It is a long, rectangular unglazed ceramic piece, intended to be shown in horizontal position. Two thick slabs are connected with bridges inside. The front part has almost flat surface; there is a deep cut on the left side, in which mass of worm-like inner surface can be seen. The same surface is revealed in the middle, as well as on the right edge. The top of the slab has a several shallow holes and one deep cut, inside of which has worm-like surface, as explained above. There is also a dent on the top and on the right, from which worm-like mass seems to be coming out. Reddish shadows cast on left side, in the middle, and the right. There is a patch of clay on left side near the left cut. The bottom is flat.
This is an abstract, ceramic sculpture, not for practical use.
A traditional crucifixion scene, with Christ on the cross, and Mary and John at his feet gazing upward. The background is a series of watercolor washes, and parts of the figures, particularly most of the sitting figure of John, is "inked" in over the background washes. A goblet (the cup of Christ) is inked in at the foot of the cross. Signed by the artist, b.r., followed by "VI - 58."
A traditional crucifixion scene, with Christ on the cross, and Mary and John at his feet gazing upward. A goblet (the cup of Christ) is at the foot of the cross.
A color woodblock print of a young woman hanging a paper with poem on a cherry tree. The woman is in a kimono with intricate design of cherry blossom, hemp leaves, birds and swirls, pine trees and diamond patterns. She also wears broad obi (sash) in checkerboard patterns, which is bow- tied on her back. There is also a white sash underneath the obi, which supports her long kimono. Her hair is tied on the back and adorn with tortoise-shell comb and pin. The cherry tree is in full bloom; there is a curtain with a family crest behind the woman and the tree; a certain kind of platform with swirling vine pattern is peaking below the curtain. The overall color scheme is in yellow, orange, black and white (the color of the paper). There are artist’s signature and two seals on the right bottom corner, and smaller seal on the left bottom corner.
During the Edo period, cherry blossom season was one of the few times of year when women of upper class households were permitted to enjoy outdoor amusements. The ladies and their servants would gather under the blossoms to feast on elaborate picnics and play courtly games, all concealed from public view by large curtains. In this print, the artist allows us the voyeuristic pleasure of an unhindered view of a beautiful young woman. From her gorgeous kimono of intricate patterns and expensive tortoise-shell hair accessories, it is clear that she is a daughter of a samurai family. She is shown hanging a poem card (tanzaku) on a tree just outside the curtain—perhaps a love poem intended for someone she expects to pass by.
The verse may be translated as
Once more again in love,
Once more regret--as fleeting
(Adopted from: Maribeth Graybill
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels
Wooden staff covered with beads, displaying a zigzag pattern in blue, white, red, yellow, green and pink along the shaft, with an iron point at the base. The finial (top of the staff) consists of an equestrian, mostly in green, wearing elaborate red-and-yellow headgear, holding a staff and riding a multicolored horse, which stands on a rectangular platform adorned with a veil of ropes of beads.
Among the Yoruba peoples of Nigeria, the ownership of completely beaded objects is reserved for kings and other rare indivuals who communicate with the gods; beaded staffs such as this one are associated with rulers and chiefs. The figure of the horserider might himself represent a ruler, too, as indicated by his crown and staff, as well as his possesion of a horse, and the veil suspended from the platform. The platform might be filled with power substances, since beaded are surrogates for their owners and carry the "spirit" of the ruler in his or her absence. The staff can be planted in the ground with its iron tip: the firm, vertical stance of the staff asserts the ruler's power, authority and potential for action.
Incense container in the shape of a plum blossom. The container consists of two halves opening horizontally, with the top of the container being very textured with a pattern of ridges. The container is bi-colored, with a whitish gray and reddish orange coloring.
This is an incense container in the design of a plum (ume) bloosom. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
A nude woman with long hair flowing down her back grasps a tree branch with her right hand and bends it downward in order to more easily pluck the green fruit dangling at its tip with her left hand. Her white body contrasts starkly with the darker tones of the surrounding landscape. The less conspicuous figure of a serpent with the head of a bearded man coils about the trunk of the tree next to the woman and fixes her with his stare.
This panel represents Eve in the Garden of Eden tempted by the serpent to eat the forbidden fruit from the Tree of Knowledge of Good and Evil (Genesis 3). The serpent appears with the leering head of a bearded man to demonstrate his diabolical nature. This panel originally formed part of a piece of furniture, perhaps a type of marriage chest known as a cassone, where it would have been complemented by other painted decoration, including a companion image of Adam.
Face mask made of wood, covered in white kaolin; face has round, bulging forehead, deep set narrow eyes, small round ears, fiber beard, open rectangular mouth and pointed teeth; basketry weave that held mask on the dancer’s head is visible at back and sides; raffia attachment on top of head frayed and missing.
In pre-colonial Sala Mpasu society authority was vested in members of the Matambu warriors’ society who could secure the rights to wear an array of important masks. The kasangu mask was made of wood and represented a warrior. Covered in kaolin, a fine white clay, it is distinguished by its open rectangular mouth and pointed teeth—a Sala Mpasu mark of beauty.