Digambara Jain manuscript page: Jina venerated by a monk, layman, and cobras
Artist Unknown, India, Sirohi School
A naked Jina sits on a throne with a naked monk to his left offering praise. A devotee sits in a lotus pond that is surrounded by flames, yet his face appears serene ans he holds his rosary. Two cobras appear next to the flames, with a three in the background.
Mine More Coal - United States Fuel Administration - Stand by the boys in the trenches!
Text: Mine More Coal - United States Fuel Administration - Stand by the boys in the trenches! - (Italian) Sostenete i soldati nelle trincee! Estraete Sempre Piu' Carbone! - (Croatian) Pomogni nasoj mladosti u rovovima! Kopaj Vise Ugljevlja! - (Slovenian) Podpiraj vojake v strelnih jarkih! Koplji Vec Premoga! - (Polish) Wspomagajcie wiernie tych ktorzy sa na linii bojowej! Starajcie Sie Powiekszyc Produkcje Wegla! - (Hungarian) Segitse a fiukat a lövészarokban! Aknázzon Több Szenet! - (German) Unterstuetzt die Jungen in den Schuetzengraeben! Foerdert Mehr Kohle!
A medium size plate has blue-and-white underglaze painting of landscape. There are two groups of mountains; one of the left has two large rocks flanked by two smaller mountains with a few trees on the tops. Three smaller rocks peek from the water. On the right side, a range of gently sloped mountains and a rock are drawn. There are two fishing boats with masts can be seen in front of the mountain range. The crescent moon, shadowed by one side, is in the sky. The drawing is executed in thick underglaze and painted in lighter glaze. There are brown speckles on the surface; reddish color stains on the top of the rim. Some chips on the rim and on the back. The foot is unglazed; eye is glazed. There is a single band around the rim.
The armor is comprised of a round helmet with a neck protector and a crescent-moon shaped ornament; a mask with fake mustache; an upper-body protector with sleeves from waist down and paulownia crest in the middle; a thigh cover; two metal leg protectors; two arm and hand protectors. The suit is stored in a black lacquered box with the gold crest.
The helmet is made of red-painted metal lined with indigo-died cotton fabric and deer skin leather trim, which is attached to the metal helmet. The cotton is quilted with indigo-dyed cotton threads. There are two loops on side and one loop in the back, to hold a code for tying below the wearer’s chin. The code is indigo-dyed and then plaited; there are some fading areas. On the outside of helmet, the paulownia crest is on side flaps (to protect ears). There is a hole in the middle of the helmet for a head ornament. The metal leaves are interlaced with cotton strings. Ceremonial knots of yellow code on the back. It weights about 10 pounds.
The helmet ornament is in crescent moon shape and made of lacquered wood in gold color. There is a slot on the back to place the ornament in the helmet. The slot is nailed to the wood; it looks like a later creation.
The mask covers below the wearer’s eyes, ears, nose and mouth, and down to front neck. The upper part is made of metal; the neck is in metal pieces and cotton codes. The mustache is made of animal hair. The mouth has fake teeth painted with gold.
The arm and hand protectors are made of red-painted metal shell and silk fabric with small flower motifs lined with deerskin and indigo-dyed cotton fabric. The shell is consisted of small metal panels connected with chains. The hand protectors have three different crests. The protectors are tied with indigo dyed cotton codes on back.
The leg protectors are also made of red-painted metal with silk fabric lining. On the metal surface of each piece, there are the artist’s signature and seal.
The body is consisted of metal panels, lacquered with gold in design of peonies and vines. The family crest appears in the middle. Metal knots are in chrysanthemum design. Inside is lined with leather printed with lions and peonies. The shoulder pads are made of cotton quilt in tortoise shell design.
The apron for thighs is made of silk fabric quilt and metal panels. The metal panels protect thighs. The apron belt is made of cotton kasuri; the back is lined with indigo dyed cotton.
The thick belt for the body is made of padded silk fabric.
