24 UMMA Objects
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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
1981/2.56
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
1995/1.57
A miniature, cast bronze sculpture of Kubera, the god of wealth, seated sideways on a lion. Kubera sits in the lalitasana pose (the pose of royal ease, with one leg drawn up and the other relaxed); his right hand is outstretched to rest on the knee, while his left arm is akimbo and his hand rests on his hip. The base has a simple, single lotus petal design.
Kubera, god of wealth, seated on a lion
15th century
Gift of Michele Caplan
2000/2.155
A nude man and woman recline together on the right side of this octagonal plaque. They lay upon the mesh of a net, which is being pulled by a nude male figure seated nearby next to an anvil. Behind the seated man appear two standing figures working at a brick forge. Another pair of figures stands in the middle ground with a row of trees behind them. A diminutive figure mounted on horses appears against a disk in the sky.
Jacob Cornelisz Cobaert
The Discovery of Mars and Venus
1602 – 1621
The Paul Leroy Grigaut Memorial Collection
1969/2.158
This bronze sculpture depicts a female figure kneeling, bending forward with her arms outstretched. She grasps a long piece of cloth that is stretched on the ground in front of her, as she looks directly at the cloth with intent. The woman is wearing a long skirt, which covers her legs and feet and swirls around her on the ground. Her blouse has flowing sleeves that end at the elbows, leaving her forearms bare. Her hair is pulled back and gathered into a knot. The bronze has a dark green patina and the surface of the statue is smooth and polished.
Aristide Maillol (French (culture or style))
The Laundress
1896
Museum Purchase
1973/2.78
This abstract bronze sculpture on a stone base has a series of undulating flat surfaces with cut outs. With a clear frontality, the back of the sculpture has a more rustic patina.&nbsp;
Mirko (Italian (culture or style))
La Grande Maschera
1957
Gift of Scott Hodes and Maria Bechily-Hodes
2015/2.84
Plaster sculpture depicting two men sitting on stools playing checkers using a barrel as a table with a woman holding a baby standing behind them.
John Rogers
Checkers up at the Farm
1875
Museum Purchase
1950/1.100
A standing figure of a watercarrier holding a bag on his left hand side. His right arm appears to be no longer part of the sculpture. He appears to be weighed down to the one side and his body is tilted. He is wearing a skirt and a turban.
Indian (Indian (South Asian))
Watercarrier
19th century
Gift of Professor Walter M. and Nesta R. Spink
2012/2.164
A head of a man with an object in his mouth, possibly fruit? There is only the head present, no longer attached to a neck. The man has very dramatic slanted eyes and short hair. His mouth is open slightly to make room for the fruit that appears to have a box-like design on it.
Indian (Indian (South Asian))
Head of a male figure eating fruit
5th century
Gift of Professor Walter M. and Nesta R. Spink
2012/2.165
Abstract, planar representation of a bird resting on its back with its wings coming together just below its beak.
Henry Moore (British (modern))
Bird
1927 – 1949
Gift of Dr. & Mrs. Marvin E. Klein
1981/2.85
A biomorphically abstract sculpture of bronze. Bulbous at the bottom, the shape stretches and narrows in the middle and then expands into a larger shape from which two rounded points rise.
Hans (Jean) Arp;Fonderie d'Art Fonderie Susse (French (culture or style);French (culture or style))
Fruit Pré-adamite
1938
Museum Purchase
1948/2.26
A suberply cast hollow bronze figure of Tara, a Buddhist goddess, shown leated in the lalitasana pose ("royal ease," with one knee bent and the other relaxed), her right hand extended to her right knee in vara mudra (the gesture of charity), and her left hand in vitarka mudra (the gesture of teaching, with the thumb and third finger brought together). She wears a dhoti and jewelry, including an elaborate tiara and enormous lotus-petal design ear plugs. Her face has a broad, open forehead, with wide, slightly arching brows; her eyes are downcast with "s"-shaped upper lids; her nose is straight and long, and her mouth, in a curved Cupid's bow shape, is small but full. Her torso leans slightly to her left, which is balanced by the right tilt of her head. She sits on a double lotus dais with beaded upper and lower rims. The image and the base were case in one piece in the lost-wax method.  There are traces of red paint for her mouth and blue paint for her hair.
Bodhisattva Tara (Tibetan, Jetsun Dolma)
18th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1972/2.40
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