The two-armed figure dances with his right leg raised and wrapped around a club. His left arm crosses his body and rests above the club and his right hand is raised almost to his ear. Tassels hang from him hips and under his armpits adding a great sense of movement to the whole figure. Multi-hooded snakes are at the base and also around the bottom of the club. He wears much of jewelry including bracelets, anklets, necklaces with should loops and an elaborate belt. His stomach protrudes over the belt. He also has large earrings and a jewel encrusted crown. His eyes bulge out and his mouth is open showing his teeth. He is a pair with 1980/2.291.
Dvarapala means the guardian of a door and were usually produced in pairs, meant to flank the entrance to a temple or to a shrine. The horrific nature of the figure implies that this and its mate were made for a Shaiva temple, one dedicated to the god Shiva.
In this intensely lyrical painting from Bundelkhand in Central India, the great river is shown tumbling from the night sky. Ascetics sit cross-legged on the mountainside, offering their austerities to Shiva, while women come to venerate Ganga. The river teems with life—crocodiles, turtles, fish, and birds—while lions, leopards, jackals, monkeys, and rabbits cavort on its banks.
According to an ancient legend, the goddess Ganga (the personification of the River Ganges) once dwelt in heaven, and the earth suffered from drought. Through the prayers of Bhagiratha, the gods agreed to allow Ganga to descend to earth, but that brought about another crisis: if Ganga were to fall unimpeded, the force of the mighty river could destroy the earth. Bhagiratha then performed penances to seek the aid of the powerful Hindu god Shiva, who responded by catching Ganga in his densely matted locks of hair to break her fall.
A crowd gathers in the side chapel of a church around a group of seated figures and an infant. A man with a long flowing beard sits and holds the infant in his hands above a plate, while another man leans forward in his chair and peers through his spectacles at the child as he performs a circumcision. A plaque with the artist's initials, "HG," lies on the floor in the foreground.
This masterful engraving depicts the circumcision of the infant Christ, who is held by a priest at the center of the gathered crowd. The Virgin Mary and Joseph stand at the front of the group of onlookers immediately behind the seated figures and gaze intently upon the child.
Life-sized seated female figure holding a child. Face has rouneded, high forehead, ovoid eyes, flat, rectangular nose and protruding, open ovoid mouth. Pogmented, bilateral scarification patterns of forehead, temples and jowels, at back of neck. Scarification also on upper arms and breast. Pigmented coiffure is elaborate with triangular and dome-like shapes. Necklace and hoop-like ring carved in relief onto neck and shoulders; figure has protruding navel, wears anklets and armlet at elbow, and holds a baby suckling at left breast.
The Urhobo carved life-szed figures to commemorate the edjo--spiritual forces that pervade the natural world and embody a community’s founding ancestors. Every Urhobo community had its own edjjo installed in a small shrine house that was maintained by the town’s spiritual leaders. These shrine houses were darkened to keep the figure hidden from view for all all but a few days a year, when large festivals were organized in its honor. Shrine figures could be installed in pairs of male and female, which together manifested the martial power and fecundity of the spirits. These figures embody a classic tension in Urhobo aesthetics--fthey are fearsome to humans, but beautiful to the spirits.
Interior image of a church altar with empahasis on the side pillars and ceiling. The angle of the image is from the left hand side, looking at the altar. There is sunlight coming through the windows. The image is toned in browns.