Permanent Collection

Upper torso and head of Standing Bodhisattva
Standing Bodhisattva
Standing Bodhisattva
Upper torso and head of Standing Bodhisattva

Standing Bodhisattva

Pakistan, ancient region of Gandhara
Kushan period (c. 50 B.C.–A.D. 320)
2nd–3rd century A.D.
Gray schist
59 1/8 x 30 x 10 in. (150.2 x 76.2 x 25.4 cm)
AP 1997.04
With its masterly craftsmanship, harmonious proportions, and exceptional size, this majestic image of a standing bodhisattva is distinguished by the rich dress and jewelry of a Kushana prince or nobleman from the ancient region of Gandhara, in northeastern Pakistan, in the first or second century A.
Standing Dog showing an animated chow dog covered in a dark green glaze. The dog's head is slightly raised and shows an alert expression
Standing Dog
Standing Dog
Standing Dog showing an animated chow dog covered in a dark green glaze. The dog's head is slightly raised and shows an alert expression

Standing Dog

China
Eastern Han dynasty (A.D. 25–220)
c. 1st century A.D.
Earthenware with lead-fluxed glaze
12 1/4 x 13 1/2 x 5 1/2 in. (31.1 x 34.3 x 14 cm)
AP 1995.01
During the Eastern Han dynasty, sculptors produced images of various dog types—among them mastiffs and chows—that were then included with the human and other animal figures placed in tombs. Dogs were generally fashioned standing on all fours or in recumbent attitudes.
Seated Buddha with Two Attendants sculpted in red sandstone. The Buddha is portrayed as a traditional yogi, seated on a throne, and dressed as a monk with his left shoulder covered and right hand raised
Seated Buddha with Two Attendants
Seated Buddha with Two Attendants
Seated Buddha with Two Attendants sculpted in red sandstone. The Buddha is portrayed as a traditional yogi, seated on a throne, and dressed as a monk with his left shoulder covered and right hand raised

Seated Buddha with Two Attendants

India, Uttar Pradesh, Mathura
Kushan period (c. 50 B.C.–A.D. 320)
A.D. 82
Red sandstone
36 5/8 x 33 5/8 x 6 5/16 in. (93 x 85.4 x 16 cm)
AP 1986.06
The Kushans ruled much of northwestern India and the ancient region of Gandhara (parts of present-day Pakistan and Afghanistan).
Mirror with Animals and Figure is a mirror adorned with symbolic geometric motifs and naturalistic forms. There are four prominent raised bosses and seven real, fantastic animals
Mirror with Animals and Figure
Mirror with Animals and Figure
Mirror with Animals and Figure is a mirror adorned with symbolic geometric motifs and naturalistic forms. There are four prominent raised bosses and seven real, fantastic animals

Mirror with Animals and Figure

China
Eastern Han dynasty (A.D. 25–220)
c. A.D. 100
Cast bronze
6 1/2 in. diameter (16.5 cm diameter)
AP 1984.02
In ancient China, from at least the Shang dynasty (c. 1600–1100 B.C.), mirrors served both as functional articles of daily life and as sacred objects possessing powers of their own. By the fourth century B.C., the custom had developed of placing mirrors in tombs.
Ovoid Jar is a jar uncluttered with decoration except for small combed incisions and flat braided cord. The black flame at the bottom of the jar is a natural consequence of the firing process
Ovoid Jar
Ovoid Jar
Ovoid Jar is a jar uncluttered with decoration except for small combed incisions and flat braided cord. The black flame at the bottom of the jar is a natural consequence of the firing process

Ovoid Jar

Japan
Yayoi period (300 B.C.–A.D. 300)
c. A.D. 100
Low-fired clay
H. 18 7/16 in. (46.8 cm); Diam. 12 5/16 in. (31.3 cm)
AP 1984.15
This jar, characterized by its graceful lines and uncluttered form, is a fine example of the pottery of the Yayoi period, which marks the first settled population in Japan. The combed incisions and flat braided cord are typical Yayoi decorations.
Wide-Mouthed Jar is a simplified silhouettes with spare decoration. The incised patterns are divided into three registers, accentuating the vessel’s shape
Wide-Mouthed Jar
Wide-Mouthed Jar
Wide-Mouthed Jar is a simplified silhouettes with spare decoration. The incised patterns are divided into three registers, accentuating the vessel’s shape

