23 UMMA Objects
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This stone dagger has a handle that is divided into two parts, separated from each other by a thinner band. The upper tier is smaller in length than the lower tier, which flares outward as it approaches the end. The tip of blade is broken off. In profile, the blade thickens in the center.<br />
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Carved from stone, this dagger with a two-tier handle is missing only its tip. The cross section of the blade is rhomboid, while that of the handle is shaped like a convex lens. The dagger is of the later two-tier-handled type (<em>idanbyeongsik</em>), meaning that it probably dates from the end of the early Bronze Age or the beginning of the middle Bronze Age. Max Loehr (1903- 1988) was a German art historian specializing in East Asian art who taught at the University of Michigan from 1951 to 1960 as a professor.<br />
[Korean Collection, University of Michigan Museum of Art (2017) p.32]
Korean (Korean (culture or style))
Polished Stone Dagger
900 BCE – 701 BCE
Museum purchase from the collection of Max Loehr
An earthenware figure of a tall thin woman dressed in sumptous robes that she has gathered in her left hand, her hair coiffed high upon her head.  It is covered in a white slip with traces of polychrome mineral pigment.
Chinese (Chinese (culture or style))
Court Lady
9th century
Gift of Willard A. and Marybelle Bouchard Hanna

Japanese (Japanese (culture or style))
Buddha, standing (extremely worn)
800 – 999
Gift of Mrs. Caroline I. Plumer for the James Marshall Plumer Collection
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 />
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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

Portrait Statuette (probably a monarch)
700 – 899
Museum Purchase
Photograph of the columns in the interior of a mosque.
Intérieur de la mosquée Amrou
1875 – 1900
Transfer from the Kelsey Museum of Archaeology

Chinese (Chinese (culture or style))
Camel with a Turkish Rider
500 – 899
Gift of George H. Forsyth and Ilene H. Forsyth
A stoneware ewer with an straight sided body and a rounded shoulder.  It tapers slightly towards the foot.  On top of the shoulder is a straight, tall neck with an everted rim.  There is a coiled handle extending up from shoulder neck junction towards rim, then curving back down and attached to shoulder.  Opposite of the handle is a short faced spout, and in between the handle and spout are two loup lugs applied to the neck-shoulder junction. Below the lugs and spout are sprig molded and applied images of Central Asian dancers and musicians, covered entirely in a straw-celadon glaze with brown glaze applied to the danceers and musicians. 
Chinese (Chinese (culture or style))
9th century
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund

Bowl with figure holding goblet and flask
867 – 999
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
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 />
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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
This print illustrates a scene in a jôruri play based on history.  Ishidômaru is the childhood name of a figure better known to history as Kûkai, the early 9th-century founder of the Shingon sect of Buddhism in Japan. In this scene, the child Ishidômaru has come to the remote mountain of Mt. Kôya in search of his father, a warrior who had taken the tonsure. When the two finally met, the father refused to recognize his son. The rejection of family ties was one of the basic tenets of monastic life in Buddhism.
Utagawa Hiroshige (Japanese (culture or style))
Kokon Jôruri zukushi series: 'Ishidômaru' (Kûkai as a child)
1835 – 1845
Gift of Pearl Sellards
Vishnu stands with a slight sway to his body with his right hip thrust out, the tribhangha of “thrice bent pose.”  He has four hands to carry his attributes, his front two hold a lotus bud and a conch.  The back two hang down and rather than carry his two weapons are placed on personified figures of them.  At is right is the personified club and on his left his discus.   He wears a diaphanous lower cloth that is so sheer, it appears almost invisible, only the folds of the garment are articulated.  He wears a long garland down almost to his feet and a sacred thread to his waist.  He also wears various pieces of jewelry, including armlets, large earrings and an elaborate crown.  The whole is quite worn due to the way the image has been handled by devotees, who have touched it and applied various substances to it.  His eyes had been inlayed with silver to add  a certain realism to the piece.<br />
Indian (Indian (South Asian))
Vishnu with two attendants
9th century
Museum purchase, Acquisition Fund