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Warrior with Shield, 1953–54
Henry Moore

G371

Leopard Aquamanile, Bronze, Benin Culture, Africa, XVIIc; covered with incised spots and smnall punch marks. Rare example. — Water pitcher, 18th century
Edo

G250

face-covering helmet with back and sides curled upward; vertical opening at center from eye holes through bottom; organic design on forehead; curving eyebrows, connected at center — Corinthian helmet, c. 540 BCE
Greece

G241

Vessel in the shape of an owl. Two flanges, one ending just under the beak in front and the other continuing to the top of the head in back, have alternating straight and L-shaped scores, those on the front flange being much the deeper of the two. The tail, with a scored flange border, forms the back support of the vessel. Apart from the realistically-formed feet, the bird is strongly stylized. The body is completely covered by rows of scales except for the shoulder line, expressed by a vigorous spiral, and the wings quills, rendered by bands filled with antithetical spirals. Patina green. — Zun wine vessel in the shape of an owl, 13th-12th century BCE
Unknown

Not on View

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

Not on View

Bust — Portrait of Luca Salvioni, c. 1536
Agostino Zoppo

G340

Baboon and Young, Pablo Picasso — Baboon and Young, 1951
Pablo Picasso

G376

Portrait Bust of Pope Clement X, Circle of Gianlorenzo Bernini — Portrait Bust of Pope Clement X, modeled c. 1668 (cast late 17th century)
Circle of Gianlorenzo Bernini

G310

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

G215

head (male) wearing thick collar up to lower lip; openwork caplike headdress with hanging braids and beaded cords around ears; two "beads" on forehead; flower-like beaded elements at temples--one at PR ear, two at PL ear; open circle at top of head — Memorial head, 1550-1650
Edo

G250

Golden Bird, Constantin Brancusi — Golden Bird, c. 1919
Constantin Brancusi

Not on View

Theseus Slaying the Centaur Bianor, Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne — Theseus Slaying the Centaur Bianor, c. 1850 (modeled, cast c. 1891)
Antoine-Louis Barye; Caster: F. (Ferdinand) Barbedienne

G303

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

G214

possibly a cast of the bozzetto of the larger sculpture modeled by Giovanni Bologna for a statue at the Medici Villa of Castello, outside Florence; base is of a later date — Florence or Venus, first half of the 17th century
Italy

G310

Equestrian Figure — Bronco Buster, 19th century
Frederic Remington

G301

thinly cast with a narrow spout and pointed lip above an oblong body cast with three medial lines, a single loop handle; all standing on tall blade-form legs — Jue wine vessel, 16th-15th century BCE
China

G214

cast no. 2/10; figure — Large Seated Nude, c. 1923–1925
Henri Matisse

G377

standing female figure holding an apple in her proper left hand — Eve with Apple, c. 1902
Aristide Maillol

G324

bronze budhist temple bell; tall football shaped body with flat top; two dragons turned away from each other form hanger at top center; sides decorated with two rectangular fields striped with three bands of three raised circular bumps — Bo bell, late 6th-5th century BCE
China

G215

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

G214

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

G214

Ptolemaic Ruler in the Guise of Hercules, Graeco-Egyptian — Ptolemaic Ruler in the Guise of Hercules, 2nd century BCE
Graeco-Egyptian

G242

The decor is disposed in the three areas usual in vessels of this class the foot, bulb, and neck. The foot belt, divided into four panels by deeply scored flanges, displays a mask t'ao-tieh with a C-shaped mouthline, hooked forehead shield, small eyebrows, and S-shaped norns. Above is a narrow band with consecutive trunked dragons. The decor ground is of squared spirals throughout. The bulb, also divided into four panels, displays a t'ao-tieh bodied to the extent that some simple lines of a vertical body still remain above the leg. The central line of the face, with no forehead shield, is formed by the flange. The lower zone of the high throat is filled with consecutive snakes, their heads turned EN FACE. Above are slender rising blades, the major part of each filled with a t'ao-t'ieh to be seen from above. Streaked eyebrows appear over buldging eyes, and over these, again, long-drawn-out C-shaped figures forming the horns. Below the eyes are two C-shaped figures, modifications of mouthlines. At the end of the blade, separated from the t'ao-t'ieh by a narrow, empty band, is a V-figure- a corruption of a cicada drawing. Patina grey-green and blue-green with patches of red. Except for a cross-shaped perforation between the foot and the area above, the beaker is in almost every detail exactly similar to the one with a Yin inscription published in Huang, TSUN KU CHAI. — Gu wine vessel, 12th-11th century BCE
China

