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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.
Vessel with an Enthroned Lord and Seated Figure is a cylindrical incised vessel with a young lord seated upon a low, wooden-basketry throne draped with a fringed jaguar skin. He gestures toward the simply dressed seated figure on the ground
Vessel with an Enthroned Lord and Seated Figure
Vessel with an Enthroned Lord and Seated Figure
Vessel with an Enthroned Lord and Seated Figure is a cylindrical incised vessel with a young lord seated upon a low, wooden-basketry throne draped with a fringed jaguar skin. He gestures toward the simply dressed seated figure on the ground

Vessel with an Enthroned Lord and Seated Figure

Mexico, Xcalumkin (Northern Lowlands), Maya culture
Late Classic period (A.D. 600–900)
A.D. 765
Incised ceramic (fine grayware) with traces of red pigment
H. 9 in. (22.9 cm); Diam. 6 3/4 in. (17.2 cm)
AP 2000.04
This superbly incised Maya vessel depicts a young lord seated upon a low, wooden-basketry throne draped with a fringed jaguar skin. He is elaborately dressed in a luxurious fur or feather cape and wears a feathered headdress inside of which is perched a stuffed monkey.
The torso adorned in a simple skirt with a scarf across the chest and a long, elaborate necklace, represents a bodhisattva attendant to the Buddha
Bodhisattva Torso
Bodhisattva Torso
The torso adorned in a simple skirt with a scarf across the chest and a long, elaborate necklace, represents a bodhisattva attendant to the Buddha

Bodhisattva Torso

China, probably Shanxi province
Tang dynasty (618–907)
c. 775–800
Stone, traces of gesso and pigment
39 x 12 15/16 x 8 in. (99 x 32.8 x 20.3 cm)
AP 1987.01
The evolution of Chinese Buddhist sculpture from archaic and columnar to fleshy and sensuous reached its culmination in the Tang dynasty, by which time Chinese Buddhist sculpture in the round shows a masterful adaptation of foreign Indian style to indigenous traditions.
Bodhisattva Torso is a bronze four-armed bodhisattva. He has a slender, bare body, clothed only in a short garment covering the loins
The Bodhisattva Maitreya
The Bodhisattva Maitreya
Bodhisattva Torso is a bronze four-armed bodhisattva. He has a slender, bare body, clothed only in a short garment covering the loins

The Bodhisattva Maitreya

Thailand, Prakhon Chai, Buriram province
Pre-Angkor period (550–802)
Late 8th century A.D.
Bronze
48 1/4 x 20 1/16 x 12 3/8 in. (122.5 x 51 x 31.5 cm)
AP 1965.01
The earliest surviving Buddhist images in Southeast Asia, dating from the fourth and fifth centuries A.D., were the bronzes brought from India and Sri Lanka by merchants and monks. The first locally made images date to the sixth century and demonstrate that regional styles were already developing.
Presentation of Captives to a Maya Ruler is a carved limestone relief with traces of paint. It depicts It depicts the presentation of captives in a palace throne room to a king and his military chief.
Presentation of Captives to a Maya Ruler
Presentation of Captives to a Maya Ruler
Presentation of Captives to a Maya Ruler is a carved limestone relief with traces of paint. It depicts It depicts the presentation of captives in a palace throne room to a king and his military chief.

Presentation of Captives to a Maya Ruler

Mexico, Usumacinta River Valley, Maya culture
Late Classic period (A.D. 600–900)
c. A.D. 785
Limestone with traces of paint
45 3/8 x 35 in. (115.3 x 88.9 cm)
AP 1971.07
This carved relief probably served as a wall panel inside a Maya building or as a lintel over an entrance. It depicts the presentation of captives in a palace throne room, indicated by swag curtains at the top of the panel.
Xipe Totec vividly conveys the concept of death and rebirth by wearing the flayed skin of a sacrificial victim
Xipe Totec
Xipe Totec
Xipe Totec vividly conveys the concept of death and rebirth by wearing the flayed skin of a sacrificial victim

Xipe Totec

Mexico, Nahua culture
Postclassic period (900–1521)
c. 900–1200
Ceramic
15 3/4 x 6 5/8 x 3 7/8 in. (40 x 16.8 x 9.8 cm)
AP 1979.39
Xipe Totec, the Aztec god of spring and regeneration, appears in many Mesoamerican cults. A fertility deity, Xipe Totec vividly conveys the concept of death and rebirth by wearing the flayed skin of a sacrificial victim.
Hachiman in the Guise of a Buddhist Priest
Hachiman in the Guise of a Buddhist Priest

Hachiman in the Guise of a Buddhist Priest

Japan
Heian period (794–1185)
11th century
Polychromed wood
19 1/4 x 16 1/8 x 12 5/8 in. (48.9 x 41 x 32 cm)
AP 1981.19
The Shinto god Hachiman has enjoyed special prominence throughout Japanese history. He was originally a local military guardian, protecting an agricultural and mining community in Usa.
Rain God Vessel is a polychromed ceramic  spouted vessel in the form of a crouching figure, which is someone impersonating a deity. e holds a club in his right hand and has a shield attached to his left wrist; his entire head is engulfed in an animal-head helmet.
Rain God Vessel
Rain God Vessel
Rain God Vessel is a polychromed ceramic  spouted vessel in the form of a crouching figure, which is someone impersonating a deity. e holds a club in his right hand and has a shield attached to his left wrist; his entire head is engulfed in an animal-head helmet.

Rain God Vessel

Mexico, Colima, El Chanal, Mixtec style
Middle Post Classic period (1200–1400)
c. 1100–1400
Polychromed ceramic
9 3/4 x 8 1/4 x 11 1/4 in. (24.7 x 21 x 28.5 cm)
APx 1974.02
This spouted vessel in the form of a crouching figure represents an important aspect of Mesoamerican religious practice—deity impersonation—by which the gods were brought directly into the world of experience. The disguise portrayed in this piece is a double one, however: warrior and rain god.
Bodhisattva Khasarpana Lokeshvara is a carved schist  stela, tin which the youthful, bejeweled figure is seated on a double-lotus throne, surrounded by lotus blossoms
Bodhisattva Khasarpana Lokeshvara
Bodhisattva Khasarpana Lokeshvara
Bodhisattva Khasarpana Lokeshvara is a carved schist  stela, tin which the youthful, bejeweled figure is seated on a double-lotus throne, surrounded by lotus blossoms

Bodhisattva Khasarpana Lokeshvara

India, Bengal
Pala period (750–1174)
c. 11th–12th century
Gray schist
49 3/16 x 31 5/8 x 14 1/8 in. (124.9 x 80.3 x 35.9 cm)
AP 1970.13
The increasing complexity of imagery and iconographic detail in late Pala art paralleled the growing popularity of Esoteric Buddhism in eastern India.
Detail of the carefully modeled face
Head, possibly a King
Head, possibly a King
Detail of the carefully modeled face

Head, possibly a King

Africa, Southwestern Nigeria, Ife culture
12th–14th century
Terracotta with residue of red pigment and traces of mica
10 1/2 x 5 11/16 x 7 3/8 in. (26.7 x 14.5 x 18.7 cm)
AP 1994.04
The art of Ife, which flourished from the twelfth to the fifteenth century in southwestern Nigeria, in the area occupied by the Yoruba people, is unique in Africa in representing human beings with extraordinary naturalism.
Buddha Enthroned is a bronze sculpture that depicts the Buddha seated on a pedastal in a superstructure surmounted by a flame pattern.
Buddha Enthroned
Buddha Enthroned
Buddha Enthroned is a bronze sculpture that depicts the Buddha seated on a pedastal in a superstructure surmounted by a flame pattern.

Buddha Enthroned

Thailand, Chaiyaphun province
Angkor period (802–1431)
c. 1180–1220
Bronze
69 3/16 x 25 7/8 x 16 1/4 in. (175.7 x 65.7 x 41.3 cm)
AP 1966.09
The identification of Buddhist monarchs with overt symbols of worldly wealth and power was characteristic of the time of the Angkor king Jayavarman VII (1181–c. 1218).
Standing Shaka Buddha is a beautifully proportioned Gilt and lacquered wood sculpture of a Buddha. The Buddha stands on a pedastal as if moving forward. He is clothed in a gold deeply folded and decoratively draped robes.
Standing Shaka Buddha
Standing Shaka Buddha
Standing Shaka Buddha is a beautifully proportioned Gilt and lacquered wood sculpture of a Buddha. The Buddha stands on a pedastal as if moving forward. He is clothed in a gold deeply folded and decoratively draped robes.

Standing Shaka Buddha

Kaikei
Japanese (active c. 1185–1225)
Kamakura period (1185–1333)
c. 1210
Gilt and lacquered wood
54 7/16 x 19 1/4 x 13 1/2 in. (138.2 x 48.9 x 34.3 cm)
AP 1984.01 a,b,c
Kaikei, the great master sculptor of the Kamakura period (1185–1333), established the primary school of sculpture that produced statuary for the major temples in Nara and Kyoto.

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