Head of a priest wearing a cylindrical modius. Limestone fine carved in high relief (rear part torn off) 2nd - 3rd century AD. Syria, Palmyra

Head of a priest wearing a cylindrical modius. Limestone fine carved in high relief (rear part torn off) 2nd - 3rd century AD. Syria, Palmyra
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Zaō Gongen, Manifestation of Mount Kinpu, 12th century, Unknown Japanese, 48 3/4 × 12 3/4 × 8 7/8 in. (123.83 × 32.39 × 22.54 cm), Wood with polychrome, Japan, 12th century, This unhappy-looking fellow with large pointed ears and sporting a conical cap is Zaō Gongen. He is a guardian deity of the Shugendō ascetic practice, who is said to live in the Yoshino Mountains in the rugged interior of the Kii Peninsula south of the ancient capital of Nara. A rare example of a religious figure of purely Japanese origin, Zaō Gongen is believed to have originally appeared to En no Gyōja (634'-701'), the founder of Shugendō, atop Yoshinos Mount Kinpu. Mount Kinpu itself was believed to have been formed from the merging of three Buddhist deities (the historical Buddha Shaka, the Buddha of the Future Miroku, and the bodhisattva Kannon). The figure of Zaō Gongen itself is believed to be a manifestation of the spirit of Mount Kinpu.
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Plaque Fragment: Warrior Chief 16th-17th century Edo peoples At its origins, the centralized city-state of Benin was founded by Edo-speaking peoples. The accounts by official court historians and descriptions provided by visitors evoke a vibrant cultural center continually redefined by its leadership through shifting internal and external power dynamics. According to oral tradition, circa 1300, Edo chiefs are reputed to have reached out to the leader of neighboring Ife, Oranmiyan, to establish a new divinely sanctioned royal dynasty. Since then, the investiture of Benins rulers to the title of obas has conferred upon them at once a role of chief priest officiating in important religious ceremonies and presiding over an elaborate structure of palace officials. During the fifteenth century reign of Oba Ewuare, Benins armies were formed and the fortification of its capital with a massive wall undertaken. In parallel, delegations of Portuguese traders assiduously sought to secure exclusi
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6145-30170987
Dragon King 1001-1150 Japan. The Dragon King, originally an Indian Hindu god, was gradually incorporated into the Buddhist pantheon. Veneration of this deity, who rules the seas, spread with Buddhism from India to China and, via Korea, to Japan; there the Dragon King was transformed into a Shinto god.This figure and that of the monk Hyeja originally belonged to a group of 12 Shinto deities (kami) believed to have come from the Izumo district on the north coast of the island of Honshu. At least 10 of these sculptures are in American and Canadian collections. The group is believed to represent Shotoku Taishi, his family, and his advisors.. Wood with traces of pigment .
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Monk; 19th/20th century (1891-00-00-1910-00-00);
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Shotoku Taishi, Anonymous, C. 1200 -C. 1350 Image of Shotoku Taishi as a child is standing attitude. He put his hands against each other in worship. The lower body is dressed in a red, loose rug with folds. Japan wood (plant material) Image of Shotoku Taishi as a child is standing attitude. He put his hands against each other in worship. The lower body is dressed in a red, loose rug with folds. Japan wood (plant material)
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Buddah, Carved schist, Shallow slab of grey schist carved to represent a robed Buddah with halo behind his head, seated cross-legged on rectangular support with hands in lap. Reverse is roughly finished with horizontal gouge lines. Small round hole in center back., Gandbara, India, 2nd-3rd century, Decorative Arts, Figure, Figure
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Standing bodhisattva mid- to late 6th century China. Standing bodhisattva. China. mid- to late 6th century. Limestone with traces of pigment. Northern Qi dynasty (550-577). Sculpture
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Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion 8th-9th century probably Thailand or Cambodia This rare gold repoussé representation of Avalokiteshvara was fabricated from many pieces of fitted, worked gold. Both the high hairstyle (jatamukuta) and the deerskin over the figure's left shoulder are consistent with representations of Avalokiteshvara, a bodhisattva who offered compassion and protection to devotees. The thin, elongated body and the understated clothing are consistent with Si Thep production.. Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion. probably Thailand or Cambodia. 8th-9th century. Gold. Metalwork
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Isis and Horus 664-30 B.C. Late Period-Ptolemaic Period Isis name is first attested in the fifth dynasty in the Pyramid texts. She was the wife of Osiris and the mother of Horus, and thus was symbolically mother to the pharaoh. In the Late Period, the popularity of this important goddess dramatically increased. She is nearly always depicted in anthropomorphic form, standing or seated on a throne. This statuette shows the goddess in her most beloved pose, nursing her son Horus (known also as the lactans pose). Other goddesses sometimes nurse Horus or other child gods, but Isis is preeminent among them in this role. She wears the horned crown that by the Late Period she had adopted from the goddess Hathor, as well as the vulture headdress that emphasized the role of goddesses as royal mothers; the markings of the headdress are particularly clear on the back of the head. Armlets and bracelets complete her adornment.Horus is large in proportion to Isis, and somewhat more prominent than in
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4409-17380924
Tara. Culture: North India (possibly Uttar Pradesh). Dimensions: H. 12 in. (30.5 cm). Date: ca. 7th century.This elegant, full-bodied figure of a Buddhist saviouress holding a long-stemmed lotus suggests affiliations with Avalokiteshvara, the bodhisattva of compassion. The highly modeled jeweled girdle and flowing sashes hanging free of the body point to a seventh-century date, placing her among the earliest representations of Tara known from North India. The closest analogy is a bejeweled Gaja Lakshmi depicted on a copper seal with Brahmi script datable to the sixth or seventh century, excavated near Haridwar, in Uttar Pradesh. Museum: Metropolitan Museum of Art, New York, USA.
