after Polykleitos, Roman copy of Greek original, the original executed in bronze, c.440 BCE; one of four known extant copies — The Doryphoros, 120–50 BCE
Italy

Not on View

seated Buddha; gilt and red and blue paint — Seated Avalokiteshvara Bodhisattva (Guanyin), late 11th-early 12th century
Unknown

G200

standing horse with legs slightly splayed outward; wide eyes; open mouth with exposed teeth; upward-pointed ears; green patina with white, blue and red pigment traces — Celestial Horse, 25-220
China

Not on View

low relief carving of a Winged Genius, from the Northwest palace of Ashur-Nasir-Pal at Nimrud; a wide band of inscribed writing crosses the slab in the central section — Winged Genius, c. 883–859 BCE
Assyrian

G240

Naraen Kongo, standing figure with arms down, mouth closed. Made of Hinoki wood in yosegi technique of multiple block construction with traces of gesso and polychrome. — Vajra Warrior (one of a pair), mid 14th century
Unknown Japanese

G205

Tripod effigy vessel, large, with the head of a jaguar in high relief. Two legs, finished at the base of the neck with rigid ring handles formed of the jaguar's front legs, represent the hind legs and are pierced and contain pellets. The third support, in the form of a flattened tail, emerges from the back of the vessel. The jaguar head, an oblong, bib-like area below, the legs, and a wide band at the throat, are painted in polychrome with geometric designs on an orange ground. High polish. — Vessel, c. 1100 - 1200 CE
Guanacaste

G260

stone figure with red pigment stands on black wood base with hands touching index figure to thumb; face incised on either side with rectangular markings; headdress crowns figure with large ear ornaments; small drill hole in center of chest — Chalchiuhtlicue, c. 1200-1521
Aztec

G260

False door in the name of Iry-en-Akhet whose "beautiful name" is Iry. — False door, about 2400 BCE
Ancient Egyptian

G250

Seated figure, resting PR elbow on raised PR knee, PL leg bent and on ground and PL arm behind, hand resting on ground; wearing bracelets, long necklaces and elaborate crown — Avalokiteshvara Bodhisattva in the Water-Moon Form (Shuiyue Guanyin), 12th century
China

G200

Door Panel, Mamluk dynasty, wood carved with geometric and arabesque patterns, inlaid with ivory. Panel has modern mount and is set in seperate base which has four small decorative wood panels inset. Remounted 1984. — Door Panel, 14th century
Egypt

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

G200

Small seated dog with short pointed ears and a short tail, curling over on top; uneven incised eyes — Dog, c.100-300 CE
Colima

G260

Standing Bodhisattva of white marble, arms broken off below shoulder. The figure wears a narrow scarf, barely defined, and a skirt girdled at the waist, its upper edge finished with a curling line. Jewelled necklace and long chains. High headdress. Feet missing, head restored at throat where formerly broken off. — Standing bodhisattva, one of a pair, late 6th century
China

G200

Pot in form of Fish with a double spout handle rising from the back. Slight modelling on head, tail, and fin area. Other features painted in grey, black, yellow, red and white. Broken at tail; cracked around head. — Vessel in the Form of a Fish, c. 100 BCE - 600 CE
Nasca

G260

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D. — Sarcophagus of Prince Yuan Mi, 524
China

G208

Romanesque relief-carved stone Calvary group showing Christ on the cross between standing figures of the Virgin Mary on the left and St. John the Evangelist on the right; Christ appears with a perizonium around his waist, his legs buckling to the left and his head raised but with heavy eyelids; Mary's hair is covered by a simple veil which encloses her left elbow and is held in her right hand, looking down, with her left hand raised to her face; Mary's mantle clings to her legs in a series of "damp fold" drapery swirls, and ruffles over her pointed shoes; John holds a book in the crook of his left arm, and with his right hand (fingers now missing) gestures up towards the body of Christ; John's bare feet protrude from under a long garment with a crinkled neckline; just visible above the surviving section of the patibulum of the cross are two small, rounded shapes that most likely formed the tips of a wing, presumably of an angel; five metal pins at top of lower portion for secure installation of heads of John and Mary and torso and head of Christ — Crucifixion, c. 1180
Spain

G340

small standing highly stylized figure with very large coffee bean-type eyes; PR lower arm missing; openings at top of head and at bottom; upturned pig-like nostrils; textured body covered with scrolling designs; looping scrolls around stomach/navel and between breasts; small, widely spaced breasts with pronounced nipples; repeating incised zigzags with textured areas on back of head/hair; dark/black patina — Figurine of a Female, 1000-800 BCE
Japan

G205

Impressionistic landscape with snow and winding brownish-colored brook; small saplings with green leaves; purple mountain in distance; pink, yellow and orange foliage in middle ground — Brook in Winter, 1914
E. Ambrose Webster