Wide-Mouthed Jar

Japan
Yayoi period (300 B.C.–A.D. 300)
c. A.D. 100
Low-fired clay
11 13/16 x 5 7/8 in. (30 x 15 cm)
AP 1985.07
In comparison to the exuberance of the preceding Jomon period pottery, Yayoi wares exhibit simplified silhouettes with spare decoration, reflecting a more settled society. The incised patterns that decorate this graceful storage jar are divided into three registers, accentuating the vessel’s shape.
Detail of head and upper torso of Standhing Buddha, one of the first anthropomorphic representations of Buddha
Standing Buddha
Standing Buddha
Detail of head and upper torso of Standhing Buddha, one of the first anthropomorphic representations of Buddha

Standing Buddha

Pakistan, ancient region of Gandhara
Kushan period (c. 50 B.C.–A.D. 320)
c. 2nd–3rd century A.D.
Gray schist
51 1/2 x 20 3/4 x 8 1/2 in. (130.8 x 52.7 x 21.6 cm)
AP 1967.01
The historical Buddha was a man who lived and died in northeast India in the sixth century B.C. He established a religion, Buddhism, that spread throughout Asia and profoundly affected its culture. This serene statue is among the earliest anthropomorphic images of this great religious leader.
Mummy Mask is an Egyptian funerary mask with realistic facial proportions and modeling derived from Roman tradition. The face was pressed from a mold, while the curling hair, ears, and beard were added to increase its portrait-like quality
Mummy Mask
Mummy Mask
Mummy Mask is an Egyptian funerary mask with realistic facial proportions and modeling derived from Roman tradition. The face was pressed from a mold, while the curling hair, ears, and beard were added to increase its portrait-like quality

Mummy Mask

Egypt
Roman period
c. A.D. 120-170
Stucco/gesso with paint, gold leaf, and glass inlays
11 9/16 x 7 5/8 x 5 1/2 in. (29.4 x 19.4 x 14 cm)
AP 1970.05
By the first century B.C., Rome had come to dominate the Mediterranean world. The influence of Roman funerary art and practices is very much apparent in this Egyptian mask.
Priestess of the Imperial Cult is a sculpture of a head of a young woman.
Priestess of the Imperial Cult
Priestess of the Imperial Cult
Priestess of the Imperial Cult is a sculpture of a head of a young woman.

Priestess of the Imperial Cult

Roman
2nd century A.D.
A.D. 170–180
Marble
13 1/4 x 10 5/8 x 9 5/8 in. (33.6 x 27 x 24.5 cm)
AP 1969.18
This head of a young woman was originally part of a full-length, draped statue. It was formerly identified as a portrait of Faustina the Younger, wife of the emperor Marcus Aurelius and daughter of Antoninus Pius.
Portrait of Emperor Marcus Aurelius is a sculpted head showing the last of the emperor's portrait types. This portrait type is characterized by upswept curls above the forehead, a thick mustache covering the upper lip and partially overlapping the lower, and a full beard that falls in two main groups of curls.
Portrait of Emperor Marcus Aurelius
Portrait of Emperor Marcus Aurelius
Portrait of Emperor Marcus Aurelius is a sculpted head showing the last of the emperor's portrait types. This portrait type is characterized by upswept curls above the forehead, a thick mustache covering the upper lip and partially overlapping the lower, and a full beard that falls in two main groups of curls.

Portrait of Emperor Marcus Aurelius

Roman
3rd century
c. A.D. 210–225
Marble (probably from Carrara, Italy)
14 3/8 x 9 7/8 x 10 1/4 in. (36.5 x 25.1 x 26 cm)
AP 1967.11
The Roman emperor Marcus Aurelius (reigned A.D. 161–80), the archetypal “philosopher-king,” is perhaps best known today as the author of the Stoic philosophical treatise The Meditations.
Conch Shell Trumpet with elaborate decoration bears the face of a Maya king and a column of glyphs recording the name of its royal owner. The ruler Wears a jaguar headdress
Conch Shell Trumpet
Conch Shell Trumpet
Conch Shell Trumpet with elaborate decoration bears the face of a Maya king and a column of glyphs recording the name of its royal owner. The ruler Wears a jaguar headdress

Conch Shell Trumpet

Guatemala, Maya culture
Early Classic period (A.D. 250–600)
c. A.D. 250–400
Shell with traces of cinnabar
H. 11 9/16 in. (29.3 cm); Diam. 5 1/4 in. (13.4 cm)
AP 1984.11
This elaborately decorated conch shell bears the face of a Maya king, carefully incised following the undulations in the shell’s surface, and a column of glyphs to the side recording the name of its royal owner.
Rounded Bowl is a limestone bowl with no decoration
Rounded Bowl
Rounded Bowl
Rounded Bowl is a limestone bowl with no decoration

Rounded Bowl

Mexico or Guatemala, Maya culture
Classic period (A.D. 250–900)
c. A.D. 300–900
Limestone
H. 3 9/16 in. (9.1 cm); Diam. 5 in. (12.7 cm)
AP 1994.03
Maya art is noted for its dense and complex pictorial decoration, although not all Maya material was meant to be adorned. In media such as onyx, it is often the case that when vessels are decorated, they are done so with great restraint.
Tripod Vessel is a limestone vessel with a very simplified form of a cylindrical vase with straight flaring sides ending in a slightly everted lip, supported by three tear-drop supports
Tripod Vessel
Tripod Vessel
Tripod Vessel is a limestone vessel with a very simplified form of a cylindrical vase with straight flaring sides ending in a slightly everted lip, supported by three tear-drop supports

Tripod Vessel

Mexico or Guatemala, Maya culture
Classic period (A.D. 250–900)
c. A.D. 300–900
Limestone
H. 9 7/16 in. (23.9 cm); Diam. 6 5/8 in. (16.8 cm)
AP 1994.02
This Maya limestone vessel is unusual for its beautiful material and simple form. The vessel is crafted from a single piece of stone into a cylindrical vase with straight flaring sides ending in a slightly everted lip. At the base are three supports of rounded “tear-drop” form.
Bearded Man is a mosaic of a bearded man with a frontal pose and serene expression perhaps indicate that he is meant to represent a biblical figure
Bearded Man
Bearded Man
Bearded Man is a mosaic of a bearded man with a frontal pose and serene expression perhaps indicate that he is meant to represent a biblical figure

Bearded Man

Syria
5th century
c. A.D. 400
Mosaic
22 1/4 x 21 1/8 in. (56.5 x 53.7 cm)
AP 1972.19
The identity of this image of a bearded man is unknown. His iconic, frontal pose and serene expression perhaps indicate that he is meant to represent a biblical figure, though not all church decoration at this time was overtly Christian in iconography.
Chalice (?) with Two Strands of Ivy (?) is a mosaic with a schematized image of a vessel with a hemispherical bottom from which rises a hollow stem with two strands of ivy streaming from the top
Chalice (?) with Two Strands of Ivy (?)
Chalice (?) with Two Strands of Ivy (?)
Chalice (?) with Two Strands of Ivy (?) is a mosaic with a schematized image of a vessel with a hemispherical bottom from which rises a hollow stem with two strands of ivy streaming from the top

Chalice (?) with Two Strands of Ivy (?)

Syria
5th century
c. A.D. 400
Mosaic
18 1/16 x 19 in. (45.8 x 48.2 cm)
AP 1972.22
This chalice is a flattened, schematized image of a vessel with a hemispherical bottom from which rises a hollow stem with two strands of ivy streaming from the top.
Long-Legged Bird, Possibly a Crane is a mosaic of a bird with a long red beak and legs, and faces toward the viewer’s left
Long-Legged Bird, Possibly a Crane
Long-Legged Bird, Possibly a Crane
Long-Legged Bird, Possibly a Crane is a mosaic of a bird with a long red beak and legs, and faces toward the viewer’s left

Long-Legged Bird, Possibly a Crane

Syria
5th century
c. A.D. 400
Mosaic
15 1/2 x 20 in. (39.4 x 50.8 cm)
AP 1972.24
This schematized image of a long-legged bird is possibly a crane, a symbol of vigilance and watchfulness in Christian art. This bird has a long red beak and legs, and faces toward the viewer’s left. The body is outlined in black; the black eye is surrounded by small red chips.

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