G214

standing male nude; represents man awakening to a fuller comprehension of his physical powers — The Age of Bronze, 1876–77 (plaster model); casting date unknown
Auguste Rodin; Caster: Alex Rudier Fondeur

G355

Female Figure; Figure of Diana with bow in left hand (goddess in classical Greek Mythology) — Diana with a Bow, 1890
Frederick William MacMonnies

G323

The Avenger, modeled 1914, cast 1923
Ernst Barlach

G371

Light golden brown patination. After the monument in Dijon, France, commissioned 1852. — Hebe and the Eagle of Jupiter, model c. 1853-55 (casting history and edition size unknown)
François Rude; Caster: Thièbaut Frères

G354

Old base (b) R5A2.1 MS — Psyche Abandoned, c. 1800
Augustin Pajou; Caster: Possibly Pierre-Philippe Thomire

G306

Portrait. — Portrait of John Scott Bradstreet, 1915
Paul Fjelde; Depicted: John S. Bradstreet

G319

nude little smiling boy with two dimples and short curly hair, riding on a seahorse; lily pads and scallops on base; octagonal bottom has alternating seahorses and fluted designs; greenish patina — Putto on Seahorse, 1933
Evelyn Beatrice Longman

G280

The Fighter of the Spirit, 1928
Ernst Barlach

Exterior Grounds

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

G214

Figure; This work was cast posthumously from a terracotta sketch, ca. 1900; casting history and edition size unknown — Dancer Putting on Her Stocking, 19th century
Edgar Degas

G351

Woman in a Bathtub, 1889 modeled (cast 1920-21) no. 26/C
Edgar Degas

G351

Clock, Jean-Antoine Lepine; Painter: Joseph Coteau — Clock, c. 1789
Jean-Antoine Lepine; Painter: Joseph Coteau

G314

Coat of arms of Cardinal Scipione Borghese (1579–1633), Italy — Coat of arms of Cardinal Scipione Borghese (1579–1633), c. 1620–30
Italy

G330

Concave, incised; scene represents the Dioskouroi, the twins Castor and Polydeuces (Polyx) with their sister Helen and the goddess Minerva — Mirror, 3rd-2nd century BCE
Etruscan

G242

Bowl with short stem and lobed foot; two protruding elements at front with floral motif decorations; large openwork decorative element above handle with flower and leaf designs — Oil Lamp, 1st century BCE - 1st century CE
Roman

G242

scepter with 2 snakes with knotted bodies at top, a pair of wings below and a bulbous form on a bent stem — Caduceus, 2nd century
Roman

G241

possibly a votary figure for placement in a tomb; dimensions include permanent mount. — Figure of a Youth, 470-460 BCE
Etruscan

G242

facing right — Ordos Belt Plaque, one of a pair, 3rd-2nd century BCE
China

G214

Mandalay style; Buddha seated in the bhumisparsamudra pose, his left hand is held in his lap and his right hand touches the pedestal — Seated Buddha, 18th century
Myanmar (Burma)

G200

Crouching hoofed mythical animal; double horn with head turned to side and mouth open; scaly body with flamelike ribbons at haunches; tufted mane and tail — Water Dropper, 16th-17th century
China

G217

facing left — Ordos Belt Plaque, one of a pair, 3rd-2nd century BCE
China

G214

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. — Pair of dou (ritual food vessels), 5th century BCE
China

