Asian Religious Sculptures

A collection of wooden sculptures depicting various deities and figures from Japanese and Korean Buddhism, showcasing intricate designs, vibrant colors, and cultural significance.

Zaō Gongen, Manifestation of Mount Kinpu, 12th century, Unknown Japanese, 48 3/4 × 12 3/4 × 8 7/8 in. (123.83 × 32.39 × 22.54 cm), Wood with polychrome, Japan, 12th century, This unhappy-looking fellow with large pointed ears and sporting a conical cap is Zaō Gongen. He is a guardian deity of the Shugendō ascetic practice, who is said to live in the Yoshino Mountains in the rugged interior of the Kii Peninsula south of the ancient capital of Nara. A rare example of a religious figure of purely Japanese origin, Zaō Gongen is believed to have originally appeared to En no Gyōja (634'-701'), the founder of Shugendō, atop Yoshinos Mount Kinpu. Mount Kinpu itself was believed to have been formed from the merging of three Buddhist deities (the historical Buddha Shaka, the Buddha of the Future Miroku, and the bodhisattva Kannon). The figure of Zaō Gongen itself is believed to be a manifestation of the spirit of Mount Kinpu.

Zaō Gongen, Manifestation of Mount Kinpu, 12th century, Unknown Japanese, 48 3/4 × 12 3/4 × 8 7/8 in. (123.83 × 32.39 × 22.54 cm), Wood with polychrome, Japan, 12th century, This unhappy-looking fellow with large pointed ears and sporting a conical cap is Zaō Gongen. He is a guardian deity of the Shugendō ascetic practice, who is said to live in the Yoshino Mountains in the rugged interior of the Kii Peninsula south of the ancient capital of Nara. A rare example of a religious figure of purely Japanese origin, Zaō Gongen is believed to have originally appeared to En no Gyōja (634'-701'), the founder of Shugendō, atop Yoshinos Mount Kinpu. Mount Kinpu itself was believed to have been formed from the merging of three Buddhist deities (the historical Buddha Shaka, the Buddha of the Future Miroku, and the bodhisattva Kannon). The figure of Zaō Gongen itself is believed to be a manifestation of the spirit of Mount Kinpu.

Plaque Fragment: Warrior Chief 16th-17th century Edo peoples At its origins, the centralized city-state of Benin was founded by Edo-speaking peoples. The accounts by official court historians and descriptions provided by visitors evoke a vibrant cultural center continually redefined by its leadership through shifting internal and external power dynamics. According to oral tradition, circa 1300, Edo chiefs are reputed to have reached out to the leader of neighboring Ife, Oranmiyan, to establish a new divinely sanctioned royal dynasty. Since then, the investiture of Benins rulers to the title of obas has conferred upon them at once a role of chief priest officiating in important religious ceremonies and presiding over an elaborate structure of palace officials. During the fifteenth century reign of Oba Ewuare, Benins armies were formed and the fortification of its capital with a massive wall undertaken. In parallel, delegations of Portuguese traders assiduously sought to secure exclusi

Dragon King 1001-1150 Japan. The Dragon King, originally an Indian Hindu god, was gradually incorporated into the Buddhist pantheon. Veneration of this deity, who rules the seas, spread with Buddhism from India to China and, via Korea, to Japan; there the Dragon King was transformed into a Shinto god.This figure and that of the monk Hyeja originally belonged to a group of 12 Shinto deities (kami) believed to have come from the Izumo district on the north coast of the island of Honshu. At least 10 of these sculptures are in American and Canadian collections. The group is believed to represent Shotoku Taishi, his family, and his advisors.. Wood with traces of pigment .

Monk; 19th/20th century (1891-00-00-1910-00-00);

Buddhism was transmitted to Korea via China in the late 4th century CE. Little evidence of religious art exists in Korea before the introduction of Buddhism. Subsequent to its introduction, the religion inspired the production of devotional art as well as the beginnings of sophisticated temple architecture. Images of the Buddha were probably first imported by monks sent from China and the Buddhist sculpture of Korea is indebted to prototypes developed in India, Central Asia, and China. From these influences, a distinctive Korean style formed. Korean Buddhas typically exhibit Korean facial characteristics, were made with native casting and carving techniques, and employed only some of the motifs that were developed earlier in Buddhist art.

