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13 UMMA Objects
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This circular tile has circular designs of a range of sizes. At the very center has a small circle, with a ring around it. Surrounding this are six evenly spaced small circles, which result in an overall six-petalled stylized floral-like design. Surrounding it is another thin circular band, and another circle of evenly spaced dots, enclosed by another circular band. This design at center thus far represents a lotus seedpod. Extending from it are eight petals, with another ring of eight larger petals set behind them. Finally, another ring pattern of two thin circular bands with small dots between them creates the border of the tile.<br /> <br /> This dark gray, high-fired earthenware convex eave-end roof tile features a two-tier, eight-petal lotus design. It is made from fine clay mixed with numerous fine stone particles. Two concentric tiers of eight petals surround a flat, circular ovary that contains a single central seed surrounded by six others. A circular band, also containing seeds, runs around the ou
Korean (Korean (culture or style))
Roof-end tile with lotus design
676 – 935
On loan from the YooGeum Museum, Seoul, Korea
LTL2009.7.7
This curved tile has small circles lining the edge of the two long, curved edges, and two shorter straight edges without special border decoration. The face of the tile is decorated with vegetal arabesque motif.<br /> <br /> This gray-white, low-fired earthenware concave eave-end roof tile features a scroll design. Although each motif on the front decorative surface of the tile is different, the scroll design demonstrates some degree of left-right symmetry. Traces of a parallel pattern made by a paddle four centimeters wide are visible on the flat surface of the tile. Traces of trimming and smoothing with water are also visible on the sides and joints. <p>[Korean Collection, University of Michigan Museum of Art (2017) p. 40]</p>
Korean (Korean (culture or style))
Untitled
676 – 935
On loan from the YooGeum Museum, Seoul, Korea
LTL2009.7.11
Earthenware roof tile-end with molded lotus design.<br /> <br /> 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
2004/1.196
This lotus medallion design on this round tile-end consists of eight petals. The outer rim is decorated with eighteen round dents. The seedpod contains six peripheral seeds.<br /> <br /> This gray, high-fired earthenware convex eave-end roof tile features a single-tier lotus design. It is made from fine clay mixed with a small amount of sand and is robust in appearance. The central ovary and petals of the lotus stand out in relief. The rim displays a &ldquo;pearl-dot&rdquo; (<em>yeonju</em> ) motif depicted in intaglio.<br /> [Korean Collection, University of Michigan Museum of Art (2017) p.36]
Korean (Korean (culture or style))
Roof Tile
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.197
This is an example of a lotus medallion with a double layer of petal. Two rows of eight petals each are arranged around a double-ring seedpod. The outer ring of the seedpod has no design. The inner ring of the seedpod contains a central seed surrounded by six peripheral seeds (1+6 seed pattern). The outer rim is embellished with a bead pattern.<br /> <br /> This gray-white, high-fired earthenware concave eave-end roof tile with an eight-petal lotus design was made from fine clay mixed with a small amount of sand. The reverse side shows signs of having been joined to a flat tile, while traces of trimming and smoothing with water are also visible. The round ovary is circumscribed by double lines and contains seven seeds: one in the center surrounded by six more.<br /> [Korean Collection, University of Michigan Museum of Art (2017) p.37]
Korean (Korean (culture or style))
Roof Tile
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.198
Circular earthenware tile with molded lotus and bosangwha design.<br /> <br /> This dark gray, high-fired earthenware convex eave-end roof tile is decorated with an eight-petal lotus floral medallion. It is made from coarse clay mixed with fine stone particles. The center of the tile is decorated with a double-petaled lotus flower surrounded by eight heart-shaped palmette petals (bosanghwa ) in low relief. Traces of clay used to attach this tile to a flat tile can also be seen on the joints of the reverse side. <p>[Korean Collection, University of Michigan Museum of Art (2017) p. 39]</p>
Korean (Korean (culture or style))
Roof Tile-End with Lotus and Bosanghwa Design
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.201
The decoration of this tile-end consists of lotus medallion with eight petals in the center surrounded by eight heart-shaped bosanghwa(Buddhist floral pattern) just inside the rim. The rim is decorated with a chain of beads.<br /> <br /> This yellowish gray, high-fired earthenware convex eaveend roof tile features an eight-petal lotus floral medallion design. It is made from fine clay and robust in appearance. The tile features a central two-tier, eight-petal lotus design, surrounded by a palmette (or bosanghwa ) design, consisting of eight heart-shaped petals, in low relief. <p>[Korean Collection, University of Michigan Museum of Art (2017) p. 40]</p> <br /> &nbsp;
Korean (Korean (culture or style))
Roof Tile
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.202
Gilt bronze standing Buddha on lotus pedestal. He is clothed in monastic robes with cascading U-shaped folds, similar to the gentle folds of his neck. His hands ake the form of two mudras: the abhaya (&ldquo;have no fear&rdquo;) mudra with the right hand, and varada (&ldquo;wishes are granted&rdquo;) mudra with the left.<br /> <br /> <br /> It is well proportioned overall and represent Buddha in a standing position; a position quite popular in Unified Shilla Buddhist sculpture. The Ushinisha on the top of Buddha&#39;s head is tall, voluminous and black. The face is plump and facial features, including the eyes, nose and the mouth, are all rather small. The earlobes hang are hanging and the three curved lines on the neck are highly distinct.<br /> <br /> The body and pedestal of this statue were cast as a single mass. The body is made of solid bronze, but the pedestal is hollow. The back part of the pedestal features a hole for the insertion of a mandorla, which is missing. Unlike most Buddha statues from
Korean (Korean (culture or style))
Standing Buddha in Abhaya-vara mudra
676 – 935
Museum purchase for the James Marshall Plumer Memorial Collection
1961/2.80
This circular, dark gray color tile is characterized by a central circle that contains a creature with a human head and the body of a large bird with multiple wings and two arms. Two of the wings and both arms are outstretched and the right arm is holding a string-beaded object. The border of the central circle is decorated with a series of small diamond shapes.&nbsp;Surrounding this central circle are twelve coupled petals (twenty-four in total) stemming from it. Outside of this is the tile border, a raised band which&nbsp;surrounds the circumference of the tile and contains an inner and outer raised border and numerous small circles raised in low relief in between the borders. A portion of the tile, which includes approximately 5 petals and adjacent tile border is broken off and missing.<br /> <br /> This dark gray, high-fired earthenware convex eave-end roof tile is made from fine clay. Depicted in the center of the tile, in low relief, is a Gareungbinga or Kalavinka (Skt. Kalavinka) with two arms spread
Korean (Korean (culture or style))
Roof-end tile with kalavinka design
676 – 935
On loan from the YooGeum Museum, Seoul, Korea
LTL2009.7.8
This lotus medallion designed on this round tile-end consists of thirteen petals. The outer rim is decorated with eighteen round dents. The inner ring of the seedpod contains a big central seed surrounded by seven peripheral seeds. The outer rim is embellished with a bead pattern.<br /> <br /> This gray-white, low-fired earthenware tile features a single-tier, thirteen-petal lotus design and is made from fine clay. The large lotus seed at the center of the ovary is surrounded by seven slightly smaller seeds. Evidence of repair using gray clay is visible on the reverse side of the tile.<br /> [Korean Collection, University of Michigan Museum of Art (2017) p.37]
Korean (Korean (culture or style))
Roof Tile
676 – 935
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.199
It is a fragment of roof-end tile with apsara design in relief.<br /> <br /> This fragment of a red-brown, high-fired concave eave-end roof tile features a <em>bicheon</em> or <em>apsaras</em>&nbsp;(a celestial being of the clouds and waters in Hindu and Buddhist mythology) design. It is made from fine clay, resulting in a smooth surface and robust appearance. The left part of the tile is no longer present; only the heavenly cloth and cloud design remain. The narrow upper and lower rims of this tile are bordered with rows of dots, while the left and right edges have no rim. Clear traces of trimming and smoothing with water are visible on the edges and back of the tile.<br /> [Korean Collection, University of Michigan Museum of Art (2017) p.36]
Korean (Korean (culture or style))
Ceramic roof tile with fragment of apsara, cloud designs
676 – 935
Gift of Dr. and Mrs. Peter Greiner
1979/2.3
This laquer comb chest with mother-of-pearl inlays has images of phoenixes and their babies, and deer on the top drawer, and tortoises and mandarin ducks on the bottom drawer, each in a pair. The handles are in the shape of bats.<br /> <br /> This ornate comb case glitters with the overall decoration of mother-of-pearl inlay. This case was used by women to store toiletries, such as cosmetics, combs, and oiled paper for collecting hair that falls off when combing (<em>toeballang</em>), etc. Four drawers of the case are arranged in three rows. The uppermost tier and lowest tier have one drawer each. These are decorated with auspicious images: mandarin ducks, deer, and turtles. At the second row, two drawers are decorated with hexagon patterns. Techniques such as <em>kkeuneumjil</em> (cutting thin nacre threads and attaching them according to the design) and <em>jureumjil</em> (cutting nacre according to the design with fretsaws, scissors, knives, etc. and attaching the piece to the lacquered surface) were use
Korean (Korean (culture or style))
Comb Chest (Jage Bitjeup)
19th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.314
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