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Results for terms:spirits (beings)

70 UMMA Objects (page 1/6)
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The image is split into two unequal parts; a lower and upper. In the lower half of the image the figures are all holding weapons. The background of the image is red with the majority of the figures being yellow in color. A single blue figure is located in the lower left. This figure is seated on a wheeled, vehicle.
Indian (Indian (South Asian))
Markendeya purana series: Bhavana on tiger confronts a demon / Rama and Hanuman
1767 – 1799
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel
1980/2.304
Wooden standing figure with one foot missing. There are two strings of beads around the neck and the face is painted white. The eyes, nose, and mouth are detailed with black pigment. The hair is black with an incised grid-like pattern. 
Igbo (Igbo (Southern Nigerian style, culture))
Standing Figure
20th century
Gift of Dr. Daniel and Sandra Mato
2003/2.29
This male figure has a powerful body, with a smooth, bare chest that stands with knees flexed and arms bent next to the sides of the abdomen. The elaborate coiffure is styled as a braid forming concentric circles at the back of the head. The figure exhibits many of the facial traits characteristic of the Chokwe expansionistic style including half-closed eyes set in large, concave ocular cavities; small nose; arched ears; large, rectilinear mouth with fleshy lips; and a prominent disk-shaped chin. The figure dons pants depicting shredded fiber worn by masked dancers. It has large feet that lack toes; the fingers are also not shaped. Notably, the figure has several cavities: one on the top of the head, one in the middle of the abdomen, and another between its legs. These openings held medicinal ingredients which were either placed on their own or contained in a horn. The figure's body features honey coloration and a black coating, characteristics frequently seen in figures of the neighboring Lwena people.
Hamba (ancestor) figure
1915 – 1925
Gift of Candis and Helmut Stern
2005/1.206
A figure dressed in a green robe and purple headdress is looking at another figure to the right who is dressed in a purple robe, holding a gourd and cane. They appear to be floating in the clouds. This image seems to be on top of a red paper cutout. 
Chinese (Chinese (culture or style))
Hanging Cash: Two Immortals Cao Guojiu and Li Tieguai
20th century
Gift of Willard A. and Marybelle B. Hanna
1989/2.131
This is a woodblock print on paper. There is a center figure with a blue face and is wearing a colorul robe with cloud motifs. He is holding a sword and is surrounded by five smaller figures. 
Chinese (Chinese (culture or style))
Zhong Kui (the demon queller) with five demons
20th century
Gift of Harold W. Stevenson, University of Michigan Professor Emeritus in Psychology
2003/1.616
Standing nude female figure with bent knees. The carved hair has a criss-cross pattern and there are bead inlays on the figure's hair, neck, and breasts. The figure's hands are at its hips and the bottom of the piece is an oval connecting to the figure's ankles in place of feet.
Luba (Luba (culture or style))
Female Figure
20th century
Gift of Michael and Phyllis Courlander
2016/1.255
This woodcarved, cephalomorphic divination pestle is representative of the Luba Shankadi style of figural sculpture, which is characterized by an abstract and schematic form. The head features a convex face, diamond-shaped eyes carved in relief, a ridged forehead and nose, an oblong mouth, and a long, cylindrical neck. The figure’s terraced, cascading coiffure is typical of hairstyles found in the Shankadi region. Four strands of china beads, white and blue in color, have been tied around the pestle and sit atop its circular base.
Luba (Luba (culture or style))
Pestle
1875 – 1885
Gift of Candis and Helmut Stern
2005/1.221
A winged figure draped in a toga has descended upon a non-winged figure and is attempting to bind.  The non-winged nude figure has their hands behind their back and with one knee bent and the other leg extended, submits to the winged figure.  Both figures do not have any facial features.
Ben Shahn (American (North American))
Prometheus
1898 – 1969
Given by Bruce Henry, LSA Class of 1948
1978/2.26
This anthropomorphic <em>nkisi</em>, or power figure, stands upright and features a rather large, forward-tilting head with a prominent, parted mouth, high cheekbones with shallow cheeks, and chipped glass-encrusted lower eyes. A brass tack pierces the figure’s forehead, directly above its nose.  The figure possesses a rectangular torso and robust appendages, although the lower arms and feet are missing. The figure likely held a medicine pack upon its abdomen, evidenced by the four holes bored into its torso, and another one upon its cranium. Around the figure’s neck is a collar, possibly of leather, another place in which medicines are carried.
Vili (Kongo) (Vili)
Power Figure
1845 – 1855
Gift of Candis and Helmut Stern
2005/1.179
Life-sized seated female figure holding a child. Face has rounded, high forehead, ovoid eyes, flat, rectangular nose and protruding, open ovoid mouth. Pigmented, bilateral scarification patterns of forehead, temples and jowls, at back of neck. Scarification also on upper arms and breast. Pigmented coiffure is elaborate with triangular and dome-like shapes. Necklace and hoop-like ring carved in relief onto neck and shoulders; figure has protruding navel, wears anklets and armlet at elbow, and holds a baby suckling at left breast.
Akpojivi of Orhokpokpo
Shrine Figure
1900 – 1950
Gift of Robert and Lillian Montalto Bohlen
2006/2.72
Oval shaped wooden mask with white pigment on the face and black pigment on the hair, which has a scalloped pattern near the forehead. There is also black pigment outlining the eyes, mouth, nose, as well as facial markings next to and below the eyes. Along the edge of the mask are small holes, perhaps to attach a now missing part of the costume. 
Mask
20th century
Gift of Dr. Daniel and Sandra Mato
2003/2.43
A massive wood-carved headdress with stylized face (showing classic Yoruba features) of bulging eyes with defined upper lids, long, straight, triangular nose, symmetrical scarification patterns consisting of three horizontal lines on each cheek, and a short beard from ear to ear just underneath the lower lip. Two large “ears” protrude on either side of head and act as “scaffolding” for numerous attachments of symbolic content: birds and lions predominate, but also visible are amulets, wooden claws and beads, crosses, and an insignia shield of some kind. The ears terminate in two oblong mirrors with lions leaping off of each. Layers of pigment are visible, giving the impression that it has been repainted over time.
Workshop of Adugbologe
Egúngún headdress
1945 – 1955
Gift of the Edward H. Eliscu Family
1985/1.183
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