Shotoku Taishi, Anonymous, C. 1200 -C. 1350 Image of Shotoku Taishi as a child is standing attitude. He put his hands against each other in worship. The lower body is dressed in a red, loose rug with folds. Japan wood (plant material) Image of Shotoku Taishi as a child is standing attitude. He put his hands against each other in worship. The lower body is dressed in a red, loose rug with folds. Japan wood (plant material)

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion ca. 8th century Thailand (Buriram Province, Prakhon Chai). Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion. Thailand (Buriram Province, Prakhon Chai). ca. 8th century. Bronze. Sculpture

Buddah, Carved schist, Shallow slab of grey schist carved to represent a robed Buddah with halo behind his head, seated cross-legged on rectangular support with hands in lap. Reverse is roughly finished with horizontal gouge lines. Small round hole in center back., Gandbara, India, 2nd-3rd century, Decorative Arts, Figure, Figure

Standing bodhisattva mid- to late 6th century China. Standing bodhisattva. China. mid- to late 6th century. Limestone with traces of pigment. Northern Qi dynasty (550-577). Sculpture

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion 8th-9th century probably Thailand or Cambodia This rare gold repoussé representation of Avalokiteshvara was fabricated from many pieces of fitted, worked gold. Both the high hairstyle (jatamukuta) and the deerskin over the figure's left shoulder are consistent with representations of Avalokiteshvara, a bodhisattva who offered compassion and protection to devotees. The thin, elongated body and the understated clothing are consistent with Si Thep production.. Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion. probably Thailand or Cambodia. 8th-9th century. Gold. Metalwork

Isis and Horus 664-30 B.C. Late Period-Ptolemaic Period Isis name is first attested in the fifth dynasty in the Pyramid texts. She was the wife of Osiris and the mother of Horus, and thus was symbolically mother to the pharaoh. In the Late Period, the popularity of this important goddess dramatically increased. She is nearly always depicted in anthropomorphic form, standing or seated on a throne. This statuette shows the goddess in her most beloved pose, nursing her son Horus (known also as the lactans pose). Other goddesses sometimes nurse Horus or other child gods, but Isis is preeminent among them in this role. She wears the horned crown that by the Late Period she had adopted from the goddess Hathor, as well as the vulture headdress that emphasized the role of goddesses as royal mothers; the markings of the headdress are particularly clear on the back of the head. Armlets and bracelets complete her adornment.Horus is large in proportion to Isis, and somewhat more prominent than in

Tara. Culture: North India (possibly Uttar Pradesh). Dimensions: H. 12 in. (30.5 cm). Date: ca. 7th century.This elegant, full-bodied figure of a Buddhist saviouress holding a long-stemmed lotus suggests affiliations with Avalokiteshvara, the bodhisattva of compassion. The highly modeled jeweled girdle and flowing sashes hanging free of the body point to a seventh-century date, placing her among the earliest representations of Tara known from North India. The closest analogy is a bejeweled Gaja Lakshmi depicted on a copper seal with Brahmi script datable to the sixth or seventh century, excavated near Haridwar, in Uttar Pradesh. Museum: Metropolitan Museum of Art, New York, USA.

Standing Buddha, c. 700 - c. 800 Buddha, right foot has been made, right hand in Abhaya-Mudra, the left in Witarka-Mudra. The image is made of bronze for a cement-like core. East Java bronze (metal). gold (metal) Buddha, right foot has been made, right hand in Abhaya-Mudra, the left in Witarka-Mudra. The image is made of bronze for a cement-like core. East Java bronze (metal). gold (metal)

Sho Kannon. Culture: Japan. Dimensions: H. 17 3/4 in. (45.1 cm); W. 6 in. (15.2 cm); D. 5 3/4 in. (14.6 cm). Date: 12th century.The frontal pose and flattened drapery are evocative of Sho Kannon's status as the principal incarnation of Avalokiteshvara, the bodhisattva of compassion. Produced during the late Heian period in Japan, when wood was a strongly favored medium for devotional figures, this work would have been part of a sculptural ensemble. The figure's raised fist once probably held a lotus flower, now lost. Traces of pigment on the body and garment suggest that the surface would have been entirely painted. Museum: Metropolitan Museum of Art, New York, USA.

Buddhas Akjamuni; XVIII-XIX century (1701-00-00-1900-00-00);Buddha, Krakow, so -called REPWINDING ACTION - collection, Zaleski, Władysław - collection, figurines, Buddhist and Indian art, purchase (provenance)

Maitreya (The Buddha of the Future), early 6th century BCE, 17 5/8 in. (44.77 cm), Grey limestone, China, 6th century BCE, This image of Maitreya, the Buddha of the Future, is typical of the Northern Wei style (386-534) as it developed at the Longmen cave complex during the fifth and sixth centuries. Located outside the Wei capital of Luoyang in Honan province, sculptural activities at Longmen lasted from approximately 500 to 750. This image from Pinyang Cave displays a non-Chinese seated posture with legs crossed at the ankles. The torso is slender and elongated and the thin garment has been depicted in a schematic fashion with folds, scarves and hemlines organized into a flat, pattern-like arrangement typical of the Northern Wei style.

Funeral figure in the shape of a lady with an instrument.Graffigure of pottery in the shape of a standing lady, painted in red, white and black. The figure is dressed in a red robe with V-neck and wide sleeves and has a highly worked up hairstyle. She holds a tool instrument.

Avalokiteeshvara, Anonymous, 600 - 800 Figure of Bodhisattva Avalokitesvara, Diadem and headdress with possibly a Buddha figure. Evospor, necklace and jewelry around upper arms. Sumatra bronze (metal) Figure of Bodhisattva Avalokitesvara, Diadem and headdress with possibly a Buddha figure. Evospor, necklace and jewelry around upper arms. Sumatra bronze (metal)

Buddha paré. 14th century, dorure lacquer sculpture in teak from Myanmar

Daoist Priest with Zodiac Animal, Ram China. Daoist Priest with Zodiac Animal, Ram. China. Stoneware. Song dynasty (960-1279). Tomb Pottery

Funeral Figure of A Standing Person. Graffigure of pottery in the shape of a standing person. Remnants of a painting in red, white and black. The hairstyle has been worked up to a point; The left arm hangs along the body, the right arm at the height of the waist.

. Although this figure was found on Java, it was probably made elsewhere and exported to Indonesia. The drapery folds of the monks robe are characteristic of Buddha figures from India or Sri Lanka. The (ushnisha), or pro-tuberance on the head, a standard feature in representations of the Buddha, is a later addition in gold.

Standing Buddha 7th-8th century Thailand Considerable innovations in religious iconography were developed during the Mon-Dvaravati period. For example, many Buddhas hold both of their hands in a gesture of exposition or teaching (vitarkamudra) that in India is confined to the right hand. Images from the related site of Prakhon Chai also exhibit this double hand gesture, but otherwise it is unknown in the Buddhist world. Another iconographic innovation was to place a standing Buddha and flanking attendants on the back of Garuda, a semi-divine winged creaturethat usually appears as the vehicle (vahana) of Vishnu.. Standing Buddha 38165

Standing Disciple Mahakasyapa Holding a Cylindrical Reliquary, c. 550. China, Hebei province, Southern Xiangtangshan caves, Northern Qi dynasty (550-577). Limestone with traces of pigment; overall: 116 x 33 x 25 cm (45 11/16 x 13 x 9 13/16 in.).

Bodhisattva 11th-12th century China. Bodhisattva 36085

Standing Four-Armed Male Deity 6th century Cambodia. Standing Four-Armed Male Deity 38161

Kneeling Priest Figurine in Worshipping Pose

Idiophone: Iyoba Striking Gong 18th-19th century Edo peoples Hand-held clappers commemorate an important event in Benin history, the victory of Oba Esigie over the Igala kingdom in the early sixteenth century. On the way to battle, Esigie and his army met the "bird of prophecy," which predicted disaster for Benin. Rather than submit to this fate, Esigie ordered the bird killed and went on to defeat his enemy. Ivory clappers depict the king and the queen mother; the latter is said to have used her vast spiritual powers to help her son prevail. Such instruments are played by chiefs at an annual palace festival celebrating Esigie's triumph.. Idiophone: Iyoba Striking Gong 316558

Parvati as Annapurna; 20th century (1901-00-00-1940-00-00);

Harpokrates in double crown 664-30 B.C. Late Period-Ptolemaic Period The figure represents a child god in a striding/standing position, wearing the double crown, which alludes to his royal status. The child god is distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and the sidelock on the right side of his head. He wears an amulet on his chest, another attribute common to child gods but not adult gods.Child gods grew in popularity and cult from the Third Intermediate Period onwards, rivaling even the most powerful and ancient gods, especially as temple offerings. Without an inscription, it can be very difficult to securely distinguish and identify particular child gods, but here the double crown identifies the god as Harpokrates (Horus the Child), who was the son of Osiris and Isis. This royal crown symbolizes the union of Lower and Upper Egypt, and highlights Horus role as the legitimate ruler of the entir

Standing Bodhisattva Maitreya , the Buddha of the Future 7th-8th century Thailand (near the Korat plateau). Standing Bodhisattva Maitreya , the Buddha of the Future 39093

Avalokiteshvara, anonymous, c. 750 - c. 900 Standing image with four arms of Avalokitesvara. Prakhon Chai whole: bronze (metal) casting Standing image with four arms of Avalokitesvara. Prakhon Chai whole: bronze (metal) casting

Yakshi, figurine, folk, 7th century A. D collected at Muttom near Boluvampatti, Coimbatore, Tamil Nadu, South India, India, Asia

The bodhisattva Maitreya, Anonymous, 200 - 399

Fragment van een Boeddha-beeld.Bust of a Buddha; The head has been broken down as well as the left hand and the fingers of the right hand.

Hanuman Conversing 11th century India (Tamil Nadu) One of the most appealing Hindu deities, Hanumans bravery, courage, and loyalty throughout the Ramayana epic are renowned. Here, he gestures obeisance to Rama with his raised left hand while engaging in animated discussion with his Lord. This sculpture was part of an ensemble with Rama, Sita, and Lakshmana at its center. It was included among an assemblage of processional icons kept by Vaishnava temples in South India for festival use. Typical of Chola-period representations, Hanuman has assumed anthropomorphic form, with only his face and tail confirming his monkey identity. Among the finest bronze images of Hanuman to have survived from the Chola kingdom of south India, this work embodies his noble, virtuous character with great sensitivity.. Hanuman Conversing 38945

Stele with Buddha Maitreya dated 533 China. Stele with Buddha Maitreya 40523

Standing Vishnu 9th century India (Tamil Nadu). Standing Vishnu 39335

Standing Buddha 8th-9th century Korea. Standing Buddha 72394

Tobatsu Bishamonten late 10th-early 11th century Japan Tobatsu Bishamonten is one of the manifestations of Bishamonten, the Guardian King of the North, who is usually included in a group of Four Guardian Kings (Shitennō), protectors of the four directions. However, in the manifestation of Tobatsu Bishamonten (as captured by this sculpture), the deity is always shown independently and typically stands on a mount supported by the female earth deity, Jiten, and two dwarf demons, Niranba and Biranba. Wearing an angry expression and dressed in the armor of a Chinese warrior, he holds in his left hand a miniature stupa, which symbolizes the Buddhas teachings and relics; his right hand most likely held a weapon to subjugate evil and suppress the enemies of Buddhism.. Tobatsu Bishamonten 53162

Torso of Vishnu ca. 6th century India (Jammu & Kashmir, ancient kingdom of Kashmir). Torso of Vishnu 38377

Mayan ceramic figurine of a Lord, 600-900 AD Mexican

Antique statue of anubis, Egyptian god of embalmment

Harpokrates in double crown. Dimensions: H. 12.4 cm (4 7/8 in.); W. 3.6 cm (1 7/16 in.); D. 6.3 cm (2 1/2 in.). Date: 664-30 B.C..The figure represents a child god in a striding/standing position, wearing the double crown, which alludes to his royal status. The child god is distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and the sidelock on the right side of his head. The faint incised outline of a string is visible at his neck, intended for the suspension of an amulet, an attribute common to child gods but not adult gods.Child gods grew in popularity and cult from the Third Intermediate Period onwards, rivaling even the most powerful and ancient gods, especially as temple offerings. Without an inscription, it can be very difficult to securely distinguish and identify particular child gods, but here the double crown identifies the god as Harpokrates (Horus the Child), who was the son of Osiris and Isis.

