Varahi has a crowned boar’s head on a woman’s body. She sits with her ankles crosses and originally had four arms, the back two have broken away as has the front right hand which had probably been held up in a reassuring gesture. Her left from hand is held down at her left knee with the palm held facing out in a gesture of giving. Her body is softly modeled with a narrow waist and full breasts. She wears jewelry that is in sharp but low relief and includes a series of necklaces forming a collar of decoration and a longer one that falls between her breasts which suggests the sacred thread extending down to her waist at her right. She is naked from the waist up and the lower garment is merely suggested by the heavier folds at the waist. Her head is tilted and her chin/snout had jutted out to the left, but the lower snout is broken away. She wears a conical crown that accents the long diagonal of her face. Originally there was an arch behind the image which would have supported her back arms, so the image would have appeared denser, with only the cut away empty space to the sides of her waist.
This image was discovered in 1926 by the French archaeologist Gabriel Jouveau-Debreuil in Kancipuram, an area about 70 km southwest of Chennai (Madras), along with a large group of other sculptures of goddesses and one image of Siva. Varahi is one of the Saptamâtrikâ, or "seven mothers"—mothers of the principal gods of the Hindu pantheon. Several other, larger images goddesses at the site have been identified as Yoginis, or tantric goddesses. Companion images from the series are now distributed among major museums of the world, including the Detroit Institute of Arts, the Musee Guimet, and the Asian Art Museum of San Francisco.
One of the set of goddesses often grouped into the Saptamatrika, the Seven Mothers, Varahi is the female counterpart to Varaha, the boar-headed incarnation of Vishnu. In Hindu mythology, the Seven Mothers are extremely powerful and as a group represent the power of all of the gods. The female principal is the active one in Hinduism and the Mothers as a group can destroy demons and protect against diseases.
Ganesha is shown here seated on a double lotus throne, in a royal posture with the soles of his feet together. He has four arms, and holds two of his attributes in the rear pair: an ax and a rosary. His trunk curls down across his rotund belly to reach for a bowl of sweets that rests in his left forward arm. The cobra slung across his shoulder, now hard to make out because of the centuries of wear of the stone, indicates Ganesha's lineage as the son of the Shiva, in his aspect as the great ascetic. Almost 27 inches high, this sculpture of the Hindu god Ganesha is carved of andesite, a volcanic stone common to the island of Java in Indonesia. Andesite is a soft stone and erodes easily, which is why the carving is no longer crisp.
Ganesha, the elephant-headed Hindu deity who removes obstacles.
Pot-bellied Ganesha, with his elephant head and curved trunk, is perhaps the most endearing and gentle of the Hindu gods. The elder son of Shiva and Parvati, he is famed for removing obstacles; as such, he is worshipped at the start of any new venture. Scribes, for instance, will inscribe Ganesha’s name before writing anything else, as will students beginning an exam. His presence is also invoked at the onset of religious rituals. Sculptures of the plump god are typically located near the entrance to Hindu temples so that they are among the first encountered in the act of circumambulation. Also, when sweets are prepared for a festival day, the very first portion will be set aside in his name. This stone sculpture from eastern Java suggests that the treats do not go to waste: Ganesha’s trunk drops directly into a bowl of snacks that rests in his left hand.
The inscription is a famous discussion on the vulgarity and the elegance in painting by Qing Dynasty painter Zou Yigui (or Zou Xiaoshan).
The inscription is a discussion on the vulgarity and the elegance in painting from the book "Art of Paiting of Xiaoshan" writen by Qing dynasty painter Zou Yigui (or Zou Xiaoshan). Chang Ku-nien inscribed it here, which may suggest that he hoped to be a wise artist who understands the subtlety of using color and ink.
A head of a man with an object in his mouth, possibly fruit? There is only the head present, no longer attached to a neck. The man has very dramatic slanted eyes and short hair. His mouth is open slightly to make room for the fruit that appears to have a box-like design on it.
This black silk crepe kimono is decorated with chrysanthemum motifs, and has an inner red lining.
The technique used to create the design on this kimono is yuzen, developed in 17th century Japan. Yuzen require much skill and hard work, by first protecting the design area with a rice-paste resist and dying the rest of the cloth. Afterwards, the resist is removed and the design and details are hand-painted.