11 UMMA Objects
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Face mask made of wood, covered in white kaolin; face has round, bulging forehead, deep set narrow eyes, small round ears, fiber beard, open rectangular mouth and pointed teeth; basketry weave that held mask on the dancer’s head is visible at back and sides; raffia attachment on top of head frayed and missing.<br />
Salampasu (Salampasu)
Mask (Kasangu)
1920 – 1960
Museum Purchase assisted by the Friends of the Museum of Art
1971/2.44

Luba (Luba (culture or style))
Carved Wood Figure
1945 – 1955
Given in memory of Sidney H. Roberts
1987/1.242

Chinese (Chinese (culture or style))
Bulbs in Flower Pot
20th century
Gift of Doris and Herbert Sloan
1998/2.42

Kran
Secret Society Mask
1935 – 1945
Gift of Avery Z. Eliscu
1984/1.272
An extremely large sundial circle top, separated into triangular sections with eyes and a mouth carved out. The colors are in blue, red, white and black. There is a narrow center to represent two black arms and a chin. The triangluar colored pattern is continued onto the bottom with a geometric pattern.
Polychrome Face Mask (Bedu)
1800 – 1999
Gift of the Robbins Center for Cross Cultural Communications in memory of Warren M. Robbins
2014/2.73
A bundle of thin fibres (which form the brush) held together by thin strips of wood wrapped around one half of the bundle, topped with a piece of cloth to create a cap.<br />
<br />
This brush was used in a procedure called bemaegi , which involves starching fabric to level threads on the surface of the warp and maintain humidity. It was made of pine roots and by binding them together at the end of the handle with hemp cloth.
<p>[Korean Collection, University of Michigan Museum of Art (2017) p. 279]</p>
Korean (Korean (culture or style))
Brush
1900 – 1950
Gift of Ok Ja Chang and the Chang Family
2009/2.52
At the top of this Songye scepter, is a finely carved, wooden finial that takes the form of an anthropomorphic figure which has a pear-shaped face, round eyebrows, large pupils, and an open mouth. Additionally, scarification patterns appear on the forehead and temples. The body of the scepter is laden with a rich array of man-made, plant, and animal materials that have been affixed to it, namely, multiple strands of blue beads and small pieces of metal, seeds, vegetable fiber, shells, teeth, claws, and animal skin whose long hair falls in a cascade. 
Songye (Songye)
Scepter
1925 – 1935
Gift of Candis and Helmut Stern
2005/1.230
This photograph depicts a closeup view of a plant against a light background.  
Karl Blossfeldt (German (culture or style))
Symphytum officinale
1928
Gift of Eeta Gershow
2014/2.12
This Songye&nbsp;<em>nkisi,&nbsp;</em>which depicts a standing male figure, displays many of the characteristic hallmarks of Songye anthropomorphic carvings, namely: an overall strong geometric form, squared shoulders, a large head, a triangular face with a rounded forehead and concave cheeks, deep ocular cavities, a rectangular mouth, diminutive ears, and a long, ringed neck. The head is strikingly studded with numerous, indigenously-made brass tacks; furthermore, a cavity on the skull suggests that a horn was at one point likely placed there. A belt of animal skin filled with medicinal substances is wrapped around the chest, while two strands of colored beads are tied across the torso. Three bells, themselves affixed to the strings of beads, dangle below the&nbsp;<em>nkisi&nbsp;</em>figure. An animal skin loincloth covers the bottom half of the figure. In addition to kaolin, the&nbsp;<em>nkisi</em>&rsquo;s surface bears a crusty patina, evidence that it was the recipient of consecrational and votive libatio
Songye;Kalebwe (Songye)
nkisi
1845 – 1855
Gift of Candis and Helmut Stern
2005/1.228
This image depicts a closeup view of a section of a plant's stem positioned against a dark background.  
Karl Blossfeldt (German (culture or style))
Equisetum hiemale
1928
2014/2.5
An oval wooden face made of dark shiny wood with a textile braid of hair all around, wrapped tight to the head. The eyes are slightly shut and the mouth is open.
Dan
Face Mask
1800 – 1999
Gift of the Robbins Center for Cross Cultural Communications in memory of Warren M. Robbins
2014/2.24
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