G214

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

G214

In as much as Huai style vessels of hybrid character cannot be positively assigned to the definite classes of the ritually stricter early epochs, no special name is given to this specimen. The decor, in five successive belts, is a pattern of interlaced dragons executed in narrow, flat double bands. The eyes and the points where the tails of the upper and lower dragons interlace are accented by high, wart-like buttons. Stout handles on the shoulder of the vessel are surmounted by a t/ao-t'ieh head archaic to the point of having recumbent C-shaped horns which are, however, adorned with big tufts. The neck and the lower band of the body are bare. — Lei wine vessel, 6th century BCE
China

G214

The bowl, in the broad and bulky shape of the Huai style, is supported by four human figures with horned animals' heads. The rigid ring handles have an out-curving lower projection which, with the outer bend of the ring, forms a dragon with a curled-up tail. This dragon has a head like a t'ao-t'ieh. The ring-shaped top of the lid, adorned with a triple-strand plait pattern in openwork, is affixed to the lid with a row of small props. The close affinity of this vessel to one almost exactly similar in the Royal Ontario Museum is interesting in view of the fact that the latter is known to have come from the Kin-ts'un tombs (Ca.450-230 B.C.). Patina green. — Covered zhou ritual food vessel, 475-221 BCE
China

G214

The Pan of the Yin era do not usually have handles; those of Early Chou usually, but not invariably, do. The division of the two decor belts, neck and foot, is achieved in the former by an unusually realistic bovine head, and in the latter by a thin flange. The decor ground is of spirals of varying size throughout. The bird in the foot belt, of the regular type, displays one odd variation. The long tail is, as usual, cleft in two parts, the lower descending, the upper rising in a long loop. In this instance, however, the shorter part is modified so as to resemble the leg of the bird, giving the impression that the bird has one front and one hind leg. The tuft in the middle, whee the tail goes out from the boky, is a common feature (cf. vessel 50.46.19, Karlgren #33). The winged dragon in the upper belt has a small vertial crest and a big bottle horn with a fingerleaf top that has an eye in the center of the leaf. Patina grey-green in neck and foot belts. — Pan water basin, 12th-11th century BCE
China

G214

A flange with alternating straight and T-shaped scores of the type commonly found on early ritual vessels decorates the upper idge of this weapon. Along the blade proper, just below the flange, is a band of head-turning dragons with bottle horns on a ground of squared spirals. This decor is in low relief. Patina green. — Sacrificial knife, 12th century BCE
China

G214

The tang still retains the shape derived from the animal's head that appeared on early profane knivers in the An-yang area. The original meaning of the profane knife was lost when it became a ritual dagger-axe and the crested bird took place of the animal's head. In this example tyhe space has been filled with a dragon, here almost entirely dissolved, with the head turned toward the blade. The eye and curled tail are still discernible. A t'ao-t'iehmask, alos strongly dissolved, appears just under the lugs. A C-shaped horn can be seen in the upper right corner. A band of spiral decor runs from the base of the mask to the point of the blade. Patina green — Ceremonial dagger, 12th-11th century BCE
China

G214

The squared body, with its throat developing into a round shape at the rim, is most unusual in this vessel type. The decor results largely from a complicated arrangement of heavy flanges occurring at the corners and in the middle of the foot and central belts. The decor area is thus divided into eight panels. A similar area of eight panels is created in the lower of the two parts of th neck, except that the median line is here achieved by free animals' heads instead of the flanges which appear only at the corners of the neck, where they project as long hooks from the rim. The decor, on a ground of rounded spirals, covers almost the entire vessel. The winged dragons with vertical crests and detached C-shaped horns, which flank the forehead shield of a t'ao-t'ieh in the foot belt, reappear in the lower part of the neck, where they flank the free animal's head in the median line. The central band displays a t'ao-t'ieh drawn in bold, sweeping curves which cannot, as is usual, be broken up into two antithetical dragons. The only relic of the dragon is a small vertical line at the side of each horn above the ear. The upper part of the neck displays broad rising blades, the flanges serving as their median line. The content of the upper blade is seen, from above, to be a violently stylized dragon, the curved beak, crest, and leaf-shaped horn clearly visible, the body a maze of curving lines. Patina grey-green. — Zun wine vessel, 10th century BCE
China

