Results for On display?:on; Current location:UMMA Gallery Location ➔ FFW, 2nd floor ➔ 217 (Gallery of South, Southeast and Central Asian Art)

39 UMMA Objects
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This column fragment consists of a base with a seated jina in the center with a tiered umbrella above him under an elaborate arch flanked by two figures to either side—two male and dancing females at the outside.  Three virtually identical bands above it represent smaller seated jinas in less elaborate pavilions.  A pair of male cauri bearers with a devotional male on the outside flanks each of the two central figures.  The top figure is flanked by the pair of cauri bearers, but with an elephant surmounted by a lion figure on either side.   There is no cognizance present to identify any of the four jinas, all are depicted in lotus position and their hands in dhyana mudra, a meditation gesture.   <br />
Artist Unknown, India, Rajasthan or Gujarat, Jain
Column with Four Jinas and Attendants (Jain Marble Column)
1100 – 1299
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
2004/1.151
Gilt bronze statue of monk with a begging bowl over his shoulder. This is Phra Malai, who achieved extraordinary powers through his accumulated merit and was able to visit numerous hells and heavens and then travel back to report on what he had seen.  Phrai Malai has elongated ears and stands on a wooden base wearing a detailed robe.
Thai
Phra Malai (The Monk)
1800 – 1932
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.453
Varahi has a crowned boar’s head on a woman’s body.  She sits with her ankles crosses and originally had four arms, the back two have broken away as has the front right hand which had probably been held up in a reassuring gesture.  Her left from hand is held down at her left knee with the palm held facing out in a gesture of giving.  Her body is softly modeled with a narrow waist and full breasts.  She wears jewelry that is in sharp but low relief and includes a series of necklaces forming a collar of decoration and a longer one that falls between her breasts which suggests the sacred thread extending down to her waist at her right.  She is naked from the waist up and the lower garment is merely suggested by the heavier folds at the waist.  Her head is tilted and her chin/snout had jutted out to the left, but the lower snout is broken away.  She wears a conical crown that accents the long diagonal of her face.  Originally there was an arch behind the image which would have supported her back arms, so the imag
Artist Unknown, India, Tamil Nandu, Kanchipuran
Varahi
900 – 932
Museum Purchase
1960/1.113
Covered ceramic jar with brilliantly colored overglaze enamel painting in repreating floral patterns.  A small base curves into a deep, wide bowl with a flaring mouth, in which the lid rests.  The lid can be turned upside down to provide a shallow bowl, the base of which (or topmost portion of the lid) is encircled by gold and green bands.
Chinese (Chinese (culture or style))
Bencharong Ware Jar (tho)
19th century
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.476A&B
Standing gilt bronze Buddha with glass inlay in royal costume.  Stands on a lotus pedestal with both hands raised in abhaya mudra.
Thai
Standing Buddha, in double abhaya mudrâ
1900 – 1932
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.475
Standing gilt bronze Shakyamuni Buddha with glass inlay.  One hand is raised in the form of the "fear not" mudra.  Stands on a pedestal in ornamented dress and crown.
Standing Buddha, in Abhaya Mudrâ
1800 – 1999
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.450
Kneeling statue of Buddhist monk devotee Mogallana or Shariputra on a pedestal with round face, hair in tight curls, elongated ears, and hands placed together in mediatation.  The pedestal is decorated with lotus petals, and the devotee wears an intricate, close-fitting robe.
Thai
Kneeling Monk Devotee (one of a pair)
1800 – 1932
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.455.2
This intricate stele has a large Varaha in the center.  He is in the archer’s stance, with his right leg extended and his left leg bent resting on a lotus held up by a male and female snake figures. They have human bodies from the waist up and knotted snake bodies below.  Varaha has a human body with the head of a boar, his head thrown back supporting the figure of the earth goddess who holds on to his snout.  A lotus leaf acts as an umbrella over his head.  Three of his four arms are intact with his right one at his hip holding a broken lotus, only the stem survives, and the two left hands holding a conch at his chest and a discus at his knee.  The broken arm held the club and the top of it is still visible next to the pavilion on the left over his shoulder.  Besides the two snake figures, three figures stand on the base to either side, the other one female, while the others are male.  The inner two hold the conch and discus and can be considered shankhapurausha and cakrapurusha, the personifications of the
Indian (Indian (South Asian))
Vishnu as Varaha, the Cosmic Boar
10th century
Museum Purchase made possible by the Margaret Watson Parker Art Collection Fund
2002/1.167

Thai
One of Ten-Piece Set of Altar Tables
19th century
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.466.4

Thai
One of Ten-Piece Set of Altar Tables
19th century
Gift of Doris Duke's Southeast Asian Art Collection
2005/1.466.7
Ganesha is shown here seated on a double lotus throne, in a royal posture with the soles of his feet together. He has four arms, and holds two of his attributes in the rear pair: an ax and a rosary.  His trunk curls down across his rotund belly to reach for a bowl of sweets that rests in his left forward arm.  The cobra slung across his shoulder, now hard to make out because of the centuries of wear of the stone, indicates Ganesha's lineage as the son of the Shiva, in his aspect as the great ascetic. Almost 27 inches high, this sculpture of the Hindu god Ganesha is carved of andesite, a volcanic stone common to the island of Java in Indonesia. Andesite is a soft stone and erodes easily, which is why the carving is no longer crisp.
Indonesian
Ganesha, seated on a double lotus throne
11th century
Museum Purchase
1957/2.56
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