The bushy tail leads the viewer to suspect that it may be a squirrel. One of the inlaid eyes is missing. Apparently made for retail sale.
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 All of these metal images were originally made for ritual use.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.
15 1/8 X 6 3/4 watercolor and ink painting of fishermen by the shore.
7 3/4 x 3 1/2 x 1 3/4 bronze of mortar sculpture of a large hand from a standing Buddha, Sukothai style.
15 1/8 X 6 3/4 watercolor and ink painting of Mt. Fuji beyond the lake.
15 1/8 X 6 3/4 watercolor painting of a traveler during autumn.
Part of a set;These are small statues known as pretima or pratima in Bali that likely date to the mid-twentieth century. Such objects are preserved in small temple shrines and taken out in procession on festival occasions. Their specific identities are iconographically unmarked. They are known only through context, community memory and ritual use. On occasions of temple renovation a Brahmana priest sometimes ritually repaints pretima. The male figure appears to have been repainted in this way and the female figure has not. This explains its relatively crude painting by contrast to the more refined painting on the female figure, which would have been done by an artisan at the time of its production.
Signed in paint: Ketut Reta Batuan. Farming scene. Batuan Bali.
Dance drama being performed in a temple
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.
Unsigned. Preparation of food offerings to take to a temple. Batuan, Bali.
Signed in ink in margin: Kober. Bali (? Possibly Kadek? which is a variant on one of the four standard Balinese names.) Farming scene.
This Javanese roundel is a tourist souvenir, but have been grouped with a set of Balinese shadow puppers as accessories.
Monkey king (Sugriva?) and flying female divinity in the forest. Batuan
Wood with silver inlay.
Possibly an architectural detail. Carved wood.
Narrative illustration of an unknown folktale. Peliatan(?)
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.
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.
Depiction of rice farming and various subsistence activities in the forest. Peliatan(?)
Made for retail sale.
Probably supports for musical instruments.
Of particular didactic interest because of the synthesis of Indian, Chinese, Hindu and Buddhist elements worn in an Islamic Javanese court.