G262

seated male baboon with its front paws on its knees and its tail wrapped along the PR side of its body; turquoise blue — Baboon (Moon God Thoth), 7th - 6th century BCE
Ancient Egyptian

G250

at the bottom, a bell-shaped base comprising four overlapping layers of leaves; this is flanked by stalks with bud and flower; at top of bell-shaped base sprouts a central stalk with large lily; serpentine stems and smaller flowers on either side of large lily — Relief with a Floral Decoration, c. 1700
India

G243

Tendai Priest (Patriarch) Portrait of one of the eight high priests of the Tendai Sect of Buddhism in Japan. Kamakura. 1185 to 1392 A.D. Single wood construction; no restoration. — Figure of a Monk, 9th-10th century
China

MS

bronze hollow cast in the lost wax process, representing the goddess Isis in a striding attitude — Goddess Isis, 1st century
Ancient Egyptian

G250

mosaic, oblong representing birds surrounded by foliage and pomegranates in multicolors; known to have come from the floor of an early christian church near Antioch — Birds with Foliage, late 4th-mid 5th century
Turkey

G240

mosaic representing a scene of an elephant attacking a feline, in multicolors.; known to have come from the floor of an early Christian church near Antioch — Elephant Attacking a Feline, late 4th-mid 5th century
Turkey

G240

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 — Statue of a lion, 11th-12th century
Hispano-Moorish

G243

Study for the marble statue in the Loggia dei Lanzi, Florence, Italy — Abduction of Polyxena, c. 1855
Pio Fedi

G357

deep relief carving; Buddha at L seated on a throne with PL hand on head of kneeling Bodhisattva with clasped hands; 7 other figures stand behind and to R and L — Buddha Stroking the Head of a Follower, late 8th century
China

G200

Landscape — The Dunes at Camiers, 1871
Charles-François Daubigny

G355

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

Not on View

Cassone, walnut, Italian XVIc — Cassone (chest), 16th century
Italy

G330

standing Buddha in robe; one knee bent slightly, arms bent but missing; standing on small stone base with figures and a Buddha in high relief — Buddha, 3rd century
Pakistan

Not on View

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D. — Epitaph cover of Prince Yuan Mi, 524
China

G208

Sarcophagus, with accompanying memorial tablet and cover, made for the Chinese General, Prince Cheng Ching, 524 A.D. The six bas-reliefs comprising this group include the two ends and two sides of the sarcophagus, the tablet, and its cover. The sides are decorated in low relief with five groups of historical personages, illustrating filial piety scenes, in a landscape of trees and mountains in which dragons, phoenix, and other symbolical animals roam. The head end bears a scene including a bridge leading over a lotus pond to a gate decorated with 24 bells representing 12 pairs of musical accords. Two guardians flank the gate. The foot end carries a large dragon in a landscape. The memorial tablet bears a long inscription including Cheng Ching's biography, the Emperor's eulogy, and the date 524 A.D. The sides are decorated with large dragons. The cover of the tablet is surrounded by a bevelled edge of conventionalized dragon heads and contains remnants of bronze handles at the four corners. Along the sides, on the top surface, are eight blank squares indicating places for sacrificial vessels. The major figures and forms on the stones stand in relief and have been polished to form an even surface; the spaces betwen were left rough. All six reliefs are in fairly good condition with the exception of the cover for the memorial tablet which has been gouged at the corners. The sarcophagus was undoubtedly carved at Loyang, the Northern Wei capitol from 484 A.D. — Epitaph cover of Prince Yuan Mi, 524
China

G208

wearing the Atef crown, in seated posture — God Horus (Harpocrates), 644-30 BCE
Ancient Egyptian

G250

Goddess Isis holding the infant Horus on her knee — Goddess Isis, c. 664 BCE - 30 CE
Ancient Egyptian

G250

dog shape, with rounded body; thick, tapered tube-shaped tail; small head with large, protruding teeth; small, upright pointed ears; light orange, dark orange and white pigment designs — Vessel, c. 1500
Ugahxpa (Quapaw)

G260

seated figure with legs bent and crossed one on top of the other; PL hand on hip, with elbow bent; very long PR arm with elbow on knee and chin resting on hand; slightly smiling face; large, high-set ears; figure wears a hat with protrusions on top and incised cross-hatched diamonds around edges; stone has tan patina; affixed to bronze-colored metal base — "Ntadi" figure, 19th century
Kongo

G250

The decor of incised lines and spirals on this animal recall those on the Middle Chou water buffalo, Karlgren Number 90 (50.46.113). It should be noted, however, that the spirals on shoulders and hind quarters area here centered by a raised ring with turquoise inlay. These decor figures might point to a similar epoch were it not for certain details that are a clear indication of a later date. The rope pattern around the eyes, on the eyebrows, the fetlocks, and on the dragon decorating the socket, as well as the granulation on the front of the ears and the head of the dragon, point to the Early Huai Style Period. The socket on the back suggests that the tiger served as a podium. Patina bluish- green. — Tiger, 6th-5th century BCE
China