G214

The purpose served by this implement is unknown, but it is possible that it was used for stirring wine. A highly complicated combination of animal motifs occurs in openwork on the handle. This handle, in its entirety, forms a beaked head with the rod serving as the body. As it approaches the handle, the rod displays a leg with a tuft and claw which rises to touch the beak of the bird. The handle itself divides into one bird whose crest supports the belly of a dragon. The dragon turns its head to the left, showing the teeth in its open mouth. For clarification of this involved composition, see Katrlgren Number 76, figures 70,71, 72. This composition occurs frequently in dagger axes, e.g., Karlgren plate 99 (50.46.15 and 50.46.67). Patina green — Implement, 11th-10th century BCE
China

G214

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

G214

'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

G214

This example, on a high, cylindrical base, is closely related to 50.46.24. Here, however the scored flanges extend to the back of the head and the front of the neck instead of being confined to the back. The S-shaped horns are reminiscent of those seen on many t'ao-t'ieh, e.g. Karlgren Number 31 (50.46.104). Patina grey-green. — Chariot Finial with Bird, late 12th-11th century BCE
China

G214

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

G214

Mirror, round, black and green patina. — Mirror, 1st-2nd century
China

G215

mirror, round, with pictorial decoration in relief, Yeuh type — Mirror, 1st-2nd century
China

G215

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

G214

one of a pair of axle caps includes hook and pin; interlocking Chih dragon motif on caps, hook with bird head, and tiger mask on the pin — Pair of Axle-Caps with Lynch Pins, 5th-4th century BCE
China

G214

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

G214

The bovine head of this example has high, spreading horns and the forehead lozenge of a t'ao-t'ieh. Directly below is a band of rising blades with spiral filling. The terminal border of the pole top also has a spiral decro. PatinaGreen. — Cow-head finial, 12th century BCE
China

G214

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

G214

Square ting, rectangular, inscribed. The decor of the principal surface is confined to the upper belt, where rudimentary t'ao-t'ieh masks are flanked by head-turning dragons in flat relief on a ground of squared spirals. The heavy, segmented flanges at the corners of the vessel reappear as the central ridges of the forceful t'ao-t'ieh heads on the legs. Patina gray-green — Fangding wine vessel, late 11th century BCE
China

G214

Chariot shaft socket, China — Chariot shaft socket, 13th-12th century BCE
China

G214

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

G214

With the exception of its cylindrical base, which is shorter and broader than that of the pole top shown with it (Karlgren Plate 95), this example closely resembles its companion (50.46.28). It too, has a pellet in its body. Patina blue-green. — Chariot Finials with Bird, 11th century BCE
China

G214

The graceful shape of a Hu flask is accentuated by the bold and forceful handle terminating in heavy animal masks with bottle horns. Springing from the space between the horns is a thick flange, deeply scored, that out-lines the sweep of the handle up and over the body of the vessel. The handle is attached to the domed and collarless lid by a curled-up gaping dragon, with a double row of scales, whose body encircles the conocal knob of the lid. The vessel is sparingly decorated with hands of pointed spirals on the lid, neck, and foot. Beneath the spirals on the neck belt is a band of dragonized t'ao-t'ieh in low relief. Patina blue-green with marks of mat wrapping. — You wine vessel, 12th century BCE
China

G214

Four inch gilt bronze mirror decorated with seahorse, grape, bird and foliage design; box — Mirror, 7th-11th century
China

