A small container made by inverting a wheel-thrown jar with a rounded bottom, cutting out a circle in the new 'shoulder' of the jar, and attaching a flat bottom. The handle, which is simply attached at both ends, takes the form of an areca fruit. The vessel as a whole has a pale straw-colored glaze, with a rich green iron glaze dripped over the handle and the upper part of the pot.
A small pot for holding powdered lime (calcium oxide), an ingredient mixed with betel nuts and spices to make a popular stimulant used extensively in Vietnam and other parts of South and Southeast Asia.
Two figures are seen riding through the water in the foreground; the woman is nude save for an elaborate headdress, the man holds a tortoise shell as a shield and has an antler-like object on his head and has a serpent-like body which supports the woman. Behind is a minutely described landsape with walled town, castle, and along the opposite bank o the water, nude females swimming and a man running in alarm to the water's edge.
Although no specific myth is cited here, there is a long tradition of nymphs and women kidnapped by a sea monster. Ovid is a possible source, as is the Germany myth of a Langobard queen reportedly kidnapped in the Adriatic.
This carved bone sculpture depicts the Virgin Mary raising her right hand in a gesture of grief while her head is bent in mourning. A similar female figure, holding her hands clasped before her, appears in profile behind the Virgin, and another female figure stands to the left. Behind the mourning women the pointed helmets worn by two soldiers may be discerned.
This diminutive sculpture represents the grief-stricken Virgin and two other mourning women along with two soldiers that, together with its companion piece depicting John the Evangelist (1966/1.108), once formed part of a Crucifixion scene in a small portable altarpiece.
Small, brown, thinly potted container with ivory lid. It has a short neck and round shoulder; The dark glaze is randomly applied from shoulder to the middle of the body. The part at the bottom is unglazed. The bottom has no foot and unglazed. The lid is concaved from the rim toward the center knob.
The container is used for storing tea powder in tea ceremony. Tea master Kobori Enshû named it "Hitorine" or "Sleeping alone," a name adopted from a poem possibly composed by Enshû with allusion to a classic poem by Heian court poet and painter Fujiwara Takanobu (1142-1205).
At the top of the staff, a male and female supplicant peer from a cascade of cowries, brass beads, iron fragments, and seeds. Some cowries are stained with indigo dye. The lower bodies of the figures are concealed by the shell strands above. Their elongated hairstyles extend the overall verticality of the piece. The figure’s faces appear to be identical.
This staff sounds like a rattle when in motion. If seen in action, it “dances” at the threshold of town or the market to pay Esu-Elegbara homage. At rest, the shaker dangles around devotee’s necks or gets pegged to shrine walls. Esu is the deity of dynamic change and is represented by the crossroads. If honored properly, Esu generously intercedes in human affairs. Otherwise, he induces disorientation and stifles those who neglect him.
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.
An incised image of Vajrapâni, the "Thunderbolt-bearer," an important bodhisattva in the Tibetan Buddhist faith, depicted in his wrathful form. He has a third eye, and his hair is depicted sweeping up and back as though on fire. He wears an elephant skin on his back (the elephant's head is just visible behond his right knee) and a tiger skin around his loins. He carries a vajra ("thunderbolt"—a pronged scepter) in his right hand. He stands in a dramatic pose (known as the "alida" stance, or "powerful kick"), often seen in wrathful deites, trampling underneath two figures that represent variously enemies of the faith or ignorance and greed.