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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.
Ceramic Censer Stand with the Head of a Supernatural Being with a Kan Cross. This censer stand is sculpted with a vertical tier of five heads with sides  decorated with a variety of motifs that include (from top to bottom) jewels with bird-shaped heads and ribbons, stylized crocodile ears, crossed and knotted bands, and ornamented ear spools. Traces of the original blue, red, and white pigments are still present.
Censer Stand with the Head of a Supernatural Being with a Kan Cross
Censer Stand with the Head of a Supernatural Being with a Kan Cross
Ceramic Censer Stand with the Head of a Supernatural Being with a Kan Cross. This censer stand is sculpted with a vertical tier of five heads with sides  decorated with a variety of motifs that include (from top to bottom) jewels with bird-shaped heads and ribbons, stylized crocodile ears, crossed and knotted bands, and ornamented ear spools. Traces of the original blue, red, and white pigments are still present.

Censer Stand with the Head of a Supernatural Being with a Kan Cross

Mexico, Usumacinta region, Chiapas, Palenque, Maya culture
Late Classic period (A.D. 600-900)
c. A.D. 690-720
Ceramic with traces of pigments
44 7/8 × 21 1/2 × 11 1/2 in. (114 × 54.6 × 29.2 cm)
AP 2013.02
Monumental ceramic censer stands are some of the finest and largest freestanding sculptures created by Maya artists.
Censer Stand with the Head of the Jaguar God of the Underworld, which is  sculpted with a vertical tier of five heads, all Maya deities.
Censer Stand with the Head of the Jaguar God of the Underworld
Censer Stand with the Head of the Jaguar God of the Underworld
Censer Stand with the Head of the Jaguar God of the Underworld, which is  sculpted with a vertical tier of five heads, all Maya deities.

Censer Stand with the Head of the Jaguar God of the Underworld

Mexico, Usumacinta region, Chiapas, Palenque, Maya culture
Late Classic period (A.D. 600-900)
c. A.D. 690-720
Ceramic with traces of pigments
44 × 22 × 12 1/4 in. (111.8 × 55.9 × 31.1 cm)
AP 2013.01
Monumental ceramic censer stands are some of the finest and largest freestanding sculptures created by Maya artists.
Vessel with Ceremonial Scene is a ceramic Maya vessel depicting a palace ceremony. The Maya lord wears an elaborate bird headdress as a servant kneels before him.
Vessel with Ceremonial Scene
Vessel with Ceremonial Scene
Vessel with Ceremonial Scene is a ceramic Maya vessel depicting a palace ceremony. The Maya lord wears an elaborate bird headdress as a servant kneels before him.

Vessel with Ceremonial Scene

Mexico, Campeche, Jaina Island (?), Maya culture, Chocholá style
Late Classic period (A.D. 600–900)
c. A.D. 690–750
Carved ceramic with traces of pigment
H. 8 1/8 in. (20.7 cm); Diam. 6 13/16 in. (17.3 cm)
APx 1974.04
The scene on this vessel appears to depict a ritual that is being enacted in a sumptuous palace interior, indicated by the swagged curtain framing the top of the scene.
Stela with a Ruler is a carved stone slab monument K’inich B’alam (Sun-Faced Jaguar), ruler of El Perú. The mosaic mask represents a jeweled serpent, and the round shield he grasps in his left hand emphasizes the war role of Maya rulers.
Stela with a Ruler
Stela with a Ruler
Stela with a Ruler is a carved stone slab monument K’inich B’alam (Sun-Faced Jaguar), ruler of El Perú. The mosaic mask represents a jeweled serpent, and the round shield he grasps in his left hand emphasizes the war role of Maya rulers.