G208

'fang-yi', so-called, inscribed. The term 'fang-yi' meaning 'square vessel' is a make-shift and does not mean that this type of vessel can be identified with any particular class of which the use is revealed in the classics. The vessel, of rectangular cross section, is divided into eight vertical panels by thick flanges with straight and T-shaped scores. On the narrow sides, the central flange terminates with the t'ao-t'ieh mask of which it forms the median line, thus stopping short of the top ridge of the lid. The three belts on the body are set off by shallow, narrow flutes which do not interrupt the flanges. The foot belt corresponds to a real foot, the bottom of the vessel coinciding with the lower flute. The four openings in the sides were possibly vents for fumes of burning charcoal. The whole vessel is densely covered with decor on a ground of squared spirals which do not, oddly enough, balance in the two halves of the surface. In the foot are antithetical elephants adorned with whorl circles. On the principal surface the t'ao-t'ieh has the common C-shaped mouth line, forehead shield with rounded top, and C-horns with borders scored like flanges. On the broad sides the t'ao-t'ieh is flanked by vertical dragons in relief so low and bands so narrow that they are almost lost in the background. In the neck band are trunked dragons with heart-shaped horns and rows of scales on the body. Along their backs is a flange-like border with straight and T-shaped scores. The dragons on the broad side have a lower jaw turning outward; those on the narrow side have jaws turning inward. The lid decor repeats the t'ao-t'ieh of the body, but inverted, to be seen from above. The knob is undecorated. Inside the lid is a cicada. Patina gray-green — Fangyi wine vessel, early 12th century BCE
China

G214

The name Su for this type of vessel is confirmed by inscriptions, the difference between a Su and a Kuei being that the former is oblong, the latter round. The lid of this Su, if inverted, will be a vessel in itself. The workmanship, unusually fine for the period, exhibits some of the most typical features of the Middle Chou Style. The foot belt presents the so-called 'wavy line,' here executed in open work; the belly has the 'grooves' (gadrooned bands); and the neck and lid belts display the 'scale band' in flat relief. In the last two areas a small flange appears in the center of the long side, thus following the Yin tradition of dividing a cessel into four panels by handles and flanges - or free animals' heads. the Yin time but ubiquitous in Chou. Inside the ring on the lid is a bottom decor in flat, double-banded relief a beg S-shaped dragon's body ending in a dragon's head at each end. To be noted, in addition to the long tongue, the ear, and the crooked horn, are the eyes in high relief just below the tufts midway on the body. Patina green with patches of blue. — Xu food vessel, early 9th century BCE
China

G214

This cap is unusual in that it still has the linch pins. The closed end of the cap, set off from the pin end by a triple band in rounded relief, is decorated with a broad wavy band enclosing, in the inner loop, a figure reminiscent of a cicada. In the outer loop of the wave is a scale-like motif. The top of the linch-pin is formed of an animal's head with spiral horns curving inward. They are executed in heavy, thread-like relief. The ears are formed of a large spiral and the snout is blunt and heavy. Patina grey-green — Wheel-axle Cap, one of a pair, 770-476 BCE
China

G214

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

China

G214

one of a pair of axle-caps includes hook and pin; interlocking Chih dragon motif on caps, hook with bird head, and tiger mask on the pin — Axle-Cap, one of a pair, 5th-4th century BCE
China

G214

Mirror, round, with design of dragons and compound lozenges. Shou-chou type. — Mirror, 4th-3rd century BCE
China

G214

Round, silverized, animal and grape design — Mirror, 8th century
China

G208

Round, Tree of Life design, rabbit preparing elixir of long life. — Mirror, 8th century
China

G208

Round, lacquer, gold and silver. — Mirror, 8th century
China

G208

Mirror, round, with dragons on interlocking 'T' ground. Lo-yang type — Mirror, 4th-3rd century BCE
China

G214

Mirror with figures. — Mirror, 220-586
China

G215

BROKEN INTO THREE PIECES — Mirror, 3rd century BCE
China

G214

base in the form of a man, kneeling, with PR arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, early 17th century
China

G201

base in the form of a man, kneeling, with PL arm raised; curved apron; curling hair, bushy brows over bulging eyes, large nose, moustache and small beard; wearing robe decorated with raised medallions, apron, chain mail issuing from animal masks on shoulders, boots; foliate drip pan with baluster-shaped socket cast with coiled dragon balanced on man's head; seperate candleholder of flaring cylindrical form, raised on long stem, with two horned, four clawed dragon in very high relief, chasing a flaming pearl amid clouds; blackish patina — Two-piece Candlestick, one of a pair, 14th-17th century
China

G201

figure seated with legs crossed, one hand raised and one hand resting on a rail; dressed in flowing robes, crown on head; incised line details overall; rail curving around figure at front, supported behind at sides and in center front of figure; sculpture sits on a fitted black wood base — Celestial Worthy of Primordial Beginning, 15th-16th century
China

