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Jar with Sculptural Rim

Japan

Jomon period (c. 10,500–300 B.C.)

2500–1000 B.C.

Low-fired clay

16 9/16 x 14 15/16 in. (42 x 38 cm)

APx 1974.03

Jomon, meaning “cord-marked,” refers to the impressions left from rolling braided or twisted ropes across the surface of moist clay vessels in the Neolithic period in Japan, which is thus known as the Jomon period.

Standing Man

Mexico, Guerrero, Xochipala culture

Pre-Classic period (c. 1600–100 B.C.)

c. 1600–1200 B.C.

Ceramic

8 1/2 x 5 1/16 x 2 7/8 in. (21.6 x 12.9 x 7.3 cm)

AP 1971.03

This figure of a standing man came from a burial found near the remote mountain village of Xochipala, and may represent an early regional style influenced by the art of the Olmec homeland on the Gulf Coast, or perhaps a formative period of Olmec art.

Seated Woman

Mexico, Guerrero, Xochipala culture

Pre-Classic period (c. 1600–100 B.C.)

c. 1500–1200 B.C.

Ceramic

4 3/8 x 3 1/8 x 2 7/8 in. (11.1 x 8 x 7.3 cm)

AP 1971.04

The Xochipala figures are named after the remote West Mexican village near which all known examples have been found. The style is one of extraordinary physical presence and naturalism for its period.

Kneeling Statue of Senenmut, Chief Steward of Queen Hatshepsut

Egypt, Temple of Montu (?), Armant

New Kingdom, Dynasty 18, reign of Hatshepsut, c. 1473-1458 B.C.

c. 1473-1458 B.C.

Gray green schist

16 1/8 x 6 x 12 in. (41 x 15.2 x 30.5 cm)

AP 1985.02

This masterpiece of New Kingdom art portrays Senenmut, the most favored official of the dowager Queen Hatshepsut, who reigned from about 1473–1458 B.C., offering an image of Renenutet, goddess of the harvest and nourishment, on behalf of the well-being of his sovereign and in hopes of eternal blessi

Portrait Statue of Pharaoh Amenhotep II

Egypt, South Karnak

Dynasty 18, c. 1427–1400 B.C., and Dynasty 19, c. 1279–1213 B.C.

c. 1400 B.C., recarved for Ramesses II (the Great) c. 1250 B.C.

Red granite

40 1/2 x 18 x 15 in. (102.8 x 45.7 x 38.1 cm)

AP 1982.04

This regal figure of Amenhotep II shows him holding the traditional insignia of kingship against his chest—the scepter in the form of a crook in his left hand and the flail or whip in his right.

Cylinder Seal with Griffin, Bull and Lion and Inscription

Assyria (Iraq)

Middle Assyrian period (c. 1300–1100 B.C.)

c. 1300–1200 B.C.

Stone

H. 1 7/16 in. (3.6 cm); Diam. 11/16 in. (1.7 cm)

AP 2001.03

This seal shows a winged griffin dispatching a bull, before a rampant, snarling lion. Epitomizing Mesopotamia miniature art at its best, the artist has taken great care in defining the musculature, fur, and wings of the creatures, which represent divine forces in Mesopotamian religion.

Seated Figure

Mexico, Tenenexpan, Veracruz, Olmec culture

Preclassic period (1500–900 B.C.)

c. 1200–900 B.C.

Ceramic with white slip and traces of paint

10 7/8 x 9 1/8 x 6 1/8 in. (27.7 x 23.2 x 15.6 cm)

AP 1971.02

This hollow ceramic seated figure of a child, with snarling expression, plump babyish proportions, and incised headdress, belongs to a type of so-called “hollow baby” figures found throughout Olmec territory.

Nao Bell

China, possibly Hunan province

Western Zhou dynasty (c. 1046–771 B.C.)

c. 10th century B.C.

Bronze

19 x 13 1/2 x 10 in. (48.3 x 34.3 x 25.4 cm)

AP 1995.03

This impressive, heavily cast nao bell is ornamented on each side with eighteen conical studs arranged in three rows, separated by bands of scrolling thunder pattern (leiwen) decoration, and surrounded by borders of fine thread-relief.

Cylinder Seal with Winged Genius and Human-headed Bulls

Assyria (Iraq)

Neo-Assyrian period (c. 1000–612 B.C.)

c. 700 B.C.

Blue Chalcedony

H. 1 9/16 in. (4 cm); Diam. 7/8 in. (2.2 cm)

AP 2001.04

This seal shows an Assyrian winged genius between rampant, winged, human-headed bulls. All wear the horned headdress of deities and supernatural beings, and have long curled hair and beards.

Female Figurine

Japan

Jomon period (c. 10,500–300 B.C.)

c. 1000–200 B.C.

Low-fired clay

7 15/16 x 5 1/8 x 2 3/8 in. (20.1 x 13 x 6 cm)

AP 1971.15

Jomon, meaning “cord-marked,” refers to the impressions left from rolling twisted rope across the surface of moist clay. The purpose of Jomon figurines is not known, but they may have been used as protective charms or fertility symbols.

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