24 UMMA Objects
Sort by

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

Luba (Luba (culture or style))
Katanga Cross Currency
1920 – 1930
Museum Purchase made possible by the Friends of the Museum of Art
1987/1.277

Antoine-Louis Barye (French (culture or style))
Cow and Bull
19th century
Gift of The Ann Arbor Art Association, in memory of Ruby S. Churchhill
1972/2.8
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
This small bust-length figure represents a mustached satyr turning his head toward his left. He wears an animal skin tied at his right shoulder over his bare chest. The liquid character of the cast bronze admirably captures the rippling muscles of the satyr's chest and the flowing curls of his hair and the animal pelt.
Massimiliano Soldani Benzi
Bust of a Satyr
1690 – 1700
1970/1.193
A small bronze figure of Amoghapasa, a Buddhist deity, made by the cire perdue (lost wax) casting method. The challenge to the caster is this case is the top-heaviness of the piece caused by the iconographical requirement for the image to have eight arms; in at attempt to provide some support, he arranging floating scarves to drape all the way to the lotus pedestal.
Artist Unknown
Bodhisattva Amoghapasa (Avalokitesvara of the never-empty noose)
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel
1978/2.97
A hollow cast bronze sculpture of the Buddha, including a lotus base. The bronze has a dark, shiny patina over most of its surface. <br />The Buddha sits with his legs crossed in the padmasana pose; his right hand reaches down, palm inwards, to touch the earth, in an elegant gesture with just the tip of his third finger making contact, while his right hand rests in his lap. His torso is tall and erect. His dhoti (a skirt-like garment) is tied high on his torso, while his outer robe covers his left shoulder completely and just brushes against his right shoulder. His face is shaped like a tall and narrow "U," with wide, gently arching brows, downcast eyes under swelling lids, a long and high nose, and full, cupid's-bow lips. The urna, an auspicious mark on his forehead, is indicated here by a small bump with an incised outline. His hair is arranged in rows of snail-shell curls, which are repeated in a larger size on his ushnisha, culminating in a lotus bud.<br />The upward-pointing lotus petals on the dais are
Buddha, seated in the padmasana pose, in bhumisparsa mudra
19th century
Bequest of Thakur Rup Chand
1995/1.58
Bust-length figure of a woman with head turned proper left, down-turned eyelids and crescent moon atop head; executed in bronze with a rich, dark patina on a brownish stone base.<br />
Jean-Alexandre-Joseph Falguière
Bust of Diana
1877 – 1887
1986/2.83
A small polished bronze sculpture of a biomorphic form rising gracefully from a small base. Where it contacts the base, the form stands on two leg-like structures. The form rises from there, narrows, then opens up into a wider, more oblong shape at the top.
Hans (Jean) Arp (French (culture or style))
Little Torso No. 5 (Torse)
1930 – 1957
Gift of the Estate of Maxine W. Kunstadter in memory of Sigmund Kunstadter, Class of 1922
1983/1.399
Two nude figures embrace and kiss. The man is seated with his legs crossed as he bends to the side to embrace the woman, his arm under her shoulders. The woman, kneeling beside the man, arches upward and backwards to meet the bending figure of the man. The smooth modeling of the figures is contrasted by the more agitated modeling of the base and the support on which the man sits.
Auguste Rodin (French (culture or style))
Eternal Spring
1976/1.235
xxxx
Loading…