Nepalese brass artifact of a seated monk. The robes & begging bowl indicate a monk. His head is shaved in the front, but three long strands of hair cascade down his back. His robe displays Chinese designs only visible from the back. He holds a vajra in his right hand and appears to wear earrings. The left earring is inlaid with what appears to be red sealing wax while the one on the right bears traces of the same material. The base conceals ritual deposits beneath a hammered copper cap marked with a crossed vajra design. All of these metal images were originally made for ritual use. The containers for deposits hidden within the bases indicate a category of images once valued for their efficacy. It is instructive to consider what their value is in their present situation, surrounded as they are by a society that may appreciate their visible surfaces, and yet generally dismisses the idea that images such as these can exercise power when skillfully utilized.
38 1/2 x 17 1/8 ink and color on silk textile of peonies in a garden. These appear to be a pair of fine Chinese bird and flower paintings cut from their original mounts and provided with matching frames.
Thai bronze artifact of a Buddha head with a base, Sukhothai style.
Celadon-glazed Korean vase.
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).
15 1/8 X 6 3/4 watercolor painting of a traveler during autumn.
Gold leaf and paint. Depicts court ladies enjoying an outing in a summertime landscape. Painted in the Heian style, possibly illustrating a scene from the Tales of Genji. The details are focused on the all-important social groups (as many anthropologists have argued, it has been historically the small, face-to-face group--not the individual--that is the elemental unit of Japanese society) and the elegance of the courtly textile fashions represented.
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.
An unidentified male hero. The only iconographic clue to his specific identity is his light color, which suggests that this may have served as an image of Lakshman, brother of Rama, in the Ramayana epic.
Dance drama being performed in a temple
Likely a recently deceased ancestor appearing above volcano, probably Gunung Agung. 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.
This Javanese roundel is a tourist souvenir, but have been grouped with a set of Balinese shadow puppers as accessories.
Small, broad bowl with light bluish green glaze.
Unsigned. Preparation of food offerings to take to a temple. Batuan, Bali.
A scene depicting foot and boat traffic in foreground with rice planting and temples in the background. Peliatan(?)
Signed in paint: Ketut Reta Batuan. Farming scene. Batuan Bali.
Ritual preparation of the rice fields. Peliatan(?)
Hanuman, the leader of the monkey army and loyal servant of Rama. This specific image of Hanuman would be used only once in the Wayang Kulit Ramayana performance to represent the episode in which Hanuman flies to Lanka bearing the healing herbs that will enable the distressed monkey army to rally and turn the tide in their epic struggle with the demon army.
Three paintings illustrating a procession of cremation towers. 16 is probably from Ubud, 17 and 18 from Peliatan. The Ubud painting includes an image of a bull-shaped sarcophagus, indicating a royal (satria) funeral.
Tantric sorcery image for use in Wayang Kulit performance. Images of disarticulated body parts are used as talismans in occult Balinese ritual. This would be used in a narrative passage to indicate the casting of a spell by one of the major characters in the story.
Landscape with farmer, boy and woman collecting water from a spring. Batuan
Rodent and boy. Unidentified narrative, Batuan
Demons fighting in the forest. Batuan