This column fragment consists of a base with a seated jina in the center with a tiered umbrella above him under an elaborate arch flanked by two figures to either side—two male and dancing females at the outside. Three virtually identical bands above it represent smaller seated jinas in less elaborate pavilions. A pair of male cauri bearers with a devotional male on the outside flanks each of the two central figures. The top figure is flanked by the pair of cauri bearers, but with an elephant surmounted by a lion figure on either side. There is no cognizance present to identify any of the four jinas, all are depicted in lotus position and their hands in dhyana mudra, a meditation gesture.
The Jaina temples of Gujarat and Rajasthan were often carved out of marble and the carvings are very detailed and elaborate. Images of the jinas, the line of twenty-four teachers, predominate and are multiplied over many of the architectural elements.
Flat raffia mat with woven geometric, diamond-lke pattern of interlocking lines in green, natural and purple.
The Kuba are renowned for their elaborate, geomtrical surface designs. One of the most impressive expressions of this aesthetic is cloth made from raffia fiber. In the 19th century, decorated raffia cloth was a marker of prestige, used as currency, to pay tribute, settle legal disputes, and in public displays such as the funerals of high-ranking titleholders—a practice that continues today. Produced also for the international market, Kuba cloth—and imitations of its designs—can be found in shops and private collections all over the world. This type of mat was used for sitting, sleeping or as a burial cloth. It was also used as a form of moveable architecture to define spaces for special events such as royal visits. The purple ink was probably derived using ink from discarded ditto machines.
This hour-glass shaped stool is supported by two caryatid figures who sit in a pose of lamentation—crouched with head in hands. Scarified patterned abstracted tears spill from their lower eyelids. Brass studs adorn the perimeter of the stool’s seat, base, and figures. Both figures wear strings of black, red and white beads around their necks.
Stools like this rarely come out in public. At stately events, stools have animal skins over them, concealing the iconography from view. This stool is carved by a songi or master court sculptor. The power and public secrecy of the stool is such that songi carve royal seats in seclusion away from non-initiates and women. While sculpting, professional carvers strive for minimal design or utombo, which can capture the complexities of Chokwe cultural values.
Vertically orientated image with trees along a hil like sketching on the right side of the image. Two tree trunks and foliage are distinguishable in the foreground. To the left of the trees and in the bottom third of the image is a small church-like structure very faint compared to trees and land. There is a a cloud in the upper half of the left side of the image, just barely extending into the tree foliage.
An etched landscape with energetic lines with trees in the foreground and a building far in the distance.
Positioned in the upper center, a large eye sits inside a black triangle from which five arms and hands radiate. Behind the triangle and extending to the viewer's right edge is a rainbow. Below the triangle is a stylized, mask-like face that radiates beams of light rom its eyes. On each side of this large face is a man's face in profile. In the far background, there are mountains and clouds.
Pechstein's "The Lord's Prayer" series of woodcuts mixes the text of the prayer with images of human wretchedness and spiritual need that draw on the Christian tradition to comment directly on the suffering and despair experienced by many Germans in the aftermath of the First World War and the economic crisis that followed.
This sheet depicts the face of God and the omniscience and omnipotence of God channeled through the hands of men.