Not on View

The sculpture quality of these dashing beasts is admirably conveyed by their carriage, the proud pose of their heads, and the almost arrogant suppleness of their bodies. The forceful comma-shapes of the tails and their jaunty tufts, as well as the double-rope pattern on the mustachios, give ample proof that, in spite of the scale that, in these creatures must be dated later than Middle Chou. Patina grey-green — Winged dragon, one of a pair, 5th-4th century BCE
China

Not on View

The name Kuei for this vessel type is well established in the early literature. The surfaces of the vessel are divided into four vertical panels by four flanges on the foot, two flanges and two handles on the body. These narrow, thin flanges contrast contrast sharply with the heavy handles and their massive bovine heads. The principal figures in the decor, executed in low relief except for the strongly protruding eyes, are so covered with adorning lines that they tend to merge with the ground of squared spirals. In the foot belt are rudimentary t'ao-t'ieh masks, the central line formrd by two of the flanges, and two consecutive, head-turning dragons with C-shaped horns. The mask t'ao-t'ieh on the belly, with ordinary features strongly detatched, is flanked by vertical dragons. The flanges form the centers of two such t'ao-tieh, the handles of two other masks in which the face (nose and hooked forehead shield) has been cleft, leavint an interstice as broad as the handles between the two halves. This space under the handles is decorated with a bovine head in flat relief, thus creating a small t'ao-t'ieh inside a larger one. The neck belt displays dragons with oversized beaks. Patina blackish. — Gui food vessel, 11th century BCE
China

Not on View

Jia wine vessel, 12th century BCE

China

Not on View

This vessel, the disposition of its decor on a bare ground, the panels and the system of flanges, free animal's heads, and handles that delimit them, are the same as in the Kuei 50.46.19, Karlgren pl.49. The beaked dragons in neck and foot belts have the unusual feature of an additional plume which hangs down from the curled-up tail. The handles are topped with rams' heads and terminate at the bottom with a C-hook reminiscent of the bird's tail on vessels 49 and 52. Most interesting feature of the vessel is the decor on the bottom surface. It is a coiled dragon, in threadlike relief, with a rolled-up nose and a body adorned with a row of big scales. A foot with claws and fetlock is seen on the inside curve. The outer edge of the body has tufts which in pairs form C-figures. The space behind the tail has been filled out with a simple figure with is really the rudiment of a dragon body. Patina grey-green. — Gui food vessel, 11th-10th century BCE
China

Not on View

cloisonné bottle; rounded bottom section on gold ring foot; shoulder tapers to long spout which slightly flares outward at top to ring mouth; floral, leaf, and scroll designs, with dark and light blue band with geometric pattern at base of spout — Vase, 18th century
China

Not on View

The principle surface displays a rectangular field of interlocked T's on a ground of squared spirals framed on three sides by rows of spikes. Scored flanges at the four corners of the vessel are supplemented in the upper belt by additional flanges which thus divide it into eight panels. Antithetical, long-tailed birds flank the short flanges forming the central ridge of a rudimentary t'ao-t'ieh mask. Hanging blades appear on the cylindrical legs, and disfigured dragons in flat relief on the outer surface of the upright handles. Patina green — Fangding food vessel, 11th century BCE
China

Not on View

This ting represents the Huai style at its extreme point in the matter of the vessel shape. The tradition that in this style the body of the Ting is big and bulky in proportion to the extremely short, thin legs, is here carried to the ultimate degree. The high lid, its ring-shaped top capable of serving as a foot if the lid is inverted, is fully spherical in shape. The legs are very small and thin and display a t'ao-t'ieh with spiral horns on their upper parts. (The t'ao-t'ieh, all but extinct during Middle Chou, reappeared in the Huai Style Period). Dissolved dragon rigid ring handles are adorned with a row of cowries bordered by rope-patterned bands. On the top of the lid, a loosely twined cord pattern encloses a quartefoil with its central disk filled with granulation. Patina blue-green. — Vessel with Cover, 5th-4th century BCE
China

Not on View

'Kia', with uprights. A strongly S-profiled wall, its inward curvature placed low, creates a high, flaring collar decorated with a band of dragonized t'ao-t'ieh. Above is a row of rising blades filled with stylized cicadas. On the body, three deeply scored flanges form the central ridges of three dissolved t'ao-t'ieh on a spiral ground. The handle is surmounted by an animal's head with well defined feratures. The upper part, forming the neck of the animal, is covered with rows of scales; the lower part, starting from the mouth, is decorated with incised compound spirals in front and with lozenges in low relief on the sides. Directly under the handle, two small dragons with turned heads stand opposite each other. Patina blue-green. — Jia wine vessel, 13th-12th century BCE
China

