Looking for medina, metius, media, medic?

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

Head of a woman with a base, stone on a marble base, size; 26in.; base IRC floor area — Head, 1911–1912
Amedeo Modigliani

G367

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

G250

upper torso of man with hands, head and attached backing; short curly hair; short beard; robe with regular folds; flowers and inscription on backing; separate black metal base/ stand — Funerary Relief, late 2nd century-first half of the 3rd century
Roman

G242

life-size carved statue of a bearded votary; In the archaic Cypriote style. The features show the mixed oriental style transformed by Hellenic influence; His head bears a wreath of leaves and berries permitting rows of small curls to frame his forehead. The beard is rendered in four stiff rows of curls. The skin tight tunic has no pleats, and the cloak which falls from the left shoulder is thrown over the left arm. Beard slightly defective. strong frontality and Greek 'archaic' smile — Votary Figure, c. 470 BCE
Ancient Greek

G241

Relief-carved Fragment from Persepolis, 486-465 BCE

Persian

G242

standing figure with arms bent at elbows, PL forearm slightly lower than PR forearm; unfinished back; looping drapery folds — Standing Shakyamuni Buddha, late 6th century
China

G207

pale grey stone; standing ram with blocky body; curling horns; stubby, blocky tail — Ram, 1938–1942
William Edmondson

G367

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

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

G213

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

Figure of a ram; part of a lintel or altar, depicting Christ as sacrificial lamb. — Figure of a ram, 5th century
Graeco-Egyptian

G241

plump face and wide nose; nearly closed eyes; wearing a large crown with dragon and foliage designs — Head of a bodhisattva, probably Avalokiteshvara (Guanyin), 12th-13th century
China

G200

baldheaded figure with closed eyes, wearing a robe which falls in folds at stomach, lower arms and legs; slightly leaning to proper left, with a small space between proper right arm and body; hands folded at waist — The Monk Ananda, 9th century
China

Not on View

Ear Spool, Spiro Mississippian — Ear Spool, c. 1100-1400
Spiro Mississippian

Not on View

Stone head of Buddha. A fragment consisting of the face only, modelled in the style that heralds the Tang. — Head of a Buddha, 570-577
China

G200

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

head with eyes slightly open; curved indentation under chin; elongated earlobes; mottled patina with blacks, browns and tans; deep notch with oval flat spot above on back of head — Head of Buddha, 6th century
China

Not on View

mottled grey and brown stone; placid face with closed wide eyes, broad nose, full lips, long ears with elongated lobes; bald — Head of an Arhat, 10th-14th century
China

Not on View

standing male figure with slightly bent, arms bent at sides; holding implement at navel, face with incised mouth and eyes, prominent nose, overhanging brow with serrated median crest — Standing Male Figure, 19th-20th century
Papua New Guinea

Not on View

Helmeted and bearded head of a votary of carved limestone; in the archaic Cypriote style; the beard radiating with intersections; the helmet is quilted and framed and allows one row of curls to show above forehead. Ears are showing; a vigorous representation in nearly perfect state of preservation. From the temple of Golgoi. ;votary in the temple of Golgai; head only; archaic, cypriote style; radiating beard, quilted helmet; archaic smile; strong frontality — Head of a Votary from the Temple of Golgoi, 600-500 BCE
Ancient Greek

Not on View

stone replica of hand axe which would have had a wood handle and body with a blade inset just above center; ring at base of handle, fossilliferous limestone — Ceremonial Axe, 14th-16th century
Fort Ancient

Not on View

Stela II, priest in corn-planting ceremony. Face and wrist restored. — Stela fragment, c. 800
Maya

Not on View

Ushabati holding hoe in each hand, yoke laid across hands, basket for grain hanging at each end of yoke. Inscription in horizontal rows. 'To illuminate the Osiris Rames'(Ramses?) He says Ushabati - - 'The conventional formula, well cut. A very good Ushabati, probably of XVIII or XIX Dynasty. 'RA-MOSE' H. 10-1/4 in. carries two hoes and bar with bags of grain He does farm work for death. — Ushabti, c. 1580-1214 BCE
Ancient Egyptian

