🔎 _exists_:"list:himalayan-south-southeast-asian-and-islamic-art" | Mia

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Found in a temple near Pondicherry. The figure represents cosmic activity. The significance of the gestures is as follows the drum in the right hand signifies creation; the fire in the upper left hand, destruction; the abaya (fear not) position of the lower right hand, protection; the position of the raised left foot, salvation; the foot placed on the prostrate dwarf, Apasmarapurusa, removal of illusion/ignorance. — Shiva Nataraja (Lord of the Dance), c. 1100
India

G211

A yogini bearing a jar. One of 19 known sculptures from a set originating in Kanchipuram, Tamil Nadu, India. — Yogini with a jar, early 10th century
India

G211

Head from an image of a diefied king carved in sandstone wearing a very elaborate crown and a diadem tied with a knot at the back of his head. Crisply delineated facial features carved in high and low relief. Original encrusted patina. First Angkor style, style of Koh Ker, Cambodia. — Head from an image of Vishnu or a deified king, early 9th century
Khmer

G213

Mandala of colored sand on wood; Yamantaka (Conqueror of Death) is represented at the center by the blue 'vajra'; consists of a series of concentric bands; outermost represents burial grounds with a landscape and animals; moving inward are a circle of flames, a circle of 'vajras' and a circle of lotus petals; these bands circumscribe a quadrangle with gates at the four compass points; innermost square divided into triangular quadrants and an inner circle is divided into nine units containing symbols which represent various deities; attributes of the five senses are depicted in the four outside corners — Yamantaka Mandala, 1991
Monks of the Gyuto Tantric University

G277

Buddha; traces of gilt on patina; face is square, mouth is wide, nose is flat and hair curls are large - all indicative of the classic style evolved bt the early Dvaravati sculptors — Buddha Head, 8th century
Cambodia or Thailand

G213

Khmer style of the Bayon; frontal stance; probably had extended hands; narrow shoulders and wider hips; eyes are closed; physiognomy relaxed; sublime expression — Prajnaparamita, late 12th-early 13th century
Cambodia

G213

Manuscript of the Baharistan, confronting illuminated pages and double frontispiece miniature. The Beharistan by Jami; Manuscript by Mir Husain Al Husaini the year 908 of Hijra Miniature, double fonts, Executed in Bukhara for the Sultan Abu'l-Ghazi 'Abdu'l-'Aziz Behadur Miniature is signed Mahmud al-Mudhahhib (in Fehzadian Tradition) Binding is made in Half size mold, inside paper is filigree Identification by Attinghausen-March 1957. (Fine Quality) — Manuscript of the Baharistan (Spring Garden), 1551
Mir Husain al-Husaini; Painter: Mahmud al-Muzahhib (Mahmud "the gilder")

G243

Illustration from the 'Gulshan-i 'Ishq (Rose Garden of Love). A man holds a large bag of clothes seated under a tree, upper center, seven fairies playing in a pool with fountain are gesturing to him, figures surround on four sides by a garden — Raja Bikram Collecting the Clothes of the Bathing Fairies, c. 1710
Mulla Nusrati

Not on View

Lion; standing on its four paws, the tail arched over the back; surface decorated with very fine granulation and tiny ringlets of twisted wire; gold — Statuette of a lion, 11th-12th century
Unknown

G243

rectangular form on bracket feet; hinged beveled cover; inlay overall with central palmette medallion with pendant element and corner pieces with cartouche borders; side with trefoils forming trellis pattern with similar borders — Storage Chest, 17th-18th century
Turkey

G243

brown dripped glaze over tan vessel; drum-shaped; six small handles and ring of petals at top below lip; incised scrolling chrysanthemum designs and stamped circles, and circle and almond-shaped flower forms — Storage Jar, Ly dynasty, 11th-13th century
Vietnam

G213

half-conical open base made of bands of graduated sizes (breast of bird); head with large eyes and scrolling beak with headcrest and pair of "ears"; fan of peacock-like tailfeathers; scrolling motifs and wheel-like roundels; brown, red, black, and white; received attached to small wheeled base with metal armature/stand — Processional image of a Large Swan (Velya Annam), 19th century
India

G211

image of a green, blue and brown bird on a branch preening its wing; gold frame with glass — Indian Roller on Sandalwood Branch, 1779
Sheikh Zain al-Din

G211

Page from the 'Chahar Magaleh' (Four Discourses also known as 'The Mirror for Princes'. Probably made for Baysonghar, the grandson of Tamarlane. Miniature. — al-Mam’un Proposes Marriage, 1431
Baysunghur school

G243

Powder Horn, carved ivory, with original silver fittings; carved images of wild animals; Mughal Dynasty — Powder flask, c. 1590
India

G243

Buddha, bronze figure of, Marching. The figure, in marching position, is stiffle erect, the left foot forward; the left arm is bent at the elbow, the hand raised, palm outward; the right arm, braceleted at the elbow, is down. The ears are weighted, without earrings, and the hair, composed of small, spiky curls, is surmounted by a flame. Some of his features, which display the supernatural anatomy of Buddha, include projecting heels, long fingers, smooth skin the color of gold and elongated arms. The figure wears a straight, girdled robe,leaving the right shoulder bare. Traces of gilding remain on back of robe, under left arm, on hair and in ears. — Walking Shakyamuni Buddha, 15th century
Thailand

G213

figure seated on lotus, proper right leg hanging off and supported by smaller lotus; lotus growing from both palms and flowering at shoulders; elaborate headdress and oversize earrings — The Bodhisattva Avalokitesvara, 1403-1424
China