G201

circular mirror with knob on verso decorated with chinese characters; purchased with BBD funds by Qi Xiyu — Mirror, Date Unknown
China

G215

dagger, double-edged. Arms and Armor-Edged Weapon — Dagger, 900-400 BCE
Persia (Iran)

G242

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

G250

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

G250

figure seated with one knee up; six arms; of PL arms: one pointing up, one placed on "floor", one outstretched in mudra; of PR arms: one placed next to cheek, one down and holding bracelet, one outstretched holding sphere — Nyoirin Kannon, the Bodhisattva of Compassion with the Wish-granting Jewel, 13th - early 14th century
Japan

G220

The disposition of this vessel is unusual, for, despite the fact that it has the broad shallow bowl and deep foot of its class, it does not rest on the foot proper. It is supported instead by three small human figures facing outward as they grip the rim of the foot. their bent knees suggest clearly the weight of their burden, as does the strained positon of their heads, held close to the bottom of the bowl and bearing part of its weight. On each of two handles of the bent ear type, an ox reclines calmly, its head turned outward, its legs folded under the body. The division of the vessel into the usual four sections is achieved by two more animals contrasting strongly with the placid oxen. These are dragons that climb vigorously up the sides of the bowl and bite on its rim. The neck belt displays the broad, figured bands of Middle Chou and the foot carries a band of hanging scales of an advanced, almost squared type. Patina sharp green with patches of blue. — Pan water vessel, 9th-8th century BCE
China

G214

Tsue (Chueh), inscribed. This 'Wine cup (in bird shape)' is an unusually fine example of its type. The ample well-proportioned bowl of this vessel provides and admirable balance for the slender, spreading legs. In the principal decor belt is a strongly dissolved t'ao-t'ieh, its horns, shield and c-shaped mouth-line so filled with spirals that they almost coalesce with the background spirals.The neck bears a band of rising blades, the one under the spout elongated. An animal's head of the bovine type decorates the top of the handle, and whorl circles appear on the tops of the uprights. Patina blue -green. The inscription probably depicts a scene of human sacrifice. — Jue wine vessel, 12th–11th century BCE
China

G214

Wine Cup 'CHI', inscribed. The decor on a ground of spirals is one of restrained exuberance, dragonized t'ao-t'ieh (winged type) appear in the foot and neck belts, which are interrupted by shallow, flat flanges only on the long sides. The bodied t'ao-t'ieh on the belly displays tiny hooks on the forehead shield, and scores on the horns similar to those usually found on flanges. Two strongly stylized, head-turning dragons appear behind the feet of the t'ao-t'ieh. Rising blades, with spirals suggesting dissolved cicadas, adorn the neck of the vessel. The lid has two t'ao-t'ieh masks on a ground of squared spirals. Patina grey-green and blue-green. The meaning ofthe inscription, showing two arrows on a stand, is unknown. — Zhi wine vessel, 13th-12th century BCE
China

G214

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

G214

This is one of the important group of hunting-scene Hu flasks which can with certainty be dated pre-Han, since many of them have decor elements that belong to the Huai style and did not survive into Han time. The Hu has the ordinary shape of this class and two small handles witha movable ring suspended from the mouth of a small t'ao-t'eih mask. (One of the movable handles is missing.) The foot has a narrow belt with a band of volutes and triangles, the volutes here turned into birds' heads. On the vessel proper there are six narrow bands in low relief with swastika-like figures which are merely a corruption of the well-known whorl circle. The decor of the five principal belts has been impressed by dies, sometimes with curious results. The two lower belts depict scenes in which beasts of the bovine type are pursued by men in feathered (?) headdresses who attack with swords and arrows. In the third belt, archers with one knee bent and bodies thrust violently backward shoot at birds. The shoulder belt, disposed in one panel for every two in the lower belts, depicts a vivid hunting scene. A man attacks with his sword a tiger that has an arrow through its shoulder. To the left is a two-wheeled carriage drawn by four horses. As the driver rushes forward his companion aims at a bird above and to the rear. The neck belt is filled with birds which swallow snakes. For a detailed description of the decor, see Karlgren Number 53 (50.46.9)/ Patina Green. The Hunting-scene hu vessels mark a revolutionary departure in the Chinese bronze art. In earlier vessels there were no real scenes, only figures placed with strict regard for symmetry. Here, for the first time, are freely disposed scenes of action. The shoulder panel is especially remarkable in this respect the ancient rule of symmetical arrangement is completely abandoned, and the artist has depicted a wide-ranging scene of vivid action. That this emancipation was due to foreign influence, the Northern Nomad art style ('Ordos'), seems clear. For comment on this point, see B — Hu wine vessel, 5th century BCE
China

