This probably comes from a site (Hadda or Taxila) in present day Afghanistan. These pieces are noteworthy for their great antiquity. They display characteristics of a late Hellenistic visual language synthesized with that of contemporary northern India. Aside from their obvious historical and art historical significance, they could also be useful in broader academic discussions of processes we now call globalization in antiquity.
Mounted in gold filigree setting depicting a Naga or dragon. The records indicate that this is a piece of ""Royal Javanese"" jewelry. It is a very finely crafted work. The exquisitely delicate gold-work contrasts with the bold, organic simplicity of the tiger's claw to make a striking visual impression. Qing dynasty Chinese product, or a Javanese version of a Chinese piece done by a Chinese jeweler living in Java.
Possibly a 7 3/4 x 7 1/8 Japanese woodblock print of a scene from Tale of Genji.
13 X 10 1/2 X 9 1/2 artifact of a mortar over brick core Buddha head. Ayutthaya style. Northern Thailand (or possibly from a Laotian monument constructed in the Ayutthaya style).
An unidentified male hero. The only iconographic clue to his specific identity is his dark color, which suggests that this may have served as an image of Kresna (Krishna) in the Mahabharata epic.
Unidentified narrative depicting a man and two monkeys, one of which is impaled and tied onto a pole, Batuan
This item has been provided with a separate â€œfluteâ€ that is not part of the original design. The wear on the figure indicates many decades of worship (puja). Given its size it was probably used in the household shrine of a prosperous family. For instructional purposes it would be useful in illustrating a local, South Asian mode of ritually engaging images that stands in sharp contrast with the exclusively visual experience authorized following the re-classification of such icons as ""art"" objects. From the Bengal state.
Made for retail sale as a hanging display. Rajasthan, India. This is a traditional form painted on both sides to be seen from inside the house and out, however it was made for sale and display rather than architectural use. The paint has given an artificially antiqued surface treatment to enhance its marketability.
This Javanese roundel is a tourist souvenir, but have been grouped with a set of Balinese shadow puppers as accessories.
Object used in religious rituals.
Initially identified as ancient ""Siamese"" stone weights. They are obviously not stone but metal. Subject matter and style suggest that they may have come from South India or Sri Lanka. Analogous temple carving style make dating difficult. One is a hamsa (celestial bird), the other represents a composite creature commonly called a yali. The yali is much more worn than the hamsa, suggesting greater age. They are in a simple yet refined style, adding an aesthetic touch to routine commercial transactions dependent upon standardized measures. They do not appear to be from the same set, but from the same tradition and system. It would be interesting to compare the weights of the two. The strong, abstract modeling of these items, especially of the yali, are likely to appeal to modern sculptural tastes.
Painting on canvas of Calonarang ceremony located in a generic temple, featuring the confrontation of Barong (Banaspati raja) and Rangda (Durga). Above are typical images of village life. Painted in the colorful naÃ¯ve style associated with the village of Peliatan near Ubud.
It is carved on both sides depicting a female dancer flanked by red and green nagas. Possibly belonging to a musical instrument, a processional vehicle or a temple ornament. Holes drilled beneath the nagas indicate that it was once fastened to a larger assembly.
Guanyin with wooden stand flanked by a pair of potted plum trees. Made of porcelain.
Reign marks on base should be identified by a specialist but point to construction during the Qing dynasty.
Said to be a Burmese silver box in the shape of a mangosteen. Similar in manufacture to the Sri Lankan silver boxes in the collection.
A scene depicting foot and boat traffic in foreground with rice planting and temples in the background. Peliatan(?)
Possibly an architectural detail. Carved wood.
Twalen, one of the Balinese Wayang Kulit clowns.
Signs of the zodiac. This is a vessel for sacred liquids prepared and used in Hindu Tantric ritual. In the interior bottom is a strange, quasi-anthropomorphic (phallic?) figure. It appears to have a Kadiri inscription of 4 characters above the sign for Sagittarius. Mummy-like anthropomorphs are repeated above the zodiac, interspersed with figures in the so-called East Javanese Wayang style. This is a very old and significant ritual object. The figures on the surface are ancestral to the Wayang Kulit puppets in the Dickinson collection. At one time it would have had a lid. An almost identical piece, with lid, is published among the national treasures of Indonesia's National Museum in Art of Indonesia: Pusaka, H. Soebadio (ed), 1992, page 114).
Gilded lacquer with glass inlay on borders of robe. The gap between arm and body on his left side is distinctive to later Burmese images. It is a fine piece of the sort that might have been flanked in a ritual display by attendants such as those just discussed. It's more routine, stiffer modeling and expressiveness provides a useful point of contrast to the two extraordinarily fine attendants.
This pair of paintings is illustrative of a mode of routine production in which Balinese culture is transformed into a marketable commodity and a way of making a living in the developing cash economy of 20th century Indonesia. Dickinson accesssioned items 19126.96.36.199 through 10 are similar to these, but depict less idealized female activities.
Unidentified narrative depicting man shot with an arrow in the landscape. Un unfinished pencil sketch is on the reverse. Batuan
Three paintings depicting cock fights. Two are probably from Peliatan and one from Ubud.