G214

Bowl. Lady on an elephant. Mounted attendants. Polychrome overglaze. Minai type. Earthenware — Bowl Depicting a Lady Riding an Elephant, c. 1180-1220
Iran

G243

Vishnu on a lotus pedestal flanked by his principal consorts; holds a mace, sun dish (cakra), conch and lotus blossom in his four hands; various animals and mythical creatures in background; figures shown at base. — Vishnu with Lakshmi and Sarasvati, Pala period, 11th century
India

G211

Tile, Sultanabad, pottery, raised blue inscription on black and white floral background. — Painted tile with Qur’anic inscriptions, likely from a mosque or tomb, one of a pair, late 13th - early 14th century
Iran

G243

dark green complected Parsvanatha seated in the lotus posture with cosmic diagram superimposed over his body, represented by nine circles or mandalas — Cosmic Parsvanatha, c. 1525
Jain

Not on View

This book cover originally protected the Buddhist manuscript known as 'Prajnaparamitasutra' (The Perfection of Wisdom); three seated figures across central panel--central figure is 'Prajnaparamita'; two of her four hands hold a 'vajra' and a sutra; the other two are in the 'abhaya' and 'dyana' positions; Padmapani stands to her right and Green Tara to her left; six smaller Buddhas are seated across the bottom of the border and four are seated across the top; foliate forms and mythological beasts are between the Buddhas — Prajnaparamita book cover, c. 1200
Tibet

G212

reddish carved openwork stone; central arch with wide border with open stars; top corners contain rosettes on one side and 'Allah' on the other; central trellis design of curving lines; attached to mount — Jali (window screen), Mughal dynasty, c. 1600–20
India

G211

Seated female figure from head to knees; legs apart, PR hand where PR knee would be; PL hand raised in front of chest; wearing gold headdress and earrings with turquoise inlay and other gold jewelry; face gold, blue hair — Green Tara, 14th-15th century
Tibet

G212

Vessel in the Shape of a Buffalo with cylindrical body, small downward-pointing tail and small ears and horns; cylindrical vessel mouth on top of buffalo's back; body of buffalo decorated with incised geometric shapes — Ceremonial vessel in the form of a Water Buffalo, 1000-300 BCE
Unknown

G213

ten framed etchings of floor plans with cities and dates, each rendered in black pigments on cream-colored paper with natural fibers embedded a. floor plan with a pointed roof made up of two connecting triangles; four connecting squares make up the base of the house, and join with the triangles; two smaller rectangles connected on right and left sides, and join with the bottom squares; two black line extend off of the bottom of the house b. rectangular floor plan, with an opening at the top left and bottom right; two closed off square sections on the right inside the rectangle, each with openings on the top and bottom edges; larger 'open' area on the left, with a 'hallway' running horizontally on bottom right inside the rectangle; faint gray shading around floorplan c. rectangular floor plan shaded in gray pigment; circular shape/ room in URC of rectangle; small rectangle extending off of the bottom right corner of rectangle; rooms divided into smaller rectangular sections on top and bottom of inner side of rectangle d. square shape in center with thicker black lines; thin line making a rectangle shape at inner bottom of square; square is approximately 6" x 6" in size e. two shaded square floorplans, one is located in URQ and another is located in LLQ; top right square has divisions of smaller rooms, with a 'staircase' extending off the bottom outer edge; lower left square also has smaller rooms divided within, and a 'staircase' in center of square f. square floorplan that is 6-1/2" x 6-3/4" in size; three horizontal rectangles on the left side inside the square; longer, vertical rectangle on right, inside the square, with a small square in URC inside the outer square; linear gray shading inside larger square g. rectangular floorplan positioned vertically, with two larger rooms divided on the top and bottom; two smaller rooms extending off the upper left side of rectangle h. two rectangular floor plans placed vertically, staggered and perpendicular to each other; top right floor plan has smaller room at t — Homes I Made / A Life in Nine Lines, 1997
Zarina

Not on View

Village Story Blanket, cotton, fold and tuck applique, embroidered and lined H.110 x W.94 in; village scenes, all captioned, and outer border of animals, also labeled — Village Story Blanket, c. 1980
Ka Zoua Lee , born Laos

Not on View

Text from Sura 37 and Title and Text from Sura 38. Four vertical paper pages with 12 lines of Neskhi writing to the regular page. Consonants, diacritical marks, vowels, reading marks in black, only the words 'Glory be to the Lord' or just 'Glory', 'God' in gold. The page (with decorative chapter heading) starts with the Sura 37 verse 177 and ends at verse 6 of Sura 38. The chapter heading says 'Sura Sad(which is a letter of the alphabet, and the character with which the actual sura starts) eighty-six verses of Mekkan origin'. The first of the predeeding page starts wit Sura 37, verse 99 and the text is continuous. On the second page a decorarive marginal disc indicates the begining of a section for the daily reading portion. The decorative frontispiece and four leaves with chapter headings are in the Freer Gallery of Art (30.55-59). — Page from the Koran, c. 1350
Egypt

Not on View

Shakyamuni seated on a throne, flanked by 2 Bodhisattvas and surrounded by 8 rows of seated deities and monks; red, gold, green and blue — Shakyamuni Buddha, 1440-1470
Tibet

Not on View

Head shawl, fine white cotton, thickly embroidered with poplar (?) leaves in red silk in long satin stitch, the stems in green chain stitch. Narrow border around entire shawl of the same, flanked by yellow couched black silk floss. Wide cotton border at each end divided into compartments carrying formalized red and green trees. Three vertical seams. — Woman's wedding veil (Abochhini), 19th century
Pakistan

Not on View

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