Not on View

The low-relief decor is confined to the belly of this flask. In the lower, main belt, on a ground of squared spirals, it displays a geometrical pattern reminiscent of the compound lozenge and interlocked 'T' motifs. It also recalls the decor of the white ceramic wares of Anyang. The band of highly stylized dragons above presents another point of contact with Anyang ceramics. The top belt on the body carries a band of 'S' shaped spirals bordered by circle bands.The lid and its knob are almost conical. Both are adorned with whorl circles; in relief on the lid, on the knob in incised lines. On the throat, just below the lid, are two small ears, perhaps for passing a cord. Patina grey-green. — Hu wine vessel, 13th-12th century BCE
China

Not on View

The decor of the upper part of this bipartite boiler is restricted to a neck belt with low, narrow flanges of which every second becomes the central ridge in the face of a dragonized t'ao-t'ieh,the halves formed by winged dragons.The bulbs of the Li-ting forming the lower half of the vessel are adorned with forceful t'ao-t'ieh heads of a fairly realistic bovine type, with eyebrows, ears, scaly horns . — Yan steamer, 11th century BCE
T'Ien Nung

Not on View

This animal, resembling a horse, has eyes inlaid with turquoise. The pose and treatment of the details the tense, straight legs converging to balance on a small surface; the slender body; and the line of the neck continuing almost directly the line of the front legs, are strikingly similar to those found in the Northern Nomad animal style. One might be tempted to class this piece as a product of the Steppe culture were it not for the fact that the patina is the well known An-yang (Honan) patina, which is very unlike that of objects from the Steppe. Moreover, since the shape of the pole top is well known from Yin and Early Chou exaples and since, in recent years, an entire series of style elements typical of the Nomad Art has cropped up among the An-Yang finds dating from the second millenium B.C.(see Bmfea, Volume 17, page 101 ff.), there should be no hesitation in assigning this example to the An-Yang culture or its immediate aftermath. Patina blue-green. — Finial with Animal, late 12th-11th century BCE
China

Not on View

Wine Can, so-called 'YOU', inscribed. The decor is limited to the neck and corresponding lid belts, and to the handle bow. The first is divided into four parts by the rings of the handle and two free animals' heads. The lid with a ring-shaped knob, is divided into two parts by toothlike projections corresponding to the handle-rings of the body. The two belts are filled with antithetical deer, reminiscent of the Northern Nomad animal style, in rounded relief on a bare ground. The handle carries three t'ao-t'ieh like figures in narrow thread relief between three lozenges in high, angular relief. The handle terminates in rams heads. Patina silvery-greeen wih patches of red. This vessel is one of two that belonged to the Imperial Colllection. The inscription is the same on both the known vessels. See Karlgren, number 15 (50.46.94a,b) for comment. — 'You' wine vessel, 11th century BCE
China

Not on View

Stout Wine Beaker,'Tsun', inscribed. A high degree of sophistication is evident in the decor of this broad beaker. In the foot and principal body belts it is disposed in six panels formed by six flanges with straight and L-shaped scores. The foot belt displays a dragonized t'ao-t'ieh with S-shaped horns, and a tail rising in an S-curve. The same decor occurs in the main body belt, where the vertical dragons under the raised tail are clearly visible. The narrow belt above has only three flanges, which form the central lines of dragonized, winged t'ao-t'ieh. The spaces occupied below by additional flanges are filled by t'ao-t'ieh in flat relief. All of these dragonized t'ao-t'ieh have T-shaped horns. The six panels on the shoulder, delimited alternately by flanges and big, plastically rendered rams heads, carry dragon figures with protruding eyes executed in exaggerated loops. In the lower belt of the neck, which has no flanges, pairs of consecutive trunked dragons facing to the right confronting pairs facing to the left. They have bottle horns and quills on their backs. Above, in the slender, rising blades, the decor filling consists of antithetical dragons with standing C-shaped horns, their trunk-like noses meeting in the median line, their narrow, band-like bodies joining at the tip of the blade and its filling is probably meant to suggest an eyed cicada, which it does in fact vaguely suggest. Patina green with patches of blue. The inscription depicts a wine vessel. — Zun wine vessel, late 12th-11th century BCE
China

Not on View

The chequer motif achieved by plain bands (here with raised borders), each chequer filled with the comma pattern (cf. Karlgren Number 55, 50.46.10), is common on these flat Hu. The rising blades on the neck are bare. The t'ao-t'ieh mask on the loose ring handles has the volute with triangle as its principal decor feature (on the ring in inlay); on the cheek line there is a granulation pattern. Patina greenish-grey. With copper inlay; Huai style. — Bianhu wine vessel, 5th century BCE
China

Not on View

skull with snake coiled on top; tail curving down back of skull; no lower jaw — Snake sitting on a skull, 19th century
Japan

