This jade disc has a circular hole in the center, and is carved in a way that the jade appears to be turning around this central point, almost in the shape of a hurricane symbol if it were to have three prongs. On each of the three prongs are three evenly spaced raised bumps.
A tiny tear-drop-shaped metal (copper?) pendant, edged with beading, serving as support for a minature seated image of a Dhyani Buddha, made of inlaid semi-precious stones and copper wire. This may have originally been part of a necklace or tiara, or part of a brooch for a high-ranking monk's ritual costume.
Object Creation Date
19th century - early 20th century
Medium and Support
copper? set with mountain coral, turquoise, and lapis lazuli
A deep bowl with a wide mouth made of black earthenware. The upper half of the bowl is decorated with a horizontal and diagonal design in a lighter shade of black and rougher texture than the smooth black surface.
Christ in Limbo (The Harrowing of Hell) from "The Small Woodcut Passion"
A group of figures at the left stand in a vaulted space under a cross. They look towards the lower right of the composition where a man holding a standard with a cross on top is bending forward and offering his hand to an old bearded man in an arched doorway. Above the doorway are several fantastical figures with beaked or animal heads and arms with claws.
This cup is divided three parts into mouth, midsection and lower part of the body. The mouth is slightly everted. A handle is attached starting below the second band and ending close to the bottom. There is a line between each part. The color is green and the surface is not trimmed well.
This painting inculdes the seal of the artist Ren Xun. A crane stands in the foreground, with it's head and beak turned toward the viewer, revealing a patch of orangish red on its face. A pine tree arches across the background above.
Black crested haori with yûzen painted origami crane design
Artist Unknown, Japan
Black crepe silk with origame crane designs hand-painted by paste-resist yûzen techinique, in colors and gold pigment. Lining is pink silk damask with woven pattern of truncated floral medallions. Double oak leaf crest (kashiwa) is embroidered with bokashi-dyed blue and white thread.
Vishnu stands with a slight sway to his body with his right hip thrust out, the tribhangha of “thrice bent pose.” He has four hands to carry his attributes, his front two hold a lotus bud and a conch. The back two hang down and rather than carry his two weapons are placed on personified figures of them. At is right is the personified club and on his left his discus. He wears a diaphanous lower cloth that is so sheer, it appears almost invisible, only the folds of the garment are articulated. He wears a long garland down almost to his feet and a sacred thread to his waist. He also wears various pieces of jewelry, including armlets, large earrings and an elaborate crown. The whole is quite worn due to the way the image has been handled by devotees, who have touched it and applied various substances to it. His eyes had been inlayed with silver to add a certain realism to the piece.
A very small jar with a globular body, raised on a continuous foot with a wide mouth with a slighly rolled rim. There are two small lug handles right at the rim of the mouth. The clay is a warm red, suggesting that the jar is of earthenware rather than stoneware, with a white glaze that covers all but the lower part of the jar.
A small ceramic bowl with a dark brown glaze creating horizontal banding and a light blue glaze dripping on top it, heavier on the top of the cup and less towards the bottom. The bottom is unglazed and the top has only a clear glaze, allowing the color of the pottery to show through.
Flared base with rounded food storage bowl on top. The base is cut with evenly spaced rectangular holes. The lid is incised with a repeating herringbone, or dotted design. The know on the lid is the shape of a Buddhist canopy, or chattra.