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Head is an unadorned yet elegant version of a Nok style. Head shows relatively simple features delineated in the smooth surface and a caplike coiffure reaches from ear to ear. The eyes, nostrils, and a spot beneath the covered ears are pierced.
Head
Head
Head is an unadorned yet elegant version of a Nok style. Head shows relatively simple features delineated in the smooth surface and a caplike coiffure reaches from ear to ear. The eyes, nostrils, and a spot beneath the covered ears are pierced.

Head

Africa, Northern Nigeria, Nok culture
c. 500 B.C.–A.D. 500
c. 285 B.C.–A.D. 515
Terracotta
12 3/4 x 6 3/4 x 7 in. (32.4 x 17.2 x 17.8 cm)
AP 1996.04
This unadorned yet elegant head represents a strain of Nok art differentiated from the typically more energized Nok style, perhaps of a type produced in another area. Sculpted in the round, it is most likely broken at the neck from a full figure.
Detail of stuccoed body, which is delicately painted with images of four chimerical creatures, each with a feathered, snakelike neck and head, a body containing the head of an aged divinity that may be Pawahtun
Tripod Vessel with Lid
Tripod Vessel with Lid
Detail of stuccoed body, which is delicately painted with images of four chimerical creatures, each with a feathered, snakelike neck and head, a body containing the head of an aged divinity that may be Pawahtun

Tripod Vessel with Lid

Guatemala, Maya culture
Early Classic period (A.D. 250–600)
c. A.D. 400–500
Ceramic with stucco and polychrome pigments
H. 11 in. (27.9 cm); Diam. 6 1/4 in. (15.9 cm)
AP 1997.01
The art of the Maya is principally the art of the ruling elite. Vessels were made to honor and commemorate once-living rulers and to venerate their gods and ancestors; these objects, laden with power and symbolism, were then buried in tombs alongside their royal or noble owners.
Royal Belt Ornament with one side representing a full-length profile portrait of a young Maya ruler richly attired in the regalia associated with enthronement. The reverse side includes glyphic text about the ruler's death
Royal Belt Ornament
Royal Belt Ornament
Royal Belt Ornament with one side representing a full-length profile portrait of a young Maya ruler richly attired in the regalia associated with enthronement. The reverse side includes glyphic text about the ruler's death

Royal Belt Ornament

Possibly Guatemala, Maya culture
Early Classic period (A.D. 250–600)
c. A.D. 400–500
Pale gray-green jade
9 1/4 × 3 × 1/8 in. (23.5 × 7.6 × 0.3 cm)
AP 2004.05
This exquisitely decorated jade belt ornament originally formed part of a royal costume that included a belt assemblage consisting of three such pendants. One side represents a full-length profile portrait of a young Maya ruler richly attired in the regalia associated with enthronement.
Urn in the Form of Cociyo, God of Lightning who is identified by facial elements forming a powerfully sculptural mask. The mask has forms enclosing the eyes, representative of clouds, a doubly plugged nasal extension, fangs, broad mouth, and flashy tongue. Cociyo is also dressed as a priest or deity.
Urn in the Form of Cociyo, God of Lightning and Rain
Urn in the Form of Cociyo, God of Lightning and Rain
Urn in the Form of Cociyo, God of Lightning who is identified by facial elements forming a powerfully sculptural mask. The mask has forms enclosing the eyes, representative of clouds, a doubly plugged nasal extension, fangs, broad mouth, and flashy tongue. Cociyo is also dressed as a priest or deity.

Urn in the Form of Cociyo, God of Lightning and Rain

Mexico, Oaxaca, Monte Albán IIIa, Zapotec culture
Early Classic period (A.D. 250–600)
c. A.D. 400–500
Ceramic
28 1/2 x 21 x 18 in. (72.4 x 53.3 x 45.7 cm)
AP 1985.09
The primary capital of Zapotec culture was the ceremonial site of Monte Albán (in the modern state of Oaxaca), where the Zapotecs worshipped a complex pantheon of nature gods.
Haniwa Seated Man is a clay is hollow clay cylinders that was placed in a mound covering a Japanese royal tomb. The seated man with a mask-like face is seated on a platform. He has short legs and rounded, tubelike arms
Haniwa Seated Man
Haniwa Seated Man
Haniwa Seated Man is a clay is hollow clay cylinders that was placed in a mound covering a Japanese royal tomb. The seated man with a mask-like face is seated on a platform. He has short legs and rounded, tubelike arms

Haniwa Seated Man

Japan, Ibaraki prefecture, Kashima, Hokota site
Kofun period (248–646)
c. A.D. 500
Low-fired clay with cinnabar pigment
29 15/16 x 10 5/8 in. (76 x 27 cm)
AP 1972.02
Haniwa, which means “circle (or tube) of clay,” is the term given to large numbers of hollow clay cylinders that were placed in and around the bases of large earthen mounds covering Japanese royal tombs.
Vessel with a Mythological Frieze is a tall painted Maya vessel depicting two renderings of the aged supreme deity Itzamna, the god of heaven and sun for the Yucatec Maya.
Vessel with a Mythological Frieze
Vessel with a Mythological Frieze
Vessel with a Mythological Frieze is a tall painted Maya vessel depicting two renderings of the aged supreme deity Itzamna, the god of heaven and sun for the Yucatec Maya.