Not on View

light brown wood brush with deep carvings on handle; round base with hanging cord and loop tied and glued to end; top of brush handle (near bristles) is a cylinder with rounded edges; grey hair bristles; carvings feature a variety of trees, plants, multiple figures and two dwellings — Calligraphy brush, late 19th century
China

Not on View

The term Tou for this type of vessel is confirmed by inscriptions. The slightly flattened sphere formed by body and lid appears huge and bulky in comparison with the short, footed stem. When inverted on its shallow disk the lid serves as a separate bowl. This top is adorned with a whorl circle surrounded by squared spirals. The surrounding border is filled with interlaced snakes on a granulation ground. On the lid proper there are three decor belts, separated by bare bands, filled with a minute comma-pattern. The body of the vessel has a similar belt of commas set off by a bare band at the rim and by a narrow rope-patterned band in relief below. There follows a very narrow band of comma pattern above a band of heart-shaped hanging blades filled with commas. the foot, like the disk on the lid, has a belt with interlaced snakes on a granulation ground. The ring-shaped handles have pointed spirals and a rope-patterned band. Patina Grey-green with patches of blue. — Dou food vessel, one of a pair, 400 BCE
China

Not on View

Two piece construction with top section attached to a ringed staff; figure seated on a small stool on top of a bowl-shaped element with four-sided element inscised with geometric patterns below — Staff, 19th-20th century
Swahili

Not on View

helmet mask; larger head at bottom with smiling face with teeth showing, long nose, full cheeks, almond-shaped eyes, small ears set high on head and forward toward face, with earlobes pierced and piercing at top of PR ear; lower head has smooth black hair; smaller head and upper torso on top of lower head, wearing red shirt with notched collar; top figure has short smooth black hair; almond-shaped eyes, wide nose, ears with piercings at top of each; blue pigments on hair of lower head around edges of top small torso and head; peach-colored skin — Mask, mid 20th century
Temne

Not on View

helmet mask; larger head at bottom with smiling face with teeth showing--gap between front teeth, long nose, full cheeks, almond-shaped eyes, small ears set high on head and forward toward face, with earlobes pierced; lower head has short black hair in a sort of cornrow/plaited style, delineated with incised zigzags, triangles and parallel lines; smaller head on top of lower head, with smiling face with teeth showing, almond-shaped eyes; high, forward-set ears with piercing in lobes and piercing at center back of PR ear; black hair of smaller head styled in three twisted ponytails--two on either side of head, one on back of head, with smooth parallel lines on hair on head; yellow and red fasteners at top of each ponytail; peach-colored skin — Mask, mid 20th century
Temne

Not on View

3/4 length standing figure; bald, with placid face, closed eyes, long ears with elongated lobes; head slightly bent forward; palms of hands held together at chest; figure wars a robe draped over PL shoulder and PL arm--PR shoulder, chest and arm are bare; traces of gilt, red and green pigments on garment; cream-colored stone with mottled brown areas — Standing Arhat, 6th century
China

Not on View

Borrowdale, with Longthwaite Bridge and Castle Crag, Joseph Mallord William Turner R.A. — Borrowdale, with Longthwaite Bridge and Castle Crag, c. 1799-1802
Joseph Mallord William Turner R.A.

Not on View

carved rhinoceros horn libation cup; in form of an old bamboo incense burner; it has side coiled dragon handle, and is decorated with designs of conventional animalistic heads and cloud patterns enclosed in borders of geometrical key patterns; carved wood base — Libation Cup, 18th century
China

Not on View

Hu wine vessel, late 9th-8th century BCE

China

Not on View

bowl with loop handles on three legs; band of t'ao-t'ieh masks and medallions surrounding rim — Ting (Ritual Food Vessel), 12th century BCE
China

Not on View

Cylinder Seal, Mesopotamia — Cylinder Seal, c. 800-400 BCE
Mesopotamia

Not on View

man with beard shadow and large earlobes, wearing a cloth hat and sitting on a bag, performing calculations on an abacus — Daikoku using an abacus, 19th century
Shōkyūsai

Not on View

smiling fisherman with open mouth wearing grassy skirt and open shirt carrying an octopus upside-down on his back — Fisherman carrying an octopus over his shoulder, 19th century
Kōsen

Not on View

toad sitting on the sole of an overturned sandal — Toad sitting on a straw sandal, 19th century
Kokei

Not on View

mouse with inlaid eyes and tail curved over proper right side of back crouching over a chestnut — Mouse with chestnut, mid 19th century
Japan

Not on View

man with long beard squatting over a hat under which an oni with fangs and claws is trapped — Shōki capturing a demon with a hat, 19th century
Harumitsu

Not on View

rat curled into a ball holding his tail; black eyes; other j#81 — Curled rat, second half 19th century
Suzuki Masanao

