This large bronze faucet features a peacock spigot and a lion-headed spout.
Since Antiquity artists in Europe, North Africa, and the Middle East had produced bronze vessels in the shape of animals to hold liquids, or to serve as incense burners, oil lamps, and even fountains. Although the manufacture of such vessels lapsed in Western Europe during the early Middle Ages, this Syrian faucet decorated with animals eloquently testifies to the unbroken continuity of these traditions in lands around the Mediterranean under Islamic rule. The large scale of the faucet suggests that it might have originally served as part of a fountain.
ceremonial bronze ge dagger-axe, with pointed blade on one end and zoomorphic tang of stylized bird motif on the other.
ceremonial bronze ge dagger-axe of Middle Shang to early Late Shang Shang period, frequently seen in the tombs of elite warriors. The zoomorphic tang is decorated with stylized bird motif. Its elaborate design suggests that it was probably for ceremonial display rather than combat. The zoomorphic tang is decorated with stylized bird motif. Similar objects is seen in the tomb of royal lady Fu Hao of early Late Shang, excavated in Anyang (Plate LXXII). Institute of Archaeology, CASS 1986. Yinxu Fuhao mu (Tomb of Lady Hao at Yinxu in Anyang). Beijing: Wenwu Press.
Bronze mirror with one side polished flat, and the other side decorated with mystical animals for cardinal orientation and twelve zodiac animals.
bronze mirror decorated with mystical animals (marking cardinal orientations) around the knob in the center, which are in turn surrounded by a band of twelve zodiac animals marking temporal orientation.
bronze mirrorr with two columns of auspicious inscriptions for career promotion and healthy offsprings in eight characters separated by the central knob, which is, in turn, surrounded by stylized mystical animal motif on both side.
Standing gilt bronze Shakyamuni Buddha with glass inlay. One hand is raised in the form of the "fear not" mudra. Stands on a pedestal in ornamented dress and crown.
Shakyamuni Buddha in intricate costume standing on a lotus pedestal. Such elaborate decoration has come to characterize Thai Buddhist imagery of the 19th and 20th centuries. Hands form the reassuring "fear not" mudra.
Large bronze sculpture resembling a headless human figure. The surface texture is very rough with deep voids and coarse patches of metal. The brown patina has a whitish tinge.
This is one of three Doner sculptures installed together- Angry Neptune, Salacia and Strider.
"Angry Neptune was made as a statement about the obscene gestures the human species has repeatedly made toward the sea. Robbing the shores of fish, sending plastics into the deep seas, spilling toxins into the water, etc. I feel his rage is palpable."
This mirror features designs of two birds, coupled with floral motifs, positioned symmetrically on the left and right sides. Eight-foiled barbed bronze mirror is general. This type is a modified form of that.
This type mirrors have survived in great numbers, and are being continuously discovered in Goryeo period tombs.
This is a 21cm tall bronze sculpture of a nude female figure seated on a stump-like form with her legs extending out in front of her and crossed at the ankles. She leans the weight of her body on her left arm, as her left hand grasps the edge of the stump. Her right arm is bent and raised, with the back of her hand resting against the left side of her head. She is gazing downward and her arm seems to be shielding her face. Her hair is pulled back and gathered in a knot. The patina is dark brown and the metal surface has a uneven appearance.
When Maillol began to concentrate on sculpture, he created many small statues of nude female figures. He modeled them in terracotta clay and they were later cast in bronze. The figures were shown in various poses-- reclining, kneeling, crouching -- and sitting. Maillol emulated the idealistic treatment of human form in Greek sculpture, but his nudes relate his portrayal of the female figure as a rythmic arrangement of shapes and forms.