Not on View

Sarcophagus head, Ancient Egyptian — Sarcophagus head, 13th-11th century BCE
Ancient Egyptian

Not on View

Head of a Young Pharoah (Sculptor's Model), Ancient Egyptian — Head of a Young Pharoah (Sculptor's Model), 1st century BCE
Ancient Egyptian

Not on View

Carved in the round, the crowned virgin stands with her weight on her left leg,holding the child in left arm, and holding a rose in her right hand. — Madonna and Child, 14th century
France

Not on View

standing Native American woman with long, straight hair; wrapped in a flowing cloak with fringe; holding a fringed bag in her PR hand — Rendezvous, 1981
Allan Houser

G258

arched-shaped stone element; relief carvings of seated figure flanked by two pairs of standing figures; two flying figures at top; incised text below figures — Taoist Stele of Five Deities, 722
China

G201

seated lion looking over PR shoulder; curly mane and chin whiskers; open, roaring mouth; grey and reddish brown stone — Guardian Lion, one of a pair, 8th century
China

G208

seated lion looking over PL shoulder; curly mane and chin whiskers; open, roaring mouth; grey and reddish brown stone — Guardian Lion, one of a pair, 8th century
China

G208

Ear Spool, Spiro Mississippian — Ear Spool, c. 1200-1350
Spiro Mississippian

Not on View

black with some grey areas; irregular "base" with vertical upward-extending elements and forward-extending front element; pitted surface; large circular cavities; several holes in upper PL area; tiny hole at bottom center; several deep fissures on back; ringing sound when tapped — Scholar's Rock, 18th-19th century
China

G218

India, Rajasthan, lintel arch from a Vishnu temple, c. 12th century, greystone, with three four-armed male deities seated in columnar niches flanked by female attendants, the outer two each holding Vishnavite attributes, a warrior issuing from the mouth of a makara at either side, tiered canopies above; the central figure flanked by four figures of Vishnu on Garuda, H.14 x W.35-1/2 x D.5 in., mounted on metal stand. — Lintel with Vishnus and Celestial Musicians, 12th century
India

Not on View

Figure of a Maitreya Buddha, porbably Avalokitesvara, seated as if on a stool, his legs crossed at the ankles, his body slightly bent forward, and his hands in the 'do not fear' attitude. The upper part of the body is partially covered with a scarf which falls over the upper arms in pointed cap sleeves and merges with the skirt drapery. The ribbon-like ends of the scarf are knotted in an x-form over the abdomen. The skirt hangs in flaring, rippled pleats over the legs, which are clearly visible under the drapery. The face is typical of the Wei style of Lung Men, with lips and nose firmly modelled, eyebrows falling to meet the lines of the nose, eyes set low beneath the brows, and lids cut in a narrow almond. The hair is parted in the center, and crowned with a square tiara with a figure of Amitabha in front. This figure comes from the Ping Yang cave at Lung Men. — Maitreya (The Buddha of the Future), early 6th century BCE
China

Not on View

Head of the Virgin, limestone, polychromed, French XVc — Head of the Virgin, 15th century
France

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

Two Superimposed Forms, 1957

Guitou Knoop

Not on View

Seated Guan Yin, 7th-10th century

China

Not on View

dancing four-armed Nataraja at center standing on a demon with fangs and a moustache; central figure flanked by Ganesha (elephant-headed figure) at left and Meenakshi (green-skinned figure with green bird) at right; main figures appear in front of an architectural facade with a round element at center flanked by archways--all with swags and elaborate raised decorative patterning; pair of winged figures in top corners; eight figures on each side of a small bull at bottom with small shrines in each lower corner; all figures dressed in gold, with gold architectural elements; received framed and glazed with glass — Shiva as Nataraja Enshrined with Deities, mid 19th century
India

Not on View

Lithographic stone bearing image of "Les premières amours d'un homme 'fait,'" plate 7 from "Les Lorettes vieillies", 1852

Paul Gavarni (Sulpice-Guillaume Chevalier)

Not on View

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