Stela with a Ruler

Guatemala, Petén region, El Peru, Maya culture
Late Classic period (A.D. 600–900)
A.D. 692
Limestone
107 3/8 x 68 3/8 in. (272.7 x 173.7 cm)
AP 1970.02
The Maya were prolific makers of carved stone-slab monuments, or stelae, which were normally set up within architectural complexes and most often portray specific, named individuals who were members of the hereditary dynasties that ruled Maya city-states.
Codex-Style Vessel with Two Scenes of Pawahtun Instructing Scribes is a vessel which depicts two scenes with the deity Pawahtun, a principal god of Maya scribes, in animated lessons with young disciples.
Codex-Style Vessel with Two Scenes of Itzam Instructing Young Pupils
Codex-Style Vessel with Two Scenes of Itzam Instructing Young Pupils
Codex-Style Vessel with Two Scenes of Pawahtun Instructing Scribes is a vessel which depicts two scenes with the deity Pawahtun, a principal god of Maya scribes, in animated lessons with young disciples.

Codex-Style Vessel with Two Scenes of Itzam Instructing Young Pupils

Possibly Mexico or Guatemala, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 700–750
Ceramic with monochrome decoration
H. 3 3/4 (9.5 cm); Diam. 4 1/8 in. (10.5 cm)
AP 2004.04
This celebrated vessel depicts two scenes with the Itzam, an elderly deity associated with creation and atlantean roles, in animated lessons with four young pupils. The Itzam is recognizable by his aged features and his netted headdress with a brush wedged into the ties.
Pendant: Twin Warriors is a gold pendant depicting a pair of standing bat-human figures hold paddle-shaped clubs in their outer hands. Saurian heads hang from their waistbands.
Pendant: Twin Warriors
Pendant: Twin Warriors
Pendant: Twin Warriors is a gold pendant depicting a pair of standing bat-human figures hold paddle-shaped clubs in their outer hands. Saurian heads hang from their waistbands.

Pendant: Twin Warriors

Panama, Azuero Peninsula, Conte Style
Late Classic to Postclassic period (600–1521)
c. 700–1200
Gold
3 1/4 x 4 13/16 x 1 in. (8.2 x 12.2 x 2.5 cm) Weight: 0.63 lb. (286.8 g)
AP 1979.23
The art of casting elaborate designs in gold had emerged in Panama by the middle of the first millennium A.D.; regional schools excelled in the techniques of cast and beaten gold.
Pendant: Two Deer Heads is a gold pendant with two dear heads and a pair of outward-facing profile heads of an important deity, a crested saurian, above the deer.
Pendant: Two Deer Heads
Pendant: Two Deer Heads
Pendant: Two Deer Heads is a gold pendant with two dear heads and a pair of outward-facing profile heads of an important deity, a crested saurian, above the deer.

Pendant: Two Deer Heads

Panama, Azuero Peninsula, Conte Style
Late Classic to Postclassic period (600–1521)
c. 700–1200
Gold
2 13/16 x 4 11/16 x 1 in. (7.2 x 11.9 x 2.5 cm) Weight: 0.42 lb. (188.4 g)
AP 1979.24
The art of casting elaborate designs in gold had emerged in Panama by the middle of the first millennium a.d.; regional schools excelled in the techniques of cast and beaten gold.
Vessel with a Ball Game Scene is a Maya ceramic vessel depicting a prince with a headdress with his rand resting on a ball during the game.
Vessel with a Ball Game Scene
Vessel with a Ball Game Scene
Vessel with a Ball Game Scene is a Maya ceramic vessel depicting a prince with a headdress with his rand resting on a ball during the game.

Vessel with a Ball Game Scene

Mexico or Guatemala, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 700–800
Polychromed ceramic
H. 8 3/4 in. (22.2 cm); Diam. 4 7/8 in. (12.4 cm)
AP 1989.05
The figures on Vessel with a Ball Game Scene are engaged in a ritual ball game commonly played in Late Classic period (A.D. 600–900) Maya cities. The protective ball game equipment includes a heavy wood-and-leather belt and knee pad.
Vessel with Two Gods before a Mountain is a Maya ceramic cylindrical vessel with five glyphs and Water-lily Jaguar and Chak facing each other in a death dance.
Vessel with Two Gods before a Mountain
Vessel with Two Gods before a Mountain
Vessel with Two Gods before a Mountain is a Maya ceramic cylindrical vessel with five glyphs and Water-lily Jaguar and Chak facing each other in a death dance.

