Hanuman is depicted with a human body and a monkey head. The image is incised on the plate and his body is entirely textured with characters in the devanagari script. Often merely the letter ‘r’ designating the god Rama with whom he is associated. He is in a striding posture and there are a number of sections of text scattered around the image. At his feet is a human figure walking in the opposite direction. He holds a double flag consisting of two triangular shapes facing him in his left hand along with a thin club. One appears to emanating from his mouth? His right hand is lifted with an arrow above it and his tail curves behind him. There is also a small altar depicting the two feet of Rama in the area between his outstretched leg and the end of a scarf wrapped around his body.
The monkey Hanuman, often referred to as a monkey god, figures prominently in the epic, the Ramayana, telling the story of the incarnation of Vishnu and his war against the demon king of Lanka, Ravana. He is the most important of the monkey hosts and served important function in the story. He is often sculpted to fit into a set of sculptures depicting the god Rama, the hero of the Ramayana, and his brother Lakshman and his wife Sita. The groups sometimes signify the coronation of the god Rama, which is the end of the story, but sometimes the grouping is of them all standing. He has a devotional following of his own and is usually depicted as a human with a monkey’s head. In this engraving he takes a completely religious role being made up of devotional phrases.
Signed in design at lower right: JAMES H DAUGHERTY (underlined) Monogram of the Department of Pictorial Publicity at the lower right corner in the design. Publisher's mark at the lower left corner: FORBES / BOSTON
Metal lion with flowing mane and tail. Gold inlaid spits decorate his body and color his eyes. The lion's head is thrown impossibly backwards, allowing a view of the head as if from above. The golden eyes look upwards.
Obidome were very popular in the Taisho and early Showa periods.
This engraving depicts a frieze-like arrangement of figures in horizontal format. Two central figures are engaged in a duel on horseback. Several other nude male figures are engaged in battle throughout the composition. The artist's monogram is placed in the upper left corner of the image.
Duel between Achilles and Hector, both on horseback, with additional figures engaged in battle.
A bearded man with a halo and wearing ecclesiastical vestments appears rapt in ecstasy in the upper third of this painting. He stands on a cloud beneath an elaborate baldachin with his eyes turned upward. A stag with a cross between its antlers lies at his feet on the figure's right while a putto sits at his left. Two more putti hover to the left and right of the man, holding a red curtain behind him. This scene is surrounded on three sides by dense painted decoration composed primarily of vegetal motifs, which is complemented by the exuberant scrolling foliage and fish scale patterns of the gilded frame. A cartouche bearing a Latin inscription identifying the standing figure is located near the bottom of the painted surface.
St. Felix of Valois, cofounder of the Trinitarian Order in 1198, stands in religious ecstasy near the center of this painting surrounded by a riot of exuberant decoration. He is identified in the Latin inscription in the cartouche below him, an identification confirmed by the presence of the stag with a cross between its horns, which recalls a famous episode in St. Felix's life.
Two rectangular shapes, one horizontal, one vertical. In the larger horizontal section there is a man's head inside a triangle with two angel heads on the sides, with an elaborate border. In the vertical section, there are two angel heads blowing air out of their mouths.
Ceramic figure of a horse standing on a thin ceramic base, which a high-arched neck and a vertical head; large saddle with tassels; traces of orange-ochre, pink red and white pigments
The elegant, long-legged horses of Ferghana and Sogdia (ancient Central Asian kingdom in the region of modern Uzbekistan) were essential to the success of the Han armies over northern nomads. It became common for Chinese military officials to adorn their tombs with sculpted figures of both imported horses and their red-haired, bearded Sogdian grooms.
Eight worshippers sit to the right of a sky-clad (nude) Jina and monk. They each raise beads in their hands. Below them a struggle is depicted. Two men in shorts wrestle, while a snake, tiger, and elephant rera up beside a fire.
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library.
This large bronze faucet features a peacock spigot and a lion-headed spout.
Since Antiquity artists in Europe, North Africa, and the Middle East had produced bronze vessels in the shape of animals to hold liquids, or to serve as incense burners, oil lamps, and even fountains. Although the manufacture of such vessels lapsed in Western Europe during the early Middle Ages, this Syrian faucet decorated with animals eloquently testifies to the unbroken continuity of these traditions in lands around the Mediterranean under Islamic rule. The large scale of the faucet suggests that it might have originally served as part of a fountain.
A ten-armed figure sits with her legs tucked under her on a tiger with a long uplifted tail. The figure is incised onto the copper plate with a chisel. One set of arms are crossed across her chest, while all but six hands hold weapons. A crossed spear and trident form an X behind the figure. She has wide bracelets at each of her wrists and wears elaborate circular earrings and nose ring with a three partite crown. Two lines in devanagari script are above the figure.
Labeled as Durga, an umbrella title or classification for Goddess images, she is probably more aptly titled as Mujunidevi in Kulu, the place where this was mostly likely produced. But the iconography is pan-Indian as the name Durga is fully descriptive. Consistently the goddess rides on a tiger or lion, often apparently a combination of both felines, and carries weapons with which to kill demons. The Goddess was produced to kill demons that the gods could not kill and it was only a creation of the Goddess out of their combined powers that the demons were quelled. Here weapons of a variety of the Gods are present suggesting that collective power. Despite Durga’s militant appearance, this yantra, or mystical diagram offers its beholder a fierce and maternal protection. Elements of love, care, and nourishment are very much present alongside her martial strength. .Durga bears the weapons given to her by the male deities to kill demons that they could not subdue. The weapons represent the embodied energies, or shaktis of the individual gods, which are combined in the goddess. Most often, images of her emphasize that extraordinary energy: one famous icon represents the goddess dancing upon the inert prostrate form of her consort Shiva. This copper plate shows a six-armed Durga in a less ecstatic mode, yet her force is palpable as she parades confidently on her tiger mount. Devotion to the goddess may be less idealized, less gentle than devotion to the gods, but there is the same immediacy and intimacy about it.