66 UMMA Objects
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This icon painting depicts the bodhisattva Monju seated cross-legged on lotus on top of a lion. The figure holds a vajra sword, and is dressed in flowing robes with golden jewelry. Two circular mandorlas surround the figure. 
Japanese (Japanese (culture or style))
Bodhisattva Mañjusri (J. Monju Bosatsu), seated on a lion
15th century
Bequest of Margaret Watson Parker
A porcelain bottle vase of double gourd form on a flared footring with tall narrow neck and the reverse side flat with a slot for hanging. The vase is outlined in underglaze blue and has a six-character Wanli mark in a plaque framed by a polychrome overglaze lotus leaf on the top, and a lotus flower on the bottom. The front is decorated with underglaze blue and polychrome overglaze enamels to depict a pair of phoenixes flying among clouds on the upper bulb, and two phoenixes facing each other among an earthly flower garden on the lower bulb. These are confined between<em> lingzhi</em>-shaped clouds and lotus meander borders, with banana leaf lappets around the rim, all covered in a clear glaze. 
Chinese (Chinese (culture or style))
Double-Gourd Wall Vase
1573 – 1620
Gift of Marian Doering in memory of Paul M. Doering
A finely cast miniature icon of the Buddha Amit&acirc;yus, seated on a double lotus pedestal.
Tibetan (Tibetan (culture or style))
The Buddha Amitâyus, seated in padmasana on a double lotus base, holding a vase of amrita (the elixir of long life)
18th century
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel
A miniature sculpture of a the Tibetan yogin Milarepa as a rotund figure, seated in lalitasana (the posture of royal ease, with one knee drawn up and the other relaxed) on an antelope skin (the head of the antelope can be discerned just under the figure's left foot, as an incised design). The right hand is raised, cusping the right ear as though to better hear, while the left elbow rests on the left knee, and the right hand holds a nettle-shell bowl. Wrapped around his torso, from his right shoulder to his left knee, is a sash (sometimes referred to as a meditation belt), which allows him to keep his body upright during long hours of meditation. The base, cast in a single piece with the figure, is decorated with beading and a single band of lotus petals.
Yogi Milarepa (c. 1032–c. 1135)
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel
A small, solid gilt bronze image of the Budddha, shown standing in a slighly swayback pose with both right and left hands in vitarka mudra, the gesture ot teaching. His robe is draped over both shoulders and falls in large, symmentrical V-shaped folds in shallow relief over his torso. His head is small, with the canonical snail-shell curls suggested by tiny knobs of bronze. He has full cheeks, a well-defined mouth, and incised slits for his eyes. There are two incised rings at his neck (instead of the canonical three). He stands on a pedestal of upward, double-petal lotus petals, raised on a hollow base. Some turquoise patina is visible on tthe base and head.
Chinese (Chinese (culture or style))
Buddha, standing, in vitarka mudra
7th century
Museum purchase for the James Marshall Plumer Memorial Collection
The figure is standing on a lotus-shaped pedestal; the hair is tied as a knot on top of the head; a crown is also on the top. The face has two elongated ears, round eyeblows, eyes looking downward; the lips are shut; sloping sholders are wrapped with thin robe, which hung toward the knees. Right hand, showing a palm, is raised to the chest while the left hand is by the lower abdomen, as if holding something. The three wrinkles can be seen on the neck. All are made of wood.
Japanese (Japanese (culture or style))
Bodhisattva Padmapani (Avalokiteshvara; Japanese, Kannon), from Kôfukuji
12th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
This circular tile has circular designs of a range of sizes. At the very center has a small circle, with a ring around it. Surrounding this are six evenly spaced small circles, which result in an overall six-petalled stylized floral-like design. Surrounding it is another thin circular band, and another circle of evenly spaced dots, enclosed by another circular band. This design at center thus far represents a lotus seedpod. Extending from it are eight petals, with another ring of eight larger petals set behind them. Finally, another ring pattern of two thin circular bands with small dots between them creates the border of the tile.<br />
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This dark gray, high-fired earthenware convex eave-end roof tile features a two-tier, eight-petal lotus design. It is made from fine clay mixed with numerous fine stone particles. Two concentric tiers of eight petals surround a flat, circular ovary that contains a single central seed surrounded by six others. A circular band, also containing seeds, runs around the ou
Korean (Korean (culture or style))
Roof-end tile with lotus design
676 – 935
On loan from the YooGeum Museum, Seoul, Korea
A very finely hollow cast bronze portrait sculpture of a seated figure, with the lotus dais and pointed monk's cap cast in one piece with the figure.<br />The monk is shown seated in the padmasana (lotus) pose, with each foot resting sole-upward on the opposite knee. In his right hand, he holds a vajra (a double-pronged scepter) and simultaneously makes the vitarka gesture for teaching. His left hand, resting on his lap, holds a bell. His costume consists of a dhoti, which is knotted high on his torso; a short-sleeved shirt, crossed over his chest and decorated with incised scroll patterns, with a fret design at the border; and an overrobe that wraps around his left shoulder and is draped over his right shoulder.  His face has a broad forehead, incised eyebrows in a high arch; downcast eyes, with leaf-shaped upper eyelids; a broad, flat nose; a sweet smile and full lips; and a narrow chin. His tall, pointed monk's cap, which completely hides his hair, has flaps that spread to reach his upper arms.
Portrait of an unidentified Tibetan lama (teacher)
Bequest of Thakur Rup Chand
A figure is sitting on a lotus-shaped pedestal, which is itself placed on an hexagonal pedestal. The figure wears a drape hanging from the left shoulder and covering the bottom. The arms are placed in front; right hand holding the left index finger. The facial expression is calm; the two eyes looking down; a dot on the forehead. Two elongated ears. A tall crown on the head. The two halos are on the back of the figure; one behind the head and other behind the torso. Two halos are surrounded by an oval-shaped dais. The statue and pedestals are guilded with gold; some polychrome remnants.
Japanese (Japanese (culture or style))
Vairocana Buddha (Japanese, Dainichi Nyorai)
17th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
Earthenware roof tile-end with molded lotus design.<br />
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This gray, high-fired earthenware convex eave-end roof tile features a slender thirteenpetal lotus design. It is made from coarse clay mixed with small stone particles. The circular ovary and lotus seeds are depicted in shallow relief, while the lotus petals are slender and lack volume.<br />
[Korean Collection, University of Michigan Museum of Art (2017) p.36]
Korean (Korean (culture or style))
Roof Tile-End with Lotus Design
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
A yellow brownish glaze is applied and crackling covers the entire body.<br />
This bowl has straight wall. The exterior is carved with lotus petals. The below of the mouth is decorated with fret design. The foot is a little low.
<p>This is a cylindrical cup decorated with incised and raised design of lotus petals on the entire outer walls and is fretted on the outer rim. Overall, the cup is yellow-green in color and has three refractory spur marks. Many of the shards, excavated from sediment in the vicinity of Kiln no. 12 at Yucheon-ri, Buan-gun, Jeollabuk-do, are also those of cylindrical cups similar in form to this one.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.123]<br />
Korean (Korean (culture or style))
Deep bowl with vertical sides and carved lotus petal design
1200 – 1399
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
A circular snuff bottle carved with ombr&eacute; pink lotus petals. On the top is a green stopper.
Chinese (Chinese (culture or style))
Glass snuff bottle
1790 – 1880
Gift of Mr. Robert W. Coggan