On View

Reliquary Arm
Reliquary Arm

Reliquary Arm

French
12th century
c. 1150–1200 (crystal possibly added in the 15th century)
Silver, champlevé enamel on copper, gilt bronze, wood core, glass cabochons, and crystal
24 7/16 x 6 x 3 7/8 in. (62.1 x 15.3 x 9.9 cm)
AP 1979.25
The veneration of the physical remains of saints––or objects with which they had come into contact—began to be practiced during the Early Christian era. In A.D. 393, the Church decreed that every altar must have a relic.
Buddha Enthroned
Buddha Enthroned

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).
Reliquary Casket
Reliquary Casket

Reliquary Casket

French
13th century
c. 1200–1220
Champlevé enamel on copper, wood core
8 7/8 x 9 1/2 x 4 1/8 in. (22.6 x 24.2 x 10.5 cm)
AP 1979.26
A major center of the manufacture and export of exquisitely crafted reliquaries in the Middle Ages was Limoges, located in southwestern France along several ecclesiastical and pilgrimage routes.
Standing Shaka Buddha
Standing Shaka Buddha

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.
Seated Nyoirin Kannon
Seated Nyoirin Kannon

Seated Nyoirin Kannon

Japan
Kamakura period (1185–1333)
c. 1230–50
Wood with traces of gilt and pigment
19 x 18 x 10 in. (48.3 x 45.7 x 25.4 cm)
AP 1985.15
Kannon is the Japanese name for the Indian Buddhist deity Avalokiteshvara, the bodhisattva of compassion. Because of the boundless love he offered to all beings, this was the most popular of all the Buddhist deities throughout Asia.
Bamboo and Rocks
Bamboo and Rocks

Bamboo and Rocks

Attributed to Tan Zhirui
Chinese (active late 13th to early 14th century)
Yuan dynasty (1279–1368)
c. 1275
Hanging scroll; ink on paper
39 1/2 x 14 15/16 in. (100.3 x 38 cm)
AP 2002.02
This delicate ink painting of bamboo and rocks, a recurrent motif in Chinese painting, has recently been attributed to the Yuan-dynasty (1279–1368) painter Tan Zhirui. The elegantly inscribed poem was added by the Buddhist priest Yishan Yining (1247–1317).
Arhat Taming the Dragon
Arhat Taming the Dragon

Arhat Taming the Dragon

China
Yuan dynasty (1279–1368)
early 14th century
Hanging scroll; ink and mineral pigments on silk
48 1/4 x 20 3/4 in. (122.5 x 52.7 cm)
AP 1987.03
Arhats (in Chinese, lohans) were the original disciples of the Buddha, enlightened beings of exceptional wisdom, endowed with supernatural powers. One of their primary roles is to serve as guardians and advocates of the Buddhist Law (dharma).
Pink and White Lotus
Pink and White Lotus

Pink and White Lotus

China
Yuan dynasty (1279–1368)
14th century
Hanging scroll; mineral pigments on silk
53 9/16 x 23 7/8 in. (136 x 60.7 cm)
AP 1984.19
The grandeur of this depiction of lotus blossoms, leaves, and seed pods is eloquent testimony to the considerable position accorded the genre of flower painting in China.
The Raising of Lazarus
The Raising of Lazarus

The Raising of Lazarus

Duccio di Buoninsegna
Italian (active 1278–1318)
14th century
1310–11
Tempera and gold on panel
17 1/8 x 18 1/4 in. (43.5 x 46.4 cm) Framed: 20 7/8 x 22 1/8 x 1 7/8 in. (53 x 56.2 x 4.8 cm)
APx 1975.01
Duccio was the preeminent Sienese painter in the early years of the fourteenth century. He infused the prevailing Byzantine style with a more naturalistic, narrative mode.
Returning from a Visit
Returning from a Visit

Returning from a Visit

Zhu Derun
Chinese (1294–1365)
Yuan dynasty (1279–1368)
c. mid-14th century
Handscroll; ink on paper
11 1/8 x 46 15/16 in. (28.2 x 119.3 cm)
AP 1972.06
The Yuan dynasty (1279–1368), during which time the Mongols dominated China, was one of great distress for the Chinese. For the first time in their history, the entire country was under foreign control.
Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple
Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple

Vimalakirti Scroll Used for a Yuima-e Service at Tônomine Temple

Japan
Nambokucho period (1336–1392)
c. 1350
Hanging scroll; color and gold on silk
35 1/4 x 9 1/2 in. (89.5 x 24.1 cm)
AP 1982.02
Vimalakirti Scroll Used for a Yuima-e Service at T"nomine Temple has been retitled to reflect new information that came to light in the course of recent restoration and cleaning carried out in Japan.
Parvati
Parvati

Parvati

India
Vijayanagar period (1336–1565)
15th century
Bronze
35 11/16 x 10 15/16 x 9 5/8 in. (90.7 x 27.8 x 24.5 cm)
AP 1969.13
In the Hindu religion, Parvati, the consort of Shiva, is the archetypal mother goddess and fertility image. She benevolently mediates between the worshiper and the divine. This graceful sculpture represents the divinity as an ideal beauty.
The Apostle Saint James the Greater Freeing the Magician Hermogenes
The Apostle Saint James the Greater Freeing the Magician Hermogenes

The Apostle Saint James the Greater Freeing the Magician Hermogenes

Fra Angelico (Fra Giovanni da Fiesole)
Italian (c. 1395/1400–1455)
15th century
c. 1426–29
Tempera and gold on panel
10 9/16 x 9 3/8 in. (26.8 x 23.8 cm) Framed: 18 5/8 x 17 7/16 in. (47.3 x 44.3 cm)
AP 1986.03
Born Guido di Piero, the artist known as Fra Angelico acquired his nickname not long after his death, when he was referred to as “Angelicus” by a fellow Dominican monk for his pious life and artworks.
Four Mandalas of the Vajravali Series
Four Mandalas of the Vajravali Series

Four Mandalas of the Vajravali Series

Central Tibet, Tsang (Ngor Monastery), Sakya order
c. 1429–56
Thangka, gouache on cotton
35 x 29 in. (88.9 x 73.7 cm)
AP 2000.01
Most Tibetan art was created in connection with the complex rituals and meditational practices of Vajrayana Buddhism (the Diamond Path), in which mandalas (cosmic diagrams) are employed as visual representations of the sacred realms inhabited by a host of deities.
Virgin and Child (The Borromeo Madonna)
Virgin and Child (The Borromeo Madonna)

Virgin and Child (The Borromeo Madonna)

Attributed to Donatello (Donato di Niccolò di Betto Bardi)
Italian (1386/87–1466)
15th century
c. 1450
Terracotta
32 7/8 x 20 1/2 in. (83.5 x 52.1 cm)
AP 2006.01
Celebrated for his powers of invention, range of expression, and technical prowess, Donatello was the preeminent Italian sculptor of the fifteenth century.
The Madonna and Child
The Madonna and Child

The Madonna and Child

Giovanni Bellini
Italian (c. 1438–1516)
15th century
c. 1465
Tempera, possibly oil, and gold on panel
32 1/2 x 23 in. (82.5 x 58.4 cm) Framed: 48 x 39 1/8 x 5 in. (121.9 x 99.4 x 12.7 cm)
AP 1971.06
Giovanni Bellini’s half-length devotional paintings of the Madonna and Child enjoyed great popularity in Venice, and later in his career he employed a large workshop to meet the demand.

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