Vessel with a Mythological Frieze

Possibly Guatemala or Belize, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 550–950
Polychromed ceramic
H. 10 13/16 in. (27.5 cm); Diam. 5 5/16 in. (13.5 cm)
AP 2004.02
This tall vessel is skillfully painted with a unique mythological frieze depicting two renderings of the aged supreme deity Itzamna, the god of heaven and sun for the Yucatec Maya.
Jar in the Shape of a Stupa is an earthenware jar with traces of paint. The jar is deocrated with a band of lotus roundels above a band of monster masks, both in relief.
Jar in the Shape of a Stupa
Jar in the Shape of a Stupa
Jar in the Shape of a Stupa is an earthenware jar with traces of paint. The jar is deocrated with a band of lotus roundels above a band of monster masks, both in relief.

Jar in the Shape of a Stupa

China, Shaanxi, Shandong, or Henan province
Northern Qi period or Sui dynasty (550–577/581–618)
Late 6th or early 7th century
Earthenware with traces of painted polychrome pigment
19 1/4 in. (48.9 cm)
AP 1994.06 a,b,c
This unusual pottery jar illustrates the early assimilation of Buddhist motifs to the decoration of Chinese mortuary objects.
Standing Dignitary is a freestanding figurine composed of intricate and densely patterned inlays of mother-of-pearl, colorful shells, turquoise, pyrite, greenstone, lapis lazuli, and silver (for the headdress which is now oxidized) on a wood matrix. He wears a tunic with an intricate pattern of a zoomorphic motif.
Standing Dignitary
Standing Dignitary
Standing Dignitary is a freestanding figurine composed of intricate and densely patterned inlays of mother-of-pearl, colorful shells, turquoise, pyrite, greenstone, lapis lazuli, and silver (for the headdress which is now oxidized) on a wood matrix. He wears a tunic with an intricate pattern of a zoomorphic motif.

Standing Dignitary

Peru, South Coast, Wari culture
Middle Horizon, c. 7th–11th century A.D.
c. A.D. 600–1000
Wood with shell-and-stone inlay and silver
4 x 2 1/2 x 1 in. (10.2 x 6.4 x 2.6 cm)
AP 2002.04
This rare Wari freestanding figurine is composed of intricate and densely patterned inlays of mother-of-pearl, purple and orange spondylus shell, mussel shell, turquoise, pyrite, greenstone, lapis lazuli, and silver (for the headdress) on a wood matrix.
Smiling Girl Holding a Basket is a ceramic and white slip sculpture of a smiling girl with enlivening hand-modeled details, filed front teeth, lively smile, and broadly sculpted costume.
Smiling Girl Holding a Basket
Smiling Girl Holding a Basket
Smiling Girl Holding a Basket is a ceramic and white slip sculpture of a smiling girl with enlivening hand-modeled details, filed front teeth, lively smile, and broadly sculpted costume.

Smiling Girl Holding a Basket

Mexico, central Veracruz, Nopiloa style
Late Classic period (A.D. 600–900)
A.D. 600–750
Ceramic with white slip and traces of paint
7 9/16 x 6 1/8 x 3 3/4 in. (19.2 x 15.5 x 9.5 cm)
AP 1978.01
Among numerous regional variations, hollow modeled figures from the Veracruz area of the Gulf Coast are noted for their typical smiling facial expressions and the great care given to the slightest details of ornament and attire.
Standing Ruler is a small-scale ceramic figuring evoking a costumed Maya lord. The Standing Ruler holds a shield and wears a belt, supported by a back rack, apron and headdress.
Standing Ruler
Standing Ruler
Standing Ruler is a small-scale ceramic figuring evoking a costumed Maya lord. The Standing Ruler holds a shield and wears a belt, supported by a back rack, apron and headdress.

Standing Ruler

Guatemala, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 600–800
Ceramic with traces of paint
9 3/8 x 3 7/8 x 3 7/8 in. (23.8 x 9.9 x 9.8 cm)
AP 1984.03
The surviving works of Maya civilization range from the smallest objects to great edifices. Among the small-scale artworks of the Maya are many exquisite ceramic figurines only a few inches high.
Detail of Standing Buddha Shakyamuni's body and head. The smooth, fleshy contours of the body are revealed by a thin, clinging garment with cascading pleats delineated into a threadlike surface design. His hand is held in a gesture of charity.
Standing Buddha Shakyamuni
Standing Buddha Shakyamuni
Detail of Standing Buddha Shakyamuni's body and head. The smooth, fleshy contours of the body are revealed by a thin, clinging garment with cascading pleats delineated into a threadlike surface design. His hand is held in a gesture of charity.