Not on View

Landscape. A characteristic work of the period done in the high tonal quality Lawson borrowed from the Impressionists. — Segovia, c. 1916
Ernest Lawson

Not on View

central large standing figure flanked by 2 smaller standing figures; dragons flank central figures feet and dragon at top center; 4 floating figures with trailing drapery at top; pigment traces — Stele of Maitreya Buddha, 563
China

Not on View

standing male figure with outstretched arms; one hand grasping opposite wrist; green patina; mounted on stand — Standing figure, 5th-4th century BCE
China

Not on View

bulb shaped with ring handles; handles held on by hardware with animal-like "face"; incised pattern covers entire vessel; vessle is green with areas of white showing through the pattern — Hu wine vessel, 5th-4th century BCE
China

Not on View

The pronounced sperical shape of this flask is most unusual. the decor is disposed in four broad belts set off from each other by narrow, bare, ridged bands bordering a single line of spirals. The belts, and the rising blades on the neck, are filled awith the comma pattern. The t'ao-t'ieh on the ring handle has scale bands on top and two big scales under the eyes. Patina blue-green. — Hu wine vessel, 4th century BCE
China

Not on View

Thick, unusually heavy flanges, narrowing toward the vessel, divide the foot, bulb, and neck into panels. They are scored with alternating straight and T-shaped scores, the stem of the T turned inward instead of outward in the usual fashion. This is a most eccentric feature. The decor, on a ground of squared spirals, covers almost the entire vessel. The t'ao-t'ieh on foot and bulb are similar but vary in detail.The foot monster has a lower forehead shield, no eyebrows and S-shaped horns, as against the recumbent C-shaped horns of the beast on the bulb. The remnants of a vertical body and a leg are the same on both. In the lower neck belt are antithetical beaked dragons. Above are blunt, sturdy rising blades with a decor to be seen from the top. Flanking the flange, as a central line, are two antithetical dragons with strongly hooked beaks and C-shaped horns, their bodies going down (with a leg half way and a tuft lower down) meeting at the end of the blade. Together their heads form a t'ao-t'ieh (observe the ears in the outer border of the blade). In the decor throughout, the principal raised features, shaped as broad, flat bands, are quite smooth except for a few scores on the horns of the bulb t'ao-t'ieh. Patina green with patches of red. The symbol in the inscription may be an abbreviation of the graph lu. For a comment see Karlgren, Number 18 (50.46.97). — Zun wine vessel, 11th century BCE
China

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This vessel is a remarkable example of its type, and of perfect workmanship. The body is divided into three horizontal belts by narrow, bare interstices uninterrupted by the scored flanges which, with the handle of the vessel, delimit four panels. The plain handle has an animal's head with zigzag lines across the nose and C-shaped horns with parallel lines in thin, thread relief. The lid is partly shaped as a plastic animal. The head, with the forehead lozenge and bottle horns of a t'ao-t'ieh, has other, more realistic details well-modelled ears and a mouth with saw-like teeth. The body is that of a long-drawn-out dragon in low relief reclining along the center of the lid. The central flange, curving with the body in the looped tail, has straight and T-shaped scores. A t'ao-t'ieh and various types of dragons figure in a decor scheme that covers almost the entire body of the vessel. The bodied t'ao-t'ieh with S-shaped horns in the middle belt is flanked by strongly stylized head turning dragons. Also strongly stylized are the dragons in the foot belt, which are similar to those on vessels 50.46.43, Karlgren #11, and 50.46.89, Karlgren #21. The consecutive dragons in the neck belt are not identical. To the right is an ordinary beaked dragon with recumbent C-shaped horn and a small vertical crest. The dragon under the spout of the vessel has no crest. Its horn is heart-shaped, and it has the drawn-out, pointed eye of the t'ao-t'ieh below. Its enormous beak is drawn out to parallel the curve in the rim. Inside the curve of the beak is a small, head turning dragon. The big dragon on the lid has spirals at the base of the horns and a single scale between parallel zigzag lines that flank the central flange, forming the common lozenge pattern. The legs, in flat relief, flank the big dragon, thier tails meeting at the end of the lid. Patina light blue-green. — Gong wine vessel, late 13th century BCE
China

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He, inscribed. Vessels of the He class vary according to the shape of the belly, which may be that of a Li, a Li-ting, or a Ting. This unique specimen has the hemispherical shape of a Ting. The handle, surmounted by an animal's head; the chain and its rings; the small handle on the lid decorated with dragon heads; the spout and the legs are very simple. The blade decor of the spout and legs, and the dragon motif in the neck and lid belts -- so dissolved as to leave only the eyes and interlocked double spirals as remnants of the bodies -- are in no way uncommon. In view of their off-hand treatment, the decor of the belly is doubly striking. It consists of rows of scales in flat,double-band relief, each scale being filled with a dissolved cicada motif in thread relief. This scale decor is a harbinger of the scale-band of the Middle Chou style. Therefore this vessel, with its cylindrical legs of the earlier periods, is best dated in the latter part of the early Chou, on the border of Middle Chou, i.e., circa B.C.900. Patina gray and blue-green — He wine vessel, 11th-10th century BCE
China

