66 UMMA Objects
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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
An elephant seems to walk on water from the bottom right corner of the composition, rising towards Vishnu in the upper left with a single lotus flower in its trunk. Vishnu, with 4 arms, steps on green hills surrounding the lotus covered pond, bending towards the elephant. Garuda flies in the upper right.
Indian (Indian (South Asian))
The Salvation of the Elephant (Gaj Mokasha)
1810 – 1820
Gift of George H. Lauff
The piece portrays a central god, with many milkmaids surrounding him.  There are louts flowers present, as well as hills and buildings at the top of the painting.  There are also various incarnations of gods, which are the blue-skinned figures.
Indian (Indian (South Asian))
1700 – 1850
Gift from the collection of Robert B. Jacobs
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
A small stoneware bowl on a foot ring with an everted flat rim. The exterior is carved to represent lotus petals, the interior molded with two fish. The bowl is covered in a green craqueleur celadon glaze.
Chinese (Chinese (culture or style))
13th century
Gift of Toshiko Ogita in memory of Tomoo Ogita
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