bodhisattvas iclude large earrings, a short, wide necklace with medallions, a longer braided one with a bead in the middle, and two longer chains across the chest. One of the chains on the chest is worn under the arm, just off the shoulder. Suspended from the former are charms, which represent those worn in real life to protect people from evil. Other attributes inherent in the Gandharan style are arched eyebrows, almond-shaped eyes, and simple halos. This seated bodhisattva displayes all of these elements. 1-300 AD Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art f

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

Image of 62.28 -

62.28 -

The androgynous figure represented in this ivory panel stands within an archway, as if enshrined; surrounded by stylized plant forms. The contours of the body, carved in low relief, are suggested by decorative bands encircling the torso and arms. Folds of drapery are rendered by the schematic use of repeated parallel lines. The clothing, headgear and jewelry are typical of those seen in paintings and sculpture over many periods and regions in the complex of art styles known as Indian art. The art of Ceylon (now Sri Lanka) is best viewed within this larger context, which is characterized by certain common conceptions and forms of design that originated in India and continued to develop in neig

Image of 64.1 -

64.1 -

This ceramic doll of a kneeling boy may represent the child Shotoku Taishi. Crown Prince Shotoku is known from legendary biographies written in the sixth century as having introduced Chinese Buddhism and Confucianism into Japan, bringing relief to an unstable populace. He was heralded as an emblem of just government, and a cult of the child-hero Shotoku first appears in the arts and legends of Japan in the thirteenth century. The doll wears an ornamented gown and holds a bird-like object in his right hand. His delicate and charming facial features reflect an alert state of mind and being, and the open-mouth indicates his powers of speech and is perhaps a prayer. A comparison of the decorat

Image of 64.20 -

64.20 -

Private devotional shrine composed of six grisaille enamel panels forming a triptych; the central panel shows The Pieta; above this central rectangular panel hovers the figure of God the Father in a lunette; flanking panels each show a Prophet standing in a niche composed of a lobed base and baldachino; above the Prophets are angels with instuments of Christ's Passion, and the Prophets carry inscribed scrolls: on the left, "sol et Luna obt enebrti Sunt Venite et Descendie" [Joel 2], on the right, "Tollite me et mitte in Mare" [Jonas 2]; presumably the Prophets' drapery is rendered in a deliberate archaic style, to indicate that they come from a time before the central scene [NAW 1/92] Judg

Image of 64.22 -

64.22 -

The object is a wood sculpture carved in the round from a single block of wood in the form of a frontal portrait bust of a young woman --likely a martyr-- with a decorative hairstyle of looped double braids and wrapped, jeweled head roll. The garment she wears, once gilded, is v-necked in the front and back, with a jeweled trim. The bust, likely a reliquary, would have been used in a devotional context, and set in a niche, on an alter, or carried in processions. Reliquaries were containers to house the relics of saints and other holy persons. During the Middle Ages and the Renaissance, their production was connected with silversmith and goldsmith workshops, of which this example follows t

Image of 66.15 -

66.15 -

This figure of the standing Buddha, with upraised arms and a flame-shaped mandorla topped with a jewel behind the upper half of the figure, shows Tang dynasty style and iconography. It exhibits the long, thin head and limbs and narrow waist. The gilding is significantly worn in many places, revealing the brown bronze core beneath. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.

Image of 66.16 -

66.16 -

This standing figure of the Buddha is likely a depiction of the Buddha of the Future or Maitreya Buddha. Maitreya Buddha is shown in the world, wearing elaborate jewelry, crowns, robes, and other royal adornments. This piece is cast with a loop on the back to be worn as a protective talisman or secured to an alter arrangement. This Buddha wears the monk's robes as well as a girdle and sash, with a hint of an ornamental garland around his legs, shoulders, and head. A jeweled necklace hangs from his neck, and the ushnisha atop his head is pronounced and jewel-shaped. His pendant right arm seems to hold a garland, and his left arm, broken at the forearm, may have held a lotus flower. Referenc

Image of 66.17 -

66.17 -

This figure of the Buddha seated in the posture of royal ease shows a strong iconographical relationship to Indian art along with Tang dynasty style and iconography. It exhibits the long, thin head and limbs and narrow waist. The gilding is significantly worn in many places, revealing the brown bronze core beneath. The sculpture has a basically static, frontal composition. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.

Image of 66.30 -

66.30 -

This figure of the Buddha stands on a simple pedestal, its gentle relief carving shows a schematic rendering of the characteristic "swallowtail" or "waterfall" garment folds that are an interpretation of traditional Buddhist robes. The emphasis on these heavy robes over the nearly imperceptible body beneath is distinctive of the Wei-Longmen style. Reference: Winter, Amy H., with Xiaoping Lin (eds.), "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," Queens College, CUNY, 2003.