Earthenware roof tile-end with molded lotus design.
Lotus with thirteen petals.
Roofs and ceilings are important focal points of many traditional East Asian structures. Roofs often extend several feet beyond the walls of the structure, creating large, overhanging eaves. These two tiles would have been part of the decorated outer edge of such an eave.
Ceramic roof tiles were introduced to Korea from China around the first century BCE By the time these two examples were made, during the Silla kingdom (57 BCE–668 CE) and Unified Silla dynasty (668–935), Korean ceramic tile roofs had reached their peak in intricacy and design. Roofs made from interlocking ceramic tiles kept cold air, wind, and rain from entering a house. Due to their heavy weight, the structure supporting the roof had to be very strong. Expensive to produce, tile roofs were typically found on the homes of aristocrats and government officials, and on Buddhist and Confucian ceremonial buildings.
Earthenware roof tile-end with molded floral pattern.
The floral medallion on this tile-end consists of bosanghwa(Buddhist floral pattern) motifs which has four heart-shaped petals. The rim is decorated with a chain of beads.
Bosanghwa(Buddhist floral pattern) motif was prevalent in the Unified Silla period. It is usually consists of four, Six, eight or ten petals. This pattern could be easily found on the stone of Silla temples, tower and monument, Buddhist bell, roof tile or incense burner.
Porcelain wine bottle with ten cobalt pigment depicting Chinese Daoist ten symbols of longevity—sun, cloud, mountain, rock, water, crane, deer, turtle, pine tree, and the mushroom of eternal youth. A blue band rings the foot of the bottle, as well as just below the main register of the body. The ten symbols of longevity design stretches around the bulbous body above, tapering off as the body begins to taper into the tubular neck, culminating in a slightly flared rim.
Wine bottle with ten Daoist symbols of longevity—sun, cloud, mountain, rock, water, crane, deer, turtle, pine tree, and the mushroom of eternal youth.
This incense burner is composed of two equal halves. It opens to be used for incense storage, and takes the shape of a ginko leaf. The glaze gives the piece a red color.
This is an incense container in the shape of a ginko leaf. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
Wood carved face with geometric, pseudo-human facial features, grooved, bilaterial striations of surface, protruding, square pursed mouth and horizontal slit eyes with protruding eyebrows. Faint traces of white kaolin in grooves; a flat wooden crest extends from the nose along the curve of the forehead, terminating in feathered headdress; thick raffia fiber beard attached around face. mask shows much wear with nicks and scraptes on wood surface; feathered headdress and fiber beard are brittle.
Kifwebe masks were danced by men's secret associations (bwadi bwa kifwebe) once active in Luba and Songye communities of the DRC. The mystical, transformative powers embodied in these masks were used as a form of social control, aiding in the collection and redistribution of wealth, and in judicial affairs. Masks were also danced at the funerals of chiefs and dignitaries, to honor ancestors, and in some regions, to dispel malevolent occult forces. There are male and female types. UMMA mask is female. Female masks were thought to enhance fertility and assure smooth transitions in the cycle of life.
A tall glazed and speckled gray porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder which widens at the top into a shallow dish. At the bottom of the base as well as a circle on the top of the dish there is some discoloration and morphing of the ceramic, most likely through use.
A short glazed and speckled gray porcelain offering dish for an altar. The base is a small, tapered cylinder which then becomes the base of a slighlt deep dish. The gray glaze has some green coloration throughout the piece.
A tall glazed and speckled white-blue porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder. Where the base of the dish and the top of the base meet there is a bowl-shape ring as the bottom of the dish and a wide angled lip that surrounds it.
A tall glazed and speckled white-blue porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder. The dish a the top is quite wide and shallow until it reaches the point of the base, where there is a deep hole in the cylinder of the base.
A short glazed and speckled gray porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder which at the top is attached to a shallow dish. At the bottom of the base as well as a circle on the top of the dish there is some discoloration and morphing of the ceramic.