G214

Fanghu wine vessel, 5th-4th century BCE

China

G214

This weapon displays the assymetrically placed tang and the strongly beaked, crested head of a bird that was a ubiquitous motif in the bronze art of Yin-time. The details of the bird's head are in rather heavy thread relief. This piece is similar to Karlgren Number 81, plate 99, but is of bronze throughout. Patina green — Ceremonial dagger, 12th-11th century BCE
China

G214

This small bell, of pointed oval cross section and a straight bottom line, has a relatively simple suspending device. It is formed of two confronted tigers facing backward and joined, head-to-head, by a plain narrow band through which a strap could be passed. The bodies of the tigers, and of the coiled snakes on the bosses, are filled with granulation. The remaining decor areas, on body and top, are filled with interlaced snakes, their bodies formed by four parallel relief threads. Warlike studs occur at the junction of the snakes' bodies. Patinagreen-blue. — Bo bell, 6th- 5th century BCE
China

G215

Several aspects of this vessel set it apart from others of the Kuei type in the collection. Most immediately arresting is the high, square base on which it rests. Other differences are the spiral ground of the decor, the absence of a neck belt, the division of the vessel into four vertical panels by four flanges in the foot belt by two flanges and the two handles on the belly. Atypical Early Chou feature distinguishes the heavy, thick flanges the breaking through of the T-scores to give the impression of big hooks. The flanges on the body form the center lines of the familiar bodied t'ao-t'ieh. In the foot belt just below, the flanges are the median lines of rudimentary t'oa-t'ieh masks (nose and forehead shield) flanked by trunked dragons of the winged variety which are hee drawn so far apart as to isolate and emphasize the t'ao-t'ieh shield. The t'ao-t'ieh on the base is the same as the one on the belly except for the central line, here a slight ridge instead of a flange. The handle is the most remarkable feature of the vessel. The bow displays the wings of a bird in relief, and the projection at the bottom contains the curved-up bird's tail and its feet descending almost to rest on the tail. The head of the bird body is that of an elephant with big ears in pointed C-shape, raised trunk and protruding tusks. Patina green — Gui food vessel, 11th century BCE
China

G214

This richly adorned bell, of pointed oval cross section, is typical of the advanced Huai style. The suspending device consists of one big snake with two bodies, each rising in a bold S-curve. It is flanked by two tigers whose long necks pass under and around the first curve of the snake's bodies, and whose heads are turned so that their noses rest on their backs. Their shoulder line is emphasized by a big, comma-shaped spiral. Their hindquarters have similar comma-shaped loops and their bodies are covered with granulation. The top surface of the bell displays a complicated geometrical scheme of narrow, rope-patterned bands and comma figures. The bell itself is decorated with three bare bands of bosses formed of coiled snakes. Two narrow belts between display dragons in a decor applied by dies. The original drawing for these belts was obviously somewhat wider, inasmuch as parts of the dragon bodies have been cut off. An elaborate t'ao-t'ieh appears in a small, empty space in the center of the forehead. The interlaced and extensively embellished body of the main t'ao-t'ieh is decorated with scale-bands, pointed spirals, and granulation. For a clarification of this involved decor area, see Karlgren, Number 58, figures 62 and 63. Patinagrey-green with blue patches. — Ritual bell, late 6th-early 5th century BCE
China

G215

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