Cultural Artifacts and Puppetry

A collection of global art pieces including wooden statues, shadow puppets, and historical playing cards, representing diverse cultural traditions and craftsmanship.

Wooden statue of man, Hawaiian art

Wooden statue of man, Hawaiian art

Egyptian history concept with papyrus

Shadow Puppet Head, 20th century, 5 in. (12.7 cm), China, 20th century

Puppet (WayangKlitik)

French 17th century playing card. (1659)

Fragment of egyptian papyrus

Standing Male Figure. Mