This small carved boxwood cross is divided on each face into five compartments containing Christian religious scenes. The cross is set in a stand decorated with mother-of-pearl and green glass-paste stones.
This small sanctification cross, which would have been used for holy water ceremonies in the Orthodox church, depicts six scenes drawn from the life of Christ and the Virgin Mary along with the four Evangelists writing the gospels. The Baptism of Christ appears in the center of one side of the cross with the Annunciation above and the Presentation of the Virgin in the Temple below, while two Evangelists are depicted in the horizontal arm. The Crucifixion serves as the central scene on the other side, with Doubting Thomas above, Christ's Descent into Hell below, and two more Evangelists on the horizontal arm of the cross.
The figure is standing on a lotus-shaped pedestal; the hair is tied as a knot on top of the head; a crown is also on the top. The face has two elongated ears, round eyeblows, eyes looking downward; the lips are shut; sloping sholders are wrapped with thin robe, which hung toward the knees. Right hand, showing a palm, is raised to the chest while the left hand is by the lower abdomen, as if holding something. The three wrinkles can be seen on the neck. All are made of wood.
Kannon (Kuan Yin in Chinese), is the Lord Looking Down with Compassion. Among Kannon's many manifestations, Sho Kannon is the most basic form. He is often worshipped as an individual deity.
The fragment of a base of an image of the Buddha: from left to right (from the viewer's perspective) are bas relief images of a beribboned Bodhisattva; a lion; and an incense burner placed on a central altar.
The artist has captured the story of the deer hunt with the fewest possible elements, in a way that is instantly recognizable and yet takes liberties with the classical tale. The forest is represented by two trees and a few sprays of foliage; the deer is a mundane gray, not magical gold; and Sita waits anxiously in a white marble pavilion, rather than a thatched hut. The vibrantly colored backgrounds divide the composition into zones that create mood and organize the narrative.
This scene portrays a dramatic moment in the Ramayana. The blue-skinned Rama (a human manifestation of the Hindu god Vishnu) had been unjustly exiled from his father’s kingdom to the forest, where he dwelt with his brother Lakshmana and his wife, Sita. One day a beautiful golden deer appeared and lured the men away from their forest dwelling. When Rama shot the deer, it reverted to its true shape as a demon—shown dying in the lower part of the painting. Realizing that they had been duped, the brothers raced back to the hut to find that Sita had been abducted in their absence.
Despite the title given by the artist, this print is a highly abstracted representation of a famous 7th century sculpture of the bodhisattva Avalokitesvara (J. Kannon), in the collection of Hôryûji Temple, Nara.
A woodblock print, with monochromatic black ink. The impression is good, especially given the detail of the design, although the block appears to have been worn at the outside edges.
An image of the Manjushri, the bodhisattva of wisdom, shown seated on his lion mount, who in turn rests on a large lotus. Manjusri holds a sword high in his right hand, and a lotus flower in his left hand. A profusion of flowers surrounds the image. In the upper left hand corner is a moon, and in the upper right hand corner, a sun.
Long calligraphy hanging scroll with green colored backing. Calligraphy paper is faded. Black ink. Stamps in red in the top right corner and near the bottom on the left. A smaller font of calligraphy is set on the left side while the larger set of calligraphy takes up the center of the scroll.
Translated as "Equipped with all blessings, Viewing all with compassionate eyes, His ocean of accumulated blessings is immeasurable. Heads should be bowed to him." from the Avalokitesvara Sutra. Avalokitesvara is one of the main bodhisattvas in Mahayana Buddhism.
Ambika sits above her stylized lion mount with a long body and with its tail curled to add support to the seated figure above. She sits with one leg pendant. She has four arms, the back two hold stylized mango clusters and her front right hand holds a large mango. Her left-hand cups a child seated on her left knee. Another child stands on the base to her right. The backing takes on a throne-like form, but she appears to float in front of it, the square-ish base is pierced and the arch of the back is surmounted by an auspicious pot form with leaves creating a volute shape to either side. The sculpture is solid brass, but the eyes and an ornament in her headdress are inlayed with silver.
Although the Jaina scriptures associate a particular god and goddess with each of the twenty-four jinas, in practice only a few of these deities are commonly depicted. Ambika, while properly associated with Nemi, the twenty-second jina, is the most popular of the goddesses, and in the Jaina context always appears with one or more children. This does reflect the concept of a universal mother goddess, which is found in many of the religions that developed in India and elsewhere.
The artist here uses little modeling for the figure, emphasizing instead her silhouette, with an almost two-dimensional effect. It is interesting to compare this very linear portrayal of a goddess with a similar approach found in paintings from the Kalpasutra, displayed nearby.