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Horus eye green; elaborate detail and mosaic work; two rings on edge for suspension; a beautiful piece of work - finer detail than in 279; alabaster and red jasper, at least, the real stone and not glass imitation some inlays fallen out; lavender glass below eye Udjat: Eye of Horus (Eye of Ra); green faience with red jasper and alabaster with lavendar glass inlay beneath eye — Udjat Eye of Ra, 1297-1185 BCE
Ancient Egyptian

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This fantastic creature might be a playful descendant of the water buffalo, Karlgren Number 90 (50.46.113). Here, however, the sculptural effect is achieved through the long sweeping curves of the body. The spirals emphasizing the shoulders and hindquarters are broad bands with a modified scale pattern which recurs on the tail. The shoulder is further emphasized by a raised ring with turquoise inlay. The eyes, with brows of rope pattern, are also inlaid with turquoise. Further elements of the Huai style are the cowrie band around the neck, granulation on the ears and the tufts of the hind legs, and the tail ending in a bird's head. Patina light green. — Mythological beast, 5th century BCE
China

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This small sculpture of a kneeling man holding a tube-like vessel in his extended hands is one of a group of similar figures that may have served as torch bearers in a tomb. The sensitively modelled face, with an expression at once tentative and hopeful lends credibility to this supposition. The figure is clothed in a close-fitting garment that wraps from left to right in a broad overlap and is belted with a narrow band. The head-covering, rather like an open helmet, is broad at the back and rises to a peak-like top before descending in a narrow, tounge-shaped band to the forehead. It is bound to the head by a strap that goes down in front of the ears and under the chin. A second strap passes around the head from the forehead to the occiput. This figure is one of a group of bronze sculptures found in the Han family tombs a Kin-ts'un near Lo-yang and reported by W. C. White in Tombs of Old Lo-Yang. The artistic tradition of the early Yin culture, modified by an approach to nature, still persists in some of these small bronze sculptures from the old Lo-yang area. Their general characteristics - the unvarying block-like form, the broad type with large round eyes, the details of costume, particularly the head gear, reflect a new interest in and a closer observation of nature. Such figures constitute the links between early Yin sculptures and those of Han time. Essential characteristics of the earlier works do persist, but in a modified form. One discerns also in these small works, as in some other early Chinese bronzes, a resemblance to certain examples of pre-Columbian art -- a kind of parallelism which points to a similar artistic disposition or a common origin, rather than to any direct influence or intercommunication between these centers of art so widely separated in time and space. However this paralleleism came about, it is clear that the sculptural products of Yin-Chou art reflect traditions of style no longer to be found in those of Han time. Patina green — Kneeling figure, 4th century BCE
China

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The rich decor of the vessel covers every surface except the backs of the stubby legs. The ground is squared spirals throughout. On the long side of the body the median line is marked by a free animal's head on the neck belt and by a t'ao-t'ieh in low relief on the bottom. The shoulder line of the owl is boldly stylized into an enormous spiral, the wing quills emerging in narrow parallel bands. Behind the quills the tail protrudes in a short downward hook. The shoulder, neck and quills are covered with scales. Two birds with cleft crests, bottle horns, and tails adorned with scales, flank the free head on the neck of the vessel. Coiled dragons decorate the front sides of the legs, and the bottom surface of the vessel is covered with scales in parallel rows. The whole area is bordered at the rim by a circle band which appears also on the adjoining rim of the lid. The owl has enormous eyes, and the horns are the large, C-shaped type of the ordinary t'ao-t'ieh. Patina bluish-green — You wine vessel in double-owl shape, 12th-11th century BCE
China

