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28 UMMA Objects
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Dogon (Dogon (culture or style))
Ritual Staff
20th century
Gift of Dr. and Mrs. Irving F. Burton
1975/1.69
Dark green with multiple types of stripes in off-white.
Japanese (Japanese (culture or style))
Tie
20th century
Gift of Howard and Patricia Yamaguchi
2013/2.472
A corn husk woven basket with wooden shaping dowels. One side of the rectangle is flat while the other end is curved. There are two blue stripes on the inside floor of the basket and green and purple designs on the outside.<br /> <br /> This straw basket (<em>samtaegi</em> ) is woven from dyed straw. The round frame at the back of it is made from bitterwood and the front part from bamboo. Judging from the use of dyed straw, this basket was probably used for drying grain such as soy beans. <p>[Korean Collection, University of Michigan Museum of Art (2017) p. 277]</p>
Korean (Korean (culture or style))
Winnowing Basket
1850 – 1950
Gift of Ok Ja Chang and the Chang Family
2009/2.49
An entertainer, shown larger in scale than everyone and everything else in the image, sits in the center of the composition. Tied to the strings he holds in his hand are two monkeys and a goat. The monkeys sit atop poles, and are entertaining the people around. The women hold bell-like objects on strings. Are these meant to be placed on the goat's neck? A white square is shown below the entertainer--probably representing a mattress. The sun's rays are shown in organe on the horizon, outlining the semi-circular brown mound framing the scene taking place in the foreground. Vegetation and greenery are shown on the left and right.
Indian (Indian (South Asian))
Travelling entertainer
20th century
Gift of Mr. George P. Bickford for the James Marshall Plumer Memorial Collection
1964/2.113
This type of bowl, with an inverted rim and hollow inside, is known as an <em>okbari</em> or <em>omok-bansanggi</em> (concave tableware). Considering its size, it was probably used for serving steamed rice. The tall foot was made separately before being attached. One line is incised around the outer rim of the bowl, which gently slopes inwards. The nipple-shaped handle is fixed to the top of the lid by a nail. The head of a nail joining the foot to the base of the bowl is visible on the indented base of the foot. <p>[Korean Collection, University of Michigan Museum of Art (2017), 249]</p>
Korean (Korean (culture or style))
Covered Bowl
1900 – 1950
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.304A&B
An eight armed goddess sits astride a tiger with uplifted tail. She carries a noose, punch dagger, shankha, and trident in her right hands and a bow, ring-like discus, arrow and shield in her left arms. She wears a long garland of either large rudraksa or heads around her heck along with other necklaces and pendants. She sits with legs pendant wearing a long skirt. Behind the figure a Om symbol with the end of the letter twirled around it twice and the word Shri written in Devanagari script. Below the figure a grid of letters forms a sacred diagram. The lines forming the grid all end in trident forms. Each square of the grid houses a different letter in nagari.<br />
Indian (Indian (South Asian))
Durga Copper Plate
1800 – 1999
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel.
1975/2.146

Pende;Chokwe (Pende;Chokwe (culture or style))
Prestige Axe
20th century
Gift of Susan B. and John F. Ullrich
1998/1.52

Leon A. Makielski
Autumnal Scene
20th century
Gift of Mrs. F. E. Bartell
1985/2.13
This landscape makes use of the wide range of tones possible from black ink and water. A man stands in a mountain clearing, gazing at geese in the distance. Calligraphic text is written vertically in the upper left corner.
Chang Ku-nien
Watching Geese
1975 – 1999
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang
2006/1.124
A chest in three pieces, all stacked on top of on another. The two chest pieces feature small center doors with decorative iron fittings around the handles and the hinges. Highly decorative iron fittings are added at intervals around the edges of the chest.<br /> <br /> Stacked chest (<em>nong</em> ) resembles chest (<em>jang</em> ) in form. However, there is a difference that each tier of stacked chest (<em>nong</em> ) is detachable, while the tiers of chest (<em>jang</em> ) are inseparable. The panels used for the front are made of zelkova wood, and veneer was attached to the back of the panels to prevent twisting or bending. It is, however, difficult to discern what type of wood was veneered, as Korean paper (<em>hanji</em> ) is pasted over it. Nevertheless, considering that this chest was produced in the areas of Tongyeong-si, it is assumed that the veneer was probably made of paulownia wood. The top, side panels and bottom panel are all joined by finger joints, while the back panel is attached by butt
Korean (Korean (culture or style))
Chest (in three pieces)
1850 – 1950
Museum Purchase made possible by the Margaret Watson Parker Art Collection Fund
2009/2.26A-C

Malian
Ceramic Jewelry Molds (One of eighteen)
1900 – 1932
Gift of Prof. and Mrs. Horace M. Miner
1983/2.211
Concave, ovoid maskette with kaolin covering surface of surface of face. Minimal rendering of facial features: raised, tapered wood strip for nose; narrow, oviod, horizontal eyes; open, ovoid mouth with some striation around interior edge.
Lega (Lega)
Bwami Society Maskette
1900 – 1975
Gift of the Friends of the Museum of Art in memory of Diana B. Fox
1985/1.151
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