Vessel with Two Gods before a Mountain

Guatemala, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 700–800
Carved ceramic with traces of pigment
H. 6 5/8 in. (16.8 cm); Diam. 6 7/8 in. (17.5 cm)
AP 1980.10
The elaborate mythological scene on this vessel, carved in low relief in the leather-hard clay before firing, achieves at a smaller scale much the same effect as the Maya stone relief carvings.
Gigaku Mask of the Karura Type is a mask of Karura, a mythical giant bird. The mask's features include pierced, close-set eyes, which stare down toward the tip of a prominent beak that grasps a round bead, and a cock’s comb that projects from the crown of the head.
Gigaku Mask of the Karura Type
Gigaku Mask of the Karura Type
Gigaku Mask of the Karura Type is a mask of Karura, a mythical giant bird. The mask's features include pierced, close-set eyes, which stare down toward the tip of a prominent beak that grasps a round bead, and a cock’s comb that projects from the crown of the head.

Gigaku Mask of the Karura Type

Japan
Nara period (A.D. 710–794)
8th century
Dry lacquer (dakkatsu kanshitsu)
14 x 10 1/8 x 12 in. (35.6 x 25.7 x 30.5 cm)
AP 2005.02
This very striking and expressive Japanese gigaku mask depicts Karura, one of the fourteen characters in the gigaku, a religious dance-drama that was performed for the Japanese royal court at Buddhist temple ceremonies from the 7th to the 10th century.
Vessel of the Ik Dancer is a Maya cylindrical ceramic vessel with Fat Cacique is comfortably seated on a bench with a huge jaguar pillow, while two attendants tend to him. Three warriors dance in a blood-letting ritual on the opposite side of the vessel
Vessel of the Ik’ Dancer
Vessel of the Ik’ Dancer
Vessel of the Ik Dancer is a Maya cylindrical ceramic vessel with Fat Cacique is comfortably seated on a bench with a huge jaguar pillow, while two attendants tend to him. Three warriors dance in a blood-letting ritual on the opposite side of the vessel

Vessel of the Ik’ Dancer

Guatemala, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 750
Polychromed ceramic
H. 8 3/4 in. (22.3 cm); Diam. 4 3/8 in. (11.1 cm)
AP 1985.10
This vessel depicts a Maya lord nicknamed the Fat Cacique, ruler of the Ik’ polity. The action of the scene is divided between the interior and exterior of a palace building raised on a low platform with two steps.
Vessel with a Procession of Warriors is a cylindrical Maya ceramic vessel depicting a parade of warriors after a battle.
Vessel with a Procession of Warriors
Vessel with a Procession of Warriors
Vessel with a Procession of Warriors is a cylindrical Maya ceramic vessel depicting a parade of warriors after a battle.

Vessel with a Procession of Warriors

Mexico, Usumacinta River Valley, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 750–850
Polychromed ceramic
H. 6 5/16 in. (16 cm); Diam. 6 5/16 in. (16 cm)
APx 1976.16
This vessel depicts a parade of warriors after a battle. The naked figure is a captive who is being led by an elaborately dressed warrior for sacrificial display. The leader of the party may be the figure wearing a full jaguar pelt and wielding a bloody weapon.
Vessel with Five Figures is a Maya cylindrical vessel with a processional scene. On each side of this vessel a noble lord prepares to dance with a lady.
Vessel with Five Figures
Vessel with Five Figures
Vessel with Five Figures is a Maya cylindrical vessel with a processional scene. On each side of this vessel a noble lord prepares to dance with a lady.

Vessel with Five Figures

Mexico, Usumacinta River Valley, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 750–800
Polychromed ceramic
H. 10 3/16 in. (25.8 cm); Diam. 6 1/4 in. (15.8 cm)
AG 1979.02
Processional scenes are a common mode of representation on Maya painted vessels. On each side of this vessel a noble lord prepares to dance with a lady.

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