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This unique vessel displays a technical perfection which proves that the artisans of Early Zhou sometimes fully equaled their Yin predecessors in taste and skill. The usual division into four panels is suggested exclusively by the free animals' heads alternating, in the neck region, with the handles. The decor ground, of rounded and acute angled spirals, carries an eyed band with diagonals in the foot belt and antithetical tail-raising birds in flat relief on the belly. The crests of these extraordinary birds split up in three strands, the middle one a short, spearlike point; the other two forming long plumes, one falling staight down past the turned head and in front of the breast, the other going forward past (and parallel with) the beak, then rising in a bold sweep above the head and descending in two parts behind the first strand. Thus three parallel bands descend, the outer two adorned with rounded figures reminiscent of those of a peacock. For comment of these figures see Karlgren, number 29, 50.46.120. From the raised tail three bands descend in a fashion exactly similar to those of the crest. The animal's head on the handle has large tusks protruding at the sides. The hook on the bottom is reminiscent of the bird representation often seen on Kuei handles. patina pale green with patches of blue green. The meaning of the inscription is ' The King attacked Tsi-yu and went out and attacked Naohei. When he came [back], he made liao-sacrifice [burnt-offering] in Tsung Chou and presented to [me], Kuo Po X, cowries, ten double strings. [I] presume in response to extol the king's grace, and so I have made my accomplished dead father's precious Kuei vessel. May for a myriad years sons and grandsons forever treasure and use it.' For comment on the inscription, see Karlgren, number 36 (50.46.119). The birds on the Kuei have a clase parallel on a 'YU' in the Simitomo Collection (Senoku, Volume 2, Plate 67) and on a 'TSUN' in the Imperial Collection, but are, for the rest, unique. Mr. Loo stated that this vessel and th — Gui food vessel, 10th century BCE
China

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Kuei without handles. The vessel is divided into four vertical panels by heavy flanges with alternate straight and T-shaped scores. In two places in the neck band the flanges give way to free animals' heads. The features of the bodied t'ao-t'ieh in the main belt are similar to those seen on vessels 50.46.48 and 50.46.86 (Karlgren numbers 7, 11, 30), except that the mouth line is S-shaped and shows the teeth. The dragons in the foot belt have the mouth of the ordinary gaping dragon, but the head turns downward, thus differing slightly from the usual trunked dragon. — Gui food vessel, 12th century BCE
China

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The body of the vessel displays a band of hanging blades with crisply delineated cicadas in a ground of squared spirals. In the neck belt, piars of consecutive beaked dragons are separated from pairs of antithetical beaked dragons by rudimentary flanges. Again the background is squared spirals. Patinagreen. — Ding food vessel, 12th century BCE
China

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Seated figure of woman playing stringed instrument — Tomb Figure Representing a Musician Playing a Lute, 618-906
China

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Tomb Figure Representing a Musician Playing a Bamboo Flute, China — Tomb Figure Representing a Musician Playing a Bamboo Flute, 618-906
China

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Figure of woman making deep bow. Polychromed in red. — Figure of a Woman, 618-906
China

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An eccentric combination of four masks occurs on this bronze. A forceful t'ao-t'ieh head with recumbent C-shaped horns, the borders decorated with straight and T-shaped scores, appears on one side of the top. This monster bites on a human head with the broad nose typical of many early masks. On the other side a ram's head, with horns turned down, bites on a head resembling a t'ao-t'ieh but with a raised elephant's trunk instead of the usual ridge in the central line. This remarkable and unusual piece is a powerful example of early Chinese sculpture. Patina green. — Chariot Finial, 11th-10th century BCE
China

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green patina overall; rounded body with inward-flaring shoulder and outward-flaring flat mouth; three feet; six decorative brackets; two "handles"; elaborate decorations overall of geometric forms — Shengding food vessel, 6th century BCE
China

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two-sided wooden shield; one side has concentric linear pattern with brown and red alternating triangular shapes lining sections alternating a negative space of white pigment; tiny hole in center with a wooden arm shield at one end; the other side has mostly white pigment with two rows of lines with triangle patterns on one end in red pigment; thin dark line in between triangle rows; thin red line intersects with triangle lines, outlining a center hole; dark wooden border around outer perimeter — Carved wooden dance shield (ndomi), mid 20th century
Kikuyu

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turtle wrapped in a snake's coils — Snake curled around a turtle, late 18th-19th century
Unknown Japanese

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small beige colored vase with bulbous body, narrow neck, flared mouth; dark designs of fish and organic vine motif separated by horizontal bands; tendril design and geometric design up to neck — Kalong Vase with Fish, 14th-16th century
Thailand

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thick green grasses with golden clouds and silver in background; scattered red and blue flowers, white flowers, lilies in foreground — Musashi Plains [left of a pair], Second quarter 17th century
Unknown Japanese

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representing wild dog or wolf. The fine lines of the fur have been darkened — Wolf with deer leg, mid 19th century
Tomotada

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one of a pair of auspicious folk art figures: Daikoku and Ebisu; man with hammer and sack — (Daikoku, from a pair of Daikoku and Ebisu), 19th century
Unknown Japanese

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statuette, of ibis-headed god, seated, wears wig and atef crown. Thoth of Hermapolis was known as the scribe of the gods and the god of wisdom. The Ibis was sacred to him. — Thoth, c. 644 BCE - 30 CE
Ancient Egyptian

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Water imp (kappa) and toad on leaf, hand-wrestling — Kappa and toad hand-wrestling on a leaf, second half 19th century
Suzuki Masanao

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God Osiris, 644-30 BCE

Ancient Egyptian

G250

Goddess Sekhmet, 1320-656 BCE

Ancient Egyptian

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