Lokapala - a guard; 19th century () (1800-00-00-1900-00-00);

Standing Buddha, 676-935. Korea, Unified Silla period (676-935). Bronze; overall: 18.5 cm (7 5/16 in.).

Bodhisattva Avalokiteshvara (Guanyin) China. Bodhisattva Avalokiteshvara (Guanyin). China. Limestone. style of the Tang dynasty (618-907). Sculpture

Ritualfigur für Ifa-Wahrsagezeremonien Ritual figure for Ifa divination ceremonies, Ioruba, Nigeria, 20th century, carved wood, pigment and metal application, MEB, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/Tolox 23171187

Zodiac Figure of an Ox China From the Tang dynasty onward, zodiac animals were routinely given human attributes. Here, the figure is envisioned as a Daoist deity holding the head of an ox. The large Chinese character wang (king) on the front of his hat signifies his heavenly identity.. Zodiac Figure of an Ox. China. Glazed stoneware. Yuan dynasty (1271-1368). Tomb Pottery

Kneeling Priest 18th century Korea. Kneeling Priest 57386

Monk 589 CE-618 CE China. Expressing serene dignity, these youthful monks stand erect, their eyes downcast and hands firmly joined in reverent prayer. Their long earlobes allude to earrings that were worn by the Buddha as a young Indian prince and to his rejection of material wealth. Characteristic of Sui dynasty sculpture, the monksí sharply defined facial features and the folds of their robes enhance the figuresí flat, understated modeling. Each of their robes was originally painted with rectangles of different colors, signifying the patchwork mantle worn by the Buddha and by pious monks who emulated his humble values. Only shadowy traces of these pigments are now evident.. Limestone with traces of polychromy .

Buddha on pedestal, anonymous, 1400 - 1600 Buddha standing on a pedestal; Hands and a part of the arms are missing. Cambodia wood (plant material). gilding (material) gilding Buddha standing on a pedestal; Hands and a part of the arms are missing. Cambodia wood (plant material). gilding (material) gilding

Figurka bogini Bastet. unknown, author

Seated Bodhisattva late 10th-early 11th century Indonesia (Java, Ngandjuk). Seated Bodhisattva 39152

Crucified Christ 14th century Spanish. Crucified Christ 465989

Robert WR Taylor, Indian Woman, c 1940 Indian Woman

Christ 14th-15th century French. Christ 466559

A Knight - The Lewis Chessmen, (Norwegian), c1150-c1200. Artist: Unknown

Prakhon Chai is a district (Amphoe) in the southern part of Buriram Province, northeastern Thailand. In 1964, artwork depicting Buddhist figures, including Avalokitesvara, was discovered in Prakhon Chai. Originating from the Pre-Angkor period, these figures reflect traditional Indian styles, as passed down through the Cambodian tradition of the Chenla Kingdom. Avalokiteśvara ('Lord who looks down') is a bodhisattva who embodies the compassion of all Buddhas. Portrayed in different cultures as either male or female, Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism, as well as unofficially in Theravada Buddhism.

Bodhisattva Avalokiteshvara second quarter of the 8th century Northeastern Thailand The savior Avalokiteshvara, identified by the seated image of the Buddha Amitabha in his headdress, embodies infinite Buddhist compassion. The cult of ascetic bodhisattvasobserve his simple attirewas particularly powerful in Southeast Asia during the seventh and eighth centuries. This bronze image has a high tin content which would have given it the appearance of silver when newly cast. It was undoubtedly the product of elite royal patronage, yet the region where it was discovered, in northeastern Thailand, remains an historical enigma. It may be linked to a polity referred to as Canasa, with a capital named Canasapura, somewhere in the Khorat Plateau of northeast Thailand. But associating this object with that kingdom is speculative at best. Essentially the polity responsible for this extraordinary high quality and high value object remains unknown. Listen to experts illuminate this artwork's story L