Standing Buddha Shakyamuni

Nepal
Licchavi period (400-750)
7th century
Gilded copper
19 3/4 x 8 x 3 3/8 in. (50.2 x 20.3 x 8.6 cm)
AP 1979.01
This slim, richly gilded figure represents the historical Buddha, Shakyamuni, Sage of the Shakya clan.
Flask is a Japanese ceramic vessel, glazed to a silver hue, with a swelling form on one side and thin incised line decoration.
Flask
Flask
Flask is a Japanese ceramic vessel, glazed to a silver hue, with a swelling form on one side and thin incised line decoration.

Flask

Japan
Asuka period (552–645)
7th century A.D.
High-fired clay (Sue ware)
12 3/8 x 10 3/8 x 7 1/4 in. (31.4 x 26.3 x 18.4 cm)
AP 1983.01
This flask exemplifies a type of ceramic vessel produced in the sixth and seventh centuries in Japan for ritual use or for placement in tombs as offerings.
Amphora-Shaped Vase is Chinese variation of a Hellenistic vase with looped handles, finely crackled, almost colorless glaze that separates the glossy upper body from the unglazed portion below.
Amphora-Shaped Vase
Amphora-Shaped Vase
Amphora-Shaped Vase is Chinese variation of a Hellenistic vase with looped handles, finely crackled, almost colorless glaze that separates the glossy upper body from the unglazed portion below.

Amphora-Shaped Vase

China, probably Hebei province
Tang dynasty (618–907)
7th or 8th century A.D.
Stoneware with transparent glaze
H. 14 7/8 in. (37.8 cm); Diam. 7 5/8 in. (19.4 cm)
AP 1969.16
The amphora shape of this vase, modeled after Hellenistic prototypes, has been translated into Chinese idiom by the use of a single color glaze and the substitution of dragon handles for the ordinary loop variety.
Court Lady is an animated and charming earthenware funerary sculpture representing one of the court's ladies. She wears long robes, a white jacket, and upturned shoes.
Court Lady
Court Lady
Court Lady is an animated and charming earthenware funerary sculpture representing one of the court's ladies. She wears long robes, a white jacket, and upturned shoes.

Court Lady

China, probably Shaanxi province
Tang dynasty (618–907)
First half of the 8th century
Gray earthenware with painted polychrome decoration
16 5/16 x 7 1/16 x 6 3/8 in. (41.5 x 18 x 16.2 cm)
AP 2001.01
One of the most engaging and distinctive groups of Tang funerary sculpture is the one representing ladies of the court. This animated and charming example stands in a gracefully swayed pose, her petite hands held in a conversational gesture in front of her swelling form.
The Kimbell’s Earth Spirit stands in a rampant posture of conquest as it subdues a snarling beast upon a rockwork base, its left arm entwined with a serpent. The spirit’s triple horns, bulging eyes, and bare-teethed grimace add to its ferocious appearance.
Earth Spirit
Earth Spirit
The Kimbell’s Earth Spirit stands in a rampant posture of conquest as it subdues a snarling beast upon a rockwork base, its left arm entwined with a serpent. The spirit’s triple horns, bulging eyes, and bare-teethed grimace add to its ferocious appearance.

Earth Spirit

China, probably Shaanxi province
Tang dynasty (618–907)
First half of the 8th century
Gray earthenware with painted polychrome decoration
31 1/8 x 7 9/16 x 11 1/4 in. (79.1 x 19.2 x 28.5 cm)
AP 2001.02
The inclusion of fantastic animal guardians as part of the retinue of tomb figures began in the Northern Wei dynasty (A.D. 386–534) and continued into the Tang dynasty.
Detail of torso and chest of Harihara with almond-shaped eyes, delicately traced brows, and subtly molded lips and nose have the particularity of portraiture, an individualized treatment that may represent the royal patron who commissioned the sculpture.
Harihara
Harihara
Detail of torso and chest of Harihara with almond-shaped eyes, delicately traced brows, and subtly molded lips and nose have the particularity of portraiture, an individualized treatment that may represent the royal patron who commissioned the sculpture.

Harihara

Cambodia, Kompong Cham, style of Prasat Andet
Pre-Angkor period (550–802)
c. 675–700
Stone
45 1/2 x 20 7/8 x 11 in. (115.6 x 53 x 28 cm)
AP 1988.01
The Khmer kingdom controlled Cambodia as well as large areas of Vietnam, Thailand, and Laos from the sixth to the fifteenth centuries.

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