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Between and Mortarboard

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25 UMMA Objects
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Chinese (Chinese (culture or style))
Dvarapala (guardian figure) from a Buddhist altar
618 – 907
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1963/1.81
This painted panel depicts an intimate domestic setting consisting of a bedchamber with a fireplace and a smaller vaulted antechamber that opens out on a garden. A haloed woman wearing a white veil rests in bed, having recently given birth. She leans to her right as she reaches toward a basin held by an attendant and looks across the room to the infant who is held on the lap of another servant. A halo also encircles the head of the child and a pair of angels fly above her. Several other attendants and midwives bustle about the room, while another woman, more richly clad than the servants, gazes on the child from her seat at the foot of the bed. In the antechamber sits a haloed man in a long white beard, who leans forward to hear news of the birth from the child standing in front of him. A companion sits behind him and a servant passes through the door into the bedchamber.
Sano di Pietro
The Nativity of the Virgin
1448 – 1452
Museum purchase made possible by the Thirtieth Anniversary Project and the Friends of the Museum of Art
1977/2.1

Burmese
Royal Attendant for a Buddhist Shrine (one of a pair)
19th century
Gift from Doris Duke's Southeast Asian Art Collection
2005/1.448.1
Three apostles, each holding an identifying attribute, stand in a row as full-length figures on this painted panel. On the left stands the youthful beardless St. John holding a chalice with a snake coiled in the cup. Next to him appears the bald and bearded St. Thomas, holding an architect's square. The bearded figure of St. James the Less appears on the left with an open book in his left hand and a long fuller's club in his right. Scrolls above each apostle's head contain a line from the Apostles' Creed in Latin.
Jan Joest
Three Apostles: St. John the Evangelist, St. Thomas, and St. James the Less with the Apostles' Creed
1500 – 1519
Museum Purchase
1973/2.77
This pair of finely carved bust-length figures depicts two men in ecclesiastical garb. On the right appears an older figure who wears elaborate vestments and a papal tiara with a book in his left hand. His deeply lined and wrinkled face conveys a patient wisdom and authority as he stares directly ahead. His more youthful companion, dressed in a simpler collared robe and brimless cap, glances introspectively aside. He grasps an unfurled scroll in his left hand and a diminutive lion stares out from its perch on his left shoulder.
Atelier of J
Busts of Saints Jerome and Gregory
1495 – 1505
Museum Purchase
1958/1.59

Chinese (Chinese (culture or style))
Buddhist altar ornament: lotus bud supported by two dvarapala
618 – 907
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.74

Chinese (Chinese (culture or style))
Buddhist Bronze
650 – 725
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.78

Chinese (Chinese (culture or style))
Dvarapala (Buddhist guardian deity)
633 – 666
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
1964/2.26

Chinese (Chinese (culture or style))
Bodhisattva, attendant figure from a larger Buddha shrine
618 – 907
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.81

Chinese (Chinese (culture or style))
Bodhisattva, possibly Padmapani, seated in lalitasana and holding a lotus bud in the left hand: part of a Buddhist altar group
618 – 907
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.71

Chinese (Chinese (culture or style))
Buddha, seated in the pralambapadasana pose (with legs pendant), in abhaya mudra
600 – 799
Museum purchase for the James Marshall Plumer Memorial Collection
1964/2.92
A bearded man, wearing a loincloth and a long trailing headband, hangs from a cross by his arms, which have split open beneath the ropes that bind them. His left leg hangs downward and passes behind his right foot, which perches precariously on a forked branch. He strains to his left and gazes upward with his mouth open in a tortured movement augmented by the dramatic sweeps of drapery that frame his torso.
School of Kalkar
The Good Thief on the Cross
1515 – 1525
Museum Purchase
1976/1.233
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