Figurka boga Mahesa. unknown, author

Saint Peter as the First Pope before 1348 Catalan Indentified by his papal tiara, the apostle Peter wears an ornately decorated ecclesiastical vestment (chasuble). The keys signifying his role as guardian of the gates to Heaven, which were given to him by Christ, are missing. The inscription indicates that the sculpture was commissioned by Bernat Pere, chaplain at the cathedral, who died in 1348.. Saint Peter as the First Pope. Catalan. before 1348. Pine partially covered with canvas, gesso, and paint. Made in present-day Spain. Sculpture-Wood

Staande Boeddha.Standing Buddha; Hands, part of the arms, the feet and part of the rug are missing.

Child god with the Amonian crown named Horus of Mednit (Aphroditopolis) 664-30 B.C. Late Period-Ptolemaic Period The figure represents a child god in a seated/reclining position, wearing the double feather crown, which associates him with the god Amun. The child god is usually distinguished from adult gods by a range of iconographic clues: his nudity, the finger raised to the mouth (a child-like gesture), and a sidelock on the right side of his head. The right arm is at his side, like the left arm, but the sidelock and his nudity suffice for identification as a child god. An amulet hangs beneath the broad collar on the chest, and the amulet is another attribute common to child gods but not adult gods. The figure also has a slightly rounded, chubby belly, showcasing his ability to bring about prosperity and abundance.Child gods grew in popularity and cult from the Third Intermediate Period onwards, rivaling even the most powerful and ancient gods, especially as temple offerings. The imp

Horse-Headed Kannon (Batō Kannon), 14th century. Japan, Kamakura period (1185-1333). Wood; overall: 110.6 cm (43 9/16 in.); base: 28 cm (11 in.); figure: 82.6 cm (32 1/2 in.). Bato Kannon is the "Horse-Headed" Avalokitesvara, or Bodhisattva of Compassion, who presides over the realm of animals in the Buddhist Six Realms of Existence.

Seated goddess with a child ca. 14th-13th century B.C. Hittite This tiny pendant was probably intended to be worn round the neck as an amulet. Small gold figures with loops survive from Iran, Mesopotamia, the Levant, and Egypt, attesting to the widespread use of such objects. Similar objects from Hittite culture suggest that these small figures were portable representations of Hittite gods. The figure shown here, cast in gold using the lost-wax process, is of a seated goddess in a long gown, with large oval eyes and a thin mouth with creases at the sides. She is wearing simple, looped earrings and a necklace. Her disk-like headdress probably represents the sun, which would lead to the conclusion that this may be the sun goddess, Arinna, a major Hittite divinity. A loop for suspension protrudes from the back of the headdress. On her lap the goddess holds a naked child, cast separately of solid gold and then attached. The chair on which they are seated is backless and has lion paws.. Sea

Statue of god Ptah, Egyptian civilization

Mayan ceramic figurine of a kneeling female shaman or priestess. From Simojovel; Chiapas, Mexico 600-900 AD

The bodhisattva Maitreya, Pakistan, Gandhara, 3rd century painted and gilded slate. Maitreya, the Buddha of the future, is making the abhaya mudra, or fear not gesture. His webbed fingers are a sign of his divine nature. This figure shows that Buddhist art in Gandhara, which was in contact via trade routes with religions around the Mediterranean Sea, was influenced by Greco-Roman sculpture. The drapery folds of the Maitreyas lower garment, for instance, recall Roman figures, while his hairstyle is based on representations of the Greek god Apollo.

jungfrau maria in polychromem holz virgin mary in polychrome wood, 12th century, Catalan work, Girona art museum, Girona, Catalonia, Spain Copyright: xZoonar.com/TOLOxBALAGUERx 22282889