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Standing Buddha, c. 700 - c. 800 Buddha, right foot has been made, right hand in Abhaya-Mudra, the left in Witarka-Mudra. The image is made of bronze for a cement-like core. East Java bronze (metal). gold (metal) Buddha, right foot has been made, right hand in Abhaya-Mudra, the left in Witarka-Mudra. The image is made of bronze for a cement-like core. East Java bronze (metal). gold (metal)
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Sho Kannon. Culture: Japan. Dimensions: H. 17 3/4 in. (45.1 cm); W. 6 in. (15.2 cm); D. 5 3/4 in. (14.6 cm). Date: 12th century.The frontal pose and flattened drapery are evocative of Sho Kannon's status as the principal incarnation of Avalokiteshvara, the bodhisattva of compassion. Produced during the late Heian period in Japan, when wood was a strongly favored medium for devotional figures, this work would have been part of a sculptural ensemble. The figure's raised fist once probably held a lotus flower, now lost. Traces of pigment on the body and garment suggest that the surface would have been entirely painted. Museum: Metropolitan Museum of Art, New York, USA.
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Buddhas Akjamuni; XVIII-XIX century (1701-00-00-1900-00-00);Buddha, Krakow, so -called REPWINDING ACTION - collection, Zaleski, Władysław - collection, figurines, Buddhist and Indian art, purchase (provenance)
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Maitreya (The Buddha of the Future), early 6th century BCE, 17 5/8 in. (44.77 cm), Grey limestone, China, 6th century BCE, This image of Maitreya, the Buddha of the Future, is typical of the Northern Wei style (386-534) as it developed at the Longmen cave complex during the fifth and sixth centuries. Located outside the Wei capital of Luoyang in Honan province, sculptural activities at Longmen lasted from approximately 500 to 750. This image from Pinyang Cave displays a non-Chinese seated posture with legs crossed at the ankles. The torso is slender and elongated and the thin garment has been depicted in a schematic fashion with folds, scarves and hemlines organized into a flat, pattern-like arrangement typical of the Northern Wei style.
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Funeral figure in the shape of a lady with an instrument.Graffigure of pottery in the shape of a standing lady, painted in red, white and black. The figure is dressed in a red robe with V-neck and wide sleeves and has a highly worked up hairstyle. She holds a tool instrument.
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Male Figure: Court Official. Culture: Edo peoples. Dimensions: H. 25 3/4 x W. 7 x D. 5 7/8 in. (65.4 x 17.8 x 14.9 cm). Date: 16th-17th century.Scholars have suggested that this figure was placed upon a commemorative altar dedicated to a king, or "oba," of Benin. The figure is depicted wearing a distinctive cross pendant. His wrap skirt is adorned with profile heads of Portuguese traders, a frontal African head, and other common Benin motifs such as river leaves, mudfish, and interlace patterns.Three different identities have been proposed for this figure. The official may be a messenger from a ruler referred to as the "Ogane," who today is identified as the leader, or "oni," of Ife. The present Benin dynasty claims descent from the Yoruba kingdom of Ife. According to a sixteenth-century Portuguese text, each new "oba," or king, of Benin had to be confirmed by the "Ogane," whose messenger presented the "oba" with a brass hat, staff, and cross necklace. Another interpretation suggests t
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Buddha paré. 14th century, dorure lacquer sculpture in teak from Myanmar
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Daoist Priest with Zodiac Animal, Ram China. Daoist Priest with Zodiac Animal, Ram. China. Stoneware. Song dynasty (960-1279). Tomb Pottery
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Image Number: 1746-29954757Rights ManagedCredit Line:World History Archive/Image Asset Management/SuperStockCollection:Image Asset ManagementStory:Asian Religious SculpturesContributor:World History ArchiveModel Release:NoProperty Release:NoResolution:3690×5684
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