Black schist carved in the relief of Green Tara, a guide and saviouress on the Buddhist path to enlightenment. She holds two lotuses, one open and one closed and makes the gesture of gift-giving with her palm facing outwards, towards the devotee.
A portable painting in mineral pigments and gold on a primed cotton ground; the painting is designed to be rolled up when not in use. The painting was folded at some time in its history, resulting in a loss of pigment along two vertical lines.
Six-armed Bodhisattva Mañjusri, standing, with two celestial attendants
Artist Unknown, India
Mañjusri, the Bodhisattva of Wisdom, standing with two celestial attendants. This representation of Manjushri includes six arms, one of which holds a sword, while a narrow book (modeled after books made from palm leaves) lays across his upper hand. Manjushri is wearing an ornamented crown and necklace, and is encircled by a halo of flames.
A woman dressed in a rose-colored robe with a blue mantle and flowing white veil stands on a silver crescent moon among a bank of dark clouds. A halo of stars encircles her head. She clasps both hands before her. The heads of two putti peak out from beneath her mantle next to her left hip. Her right foot treads upon a long serpent that curves back upon itself with an open mouth.
Guru Dragpo Votive Plaque, in the shape of a lotus petal
Artist Unknown, Tibet or Nepal
A bas-relief carving made of bone and in the shape of a lotus petal, depicting a wrathful guardian of the Tibetan Buddhist faith. At the base of the "petal" are the tops of mountains, with the waves of the sea visible between them; in the rounded part of the "petal," a border of flames encircles a dynamic image of the bodhisattva Vajrapani in his wrathful form. The background behind Vajrapani is incised with closely spaced wavy lines, again suggesting flames.
A bas-relief carving made of bone and in the shape of a lotus petal, depicting Pehar, a guardian of the Tibetan Buddhist faith, in wrathful form. At the base of the "petal" are the tops of mountains, with the waves of the sea visible between them; in the rounded part of the "petal," a border of flames encircles a dynamic image of Pehar, his garments flowing in the wind as he rides on a snow lion. The background behind Pehar is incised with closely spaced wavy lines, again suggesting flames.
Illustration Proof without text of A.M. David's "Statuaire" for Aloysius Bertard's book "Gaspard de la nuit:fantasies à la manière de Rembrandt et de Callot"
Two rectangular friezes: 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.
Vishnu stands with his legs apart holding his four attributes in his hands. Reading in clockwise direction from his right front hand he holds: his club, discus, conch and lotus, here a rather flat object cupped in his palm. His back two arms are extremely short. The figure is encircled with a decorated arch with a line of beads and triangular shaped openings around them. A stylized sun and moon are to either side of Vishnu’s head. He wears a variety of simple, lumpy jewelry at his feet are a horse to his right and a bull or cow to his left and between them are three rings lying flat on the base. At the front of the base are seven stylized horses, identifying this as a combination figure: Vishnu and the sun god Surya, whose chariot is pulled by seven horses.
Scene from the life of the Buddha: Buddha triumphs over the fire snake at the Fire Temple of Uruvilva Kasyapa (architectural fragment)
Artist Unknown,Gandhara (ancient Pakistan and Afghanistan)
A fragment of a stone slab, originally a facing on the drum of a small stupa, carved with a narrative scene. In this relief, he is converting devotees of the fire god Agni, the three ascetic Kasyapa brothers and their disciples. In this narrative, the Buddha asked to spend the night in the fire temple of Uruvilva Kasyapa. The temple’s fire god worshipers thought the fearsome fire serpent that dwelled within the temple would vanquish the Buddha. Instead, the fiery radiance of the meditating Buddha overwhelmed the serpent, who crawled into the Buddha’s alms bowl; the defeated snake appears in this sculpture below the Buddha. Meanwhile, the dazzling radiance the Buddha emits has been mistaken for flames and a fire brigade using ladders and pots of water has been formed to put out the fire, as can be seen here. Seated in the posture and gesture of meditation, the Buddha’s calm presence is in contrast to the action unfolding around him. The three Kasyapa brothers, with their beards and matted hair, are at the bottom directing it all – two are on the right and the other is seated at the far left.