Buddha Dipankara (Dingguang) dated 495 (19 () year of Taihe reign) China The inscription on the back of this stele identifies the Buddha depicted on the front as Dipankara, who was thought to have lived before the historical Buddha Shakyamuni. He is shown here attended by a group of small figures wearing the clothing of the Xianbei, the non-Han Chinese peoples who ruled the Northern Wei dynasty. The smaller standing figure to the Buddha’s right may represent a youth named Sumedha, who was destined to become the historical Buddha in another lifetime. The imagery of this large sculpture is therefore intended to illustrate the promise or possibility of enlightenment in a future life. In Buddhism, the achievement of this advanced spiritual state is the goal of all practitioners. The bodhisattva with crossed ankles on the back of the stele recalls similar figures in the collection from the Yungang cave temple complex. Listen to experts illuminate this artwork's story Listen Play or pause #

Standing Bodhisattva Maitreya, The Oriental Applied Arts

Standing bodhisattva China. Standing bodhisattva. China. Gilt bronze, wood. Sui dynasty (581-618) (). Sculpture

Ushabti

Standing Buddha 8th century Thailand. Standing Buddha. Thailand. 8th century. Bronze. Mon-Dvaravati period. Sculpture

Fragment of a Bust of Buddha 8th century India (Jammu & Kashmir, ancient kingdom of Kashmir). Fragment of a Bust of Buddha 38402

Kneeling angel (shield bearer).

Shabti of Nesbanebdjed ca. 380-342 B.C Late Period This shabti comes from a tomb discovered in 1902 at the site of the ancient city of Mendes (Tell el-Ruba), the capital of Egypt for a short time during the Late Period. One of the two chambers of the tomb was almost completely empty, with only a few fragments of gold leaf left behind. In the second chamber were over 360 complete shabtis, plus a number of fragments. Most were inscribed, like this one, for the priest Nesbanebdjed. Of these shabtis, 322 had the type of T-shaped inscription seen here (see also 10.130.1044a). About 100 of Nesbanebdjeds shabtis remained in Egypt; many more can be found in museum and private collections around the world.Nesbanebdjeds priestly titles associate him with the cult of the ram-god Banebdjed, who was part of the Mendesian triad with the goddess Hatmehyt and the child god Harpocrates.. Shabti of Nesbanebdjed. ca. 380-342 B.C. Faience, green glazed. Late Period. From Egypt. Dynasty 30

Head of Buddha 6th-7th century China (Xinjiang Autonomous Region) This unfired head is related to fifth- to seventh-century clay sculpture from Afghanistan, especially in the treatment of the eyebrows and in the hairstyle of three rows of curls. The site of Rawak comprises a cruciform stupa (relic mound) based on architecture established in Afghanistan and Gandhara; the enclosing wall of this sacred precinct was embellished with hundreds of clay Buddhas and bodhisattvas such as this one.. Head of Buddha 39904

The Transcendent Buddha Vairochana () Seated in Western Fashion 9th century Indonesia (Java). The Transcendent Buddha Vairochana () Seated in Western Fashion 39021

Linga with Face of Shiva (Ekamukhalinga) 9th century Afghanistan The linga, the aniconic pillar symbol emblematic of the Hindu god Shiva, symbolizes his essential generative powers. Here, the form is phallic, addorsed with Shivas face in a style reflecting iconographic innovations of the region as well as inherited design conventions from fifth-and sixth-century Gupta north India. The Shahi kingdom flourished in eastern Afghanistan only from the seventh to the ninth century, yet it produced a highly distinctive corpus of Hindu religious imagery. Typically sculpted in white marble, these works reflect links east, most notably to Kashmir for Shaiva imagery, and west, as seen in the flying locks of hair inspired by Sasanian royal imagery.. Linga with Face of Shiva (Ekamukhalinga) 38246

. Topeng mask, role: figure from the monkey army, light blue face color, eyebrows and her black. Ornamented sections between the hair plated.

Amulet - Bes. unknown, author

The Bodhisattva Lokanatha. Burma (Myanmar), Mandalay, circa 18th century. Sculpture. White marble

Buddha 19th century China. Buddha. China. 19th century. Nephrite. Qing dynasty (1644-1911). Jade

Bodhisattva Manjushri (Wenshu) 12th-14th century China. Bodhisattva Manjushri (Wenshu) 39636

Statue of Isis a major goddess in ancient Egyptian religion whose worship spread throughout the Greco-Roman world. Isis was first mentioned in the Old Kingdom (c.2686 - c.2181 BCE) as one of the main characters of the Osiris myth, in which she resurrects her slain brother and husband, the divine king Osiris, and produces and protects his heir, Horus. She was believed to help the dead enter the afterlife

Inuit carving of a human figure, 19th century. Artist: Unknown

Jizo Bosatsu, Anonymous, C. 1200 -C. 1250 Standing Jizo that are missing hands and feet. Jizo Bosatsu. Japan wood (plant material). dye Standing Jizo that are missing hands and feet. Jizo Bosatsu. Japan wood (plant material). dye

Ritual Impersonator of the Deity Xipe Totec 1450-1500 Veracruz. As a god of the late dry season and early rainy season (MayñJune), Xipe Totec (ìThe Flayed Oneî) expresses regeneration. By the time of Spanish contact in 1519, the cult of this deity was widespread throughout Mesoamerica. This figure depicts a young male wearing the skin of a sacrificed victim, a primary symbolic aspect of rituals conducted during agricultural fertility ceremonies dedicated to this deity. The lines across the chest represent stitched seams where the skin was fastened. Like living seed within a dried husk, the deity impersonator embodies the relationship between death and the renewal of life.. Ceramic and pigment . Aztec (Mexica)

Head of Vishnu Wearing Three-Lobed Crown ca. 5th century India (Jammu and Kashmir). Head of Vishnu Wearing Three-Lobed Crown 38407

Probably Shakyamuni (Shijiamouni), the Historical Buddha. China, Tang dynasty, about 700-800 A.D.. Sculpture. Carved marble with traces of paint and gilding

Goddess with Weapons in Her Hair 2nd century B.C. North India (possibly Kausambi, Uttar Pradesh) This miniature figure is among the earliest known representations in metal of a goddess with weapons radiating from her hair. The style suggests she was made in the Ganges basin region of northern Indiaprobably at the ancient Magadha capital of Pataliputra (Patna)and attests to this region being instrumental in the development of this iconography. About the early fifth century, the fully elaborated form of the goddess Durga appears, first in a rock-cut depiction at Udayagiri, displaying the same weapons. While the precise identity of our figure is unknown, she is clearly part of an emerging protector goddess tradition.. Goddess with Weapons in Her Hair 38924

God of pulque, artifact originating from da Castillo de Teayo (Mexico). Pre-Colombian Huasteca Civilization, 10th Century.

Head of Buddha ca. 12-14th century () Cambodia. Head of Buddha 38888

Parvati. Parvati (standing). with Vadamudra and lotus stalk; Equipped with a Nimbus.

God of Longevity (Shoulao) and a deer 18th-19th century China. God of Longevity (Shoulao) and a deer. China. 18th-19th century. Jade (nephrite). Qing dynasty (1644-1911). Jade

Standing Eight-Armed Avalokiteshvara, the Bodhisattva of Infinite Compassion. Culture: Cambodia or Thailand. Dimensions: H. 77 1/2 in. (196.9 cm); W. 33 1/4 (84.5 cm); D. 20 in. (50.8 cm). Date: late 12th century.The facial features of this sculpture are thought to reflect the appearance of the ruler Jayavarman VII, who commissioned the Bayon temple complex. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of Wadjet in the name of Akanosh son of Pediamenopet ca. 1070-664 B.C. or later Third Intermediate Period-Kushite Period or later Statuary and equipment in bronze and precious metals have long associations with temple cult and ritual. While the king traditionally made such gifts in his role as mediator between the gods and mankind, by the Third Intermediate Period much of the divine statuary in temples originated from nonroyal gifts, and great numbers of divine statuettes were inscribed with prayers for their donors eternal life. Evidence from a slightly later period indicates that such consecration of temple items for the benefit of a given individual was associated with their having provided some form of economic support for the temple or temple personnel. Lioness headed Wadjet is inscribed with the name of a donor Akanosh, a Libyan name, although the statue may date later than the Third Intermediate Period.. Statuette of Wadjet in the name of Akanosh son of Pediamenopet

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