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13 UMMA Objects
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This hour-glass shaped stool is supported by two caryatid figures who sit in a pose of lamentation—crouched with head in hands. Scarified patterned abstracted tears spill from their lower eyelids. Brass studs adorn the perimeter of the stool’s seat, base, and figures. Both figures wear strings of black, red and white beads around their necks.
Chokwe (Chokwe (culture or style))
Caryatid stool
1850 – 1899
Gift of Candis and Helmut Stern
2005/1.204

Japanese (Japanese (culture or style))
Karatsu Ware (?), Two-handled Pitcher
1633 – 1666
Transfer from the College of Architecture and Design
1972/2.74

Ethiopian
MS Leaf: Hymnal
1633 – 1666
Museum Purchase
1959/1.151
A shabbily dressed figure holds out at arm’s length a small fish. He is completely focused on his catch, and his mouth almost seems to drool. The face, hands, and feet are sketched in a deliberately simplistic way, while the costume is drawn with only a few swift slashes of the brush, and the strokes bleed into each other.<br />
Kanō Tsunenobu
Zen eccentric contemplating a fish
1633 – 1732
Museum Purchase
1962/1.105

Japanese (Japanese (culture or style))
Bamboo-shape Vase, Takatori Ware (?)
1633 – 1666
Transfer from the College of Architecture and Design
1972/2.95

Japanese (Japanese (culture or style))
Seto Ware (?) Three-handled Jar
1633 – 1666
Transfer from the College of Architecture and Design
1972/2.87

Flemish (Flemish (culture or style))
Verdure
1633 – 1699
Gift of Mr. and Mrs. Benjamin W. Wheeler
1956/2.8
A medium size, shallow bowl with a semi-circular cut out on the rim. The bowl has flat surface on the rim and is concaved in the middle like a soup bowl. It has two holes on the opposite side of the cut out and a short foot. There is a blue band around the rim. There are two long-tailed birds in red, pale orange and yellow, perched on a blue pine tree which grows underneath the birds. Behind the pine tree trunk, there is a cherry tree in full blossom, its brunches extends in circle around the rim. The cherry tree and blossoms are in red, pale orange and yellow. More cherry flowers adorn the background of the birds. There are also red peonies on the left side of the pine tree; peony flowers also appear as spray on the four sides of the rim, backed by blue cloud design.
Japanese (Japanese (culture or style))
Shaving bowl with design of long-tail bird and flowers
1633 – 1666
Gift of the William T. and Dora G. Hunter Collection
2002/2.7
A vertical painting with signature on the right side. Colors primarily include gray and faded browns/oranges. Paper is faded yellow color.
Lan Ying
Scholar in a Landscape
1600 – 1666
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1979/2.19
Depicted&nbsp;are the Seven Lucky Gods. One is standing on one foot with his belly showing and a staff&nbsp;running along his sholders. Three others are crouching on the ground to the right of the standing god. The first is Ebisu in court robes with a rod in one hand and a fan in the other. The next god is in green robes and a tall hat. The last one, Hotei, is sitting on the ground pointing with his belly showing. Across from these three gods are three more, all laying on the ground. The first is in a green robe facing and holding a drink to the god on his right Benzaiten. She is in red robes but also&nbsp;half-naked. On her right is another god Fukurokuju in tan tobes with an elongated&nbsp;forehead. On the bottom right of the hanging scroll is a signature and two seals.<br /> &nbsp;
Mori Kōga (Takamasa)
Bacchanalian Revelry of the Seven Lucky Gods
1833 – 1866
Museum purchase made possible by a gift from Helmut Stern
1985/2.20
This is a delicate landscape. There are mountain crags, dispersed trees and bushes, and some houses/huts depicted. There is calligraphy on the upper right hand corner with one red seal, and towards the upper left corner with a red seal. There is also another red seal on the lower left hand corner. The colors are muted and are barely discernable from one another. There is a central jutting rock in the center of the painting that takes up a lot of horizontal space, and encourages the eye to travel upwards.
Sun Yi
Picture of the Cinnabar Peak
1657
Gift of Professor Richard and Vee Ling Edwards
1987/1.155
This sheet is dominated by the head of an old man with a voluminous beard, seen in 3/4 view, with head turned to the figure's left. Grey tones dominate the drawing, and the suggestion of the man's hunched shoulders in the background increases the sense that he is leaning his head towards the viewer.
Gaetano Gandolfi (Italian (culture or style))
Untitled (Head of an Old Man with a Long Beard)
1750 – 1799
Joseph F. McCrindle Collection in memory of Frederick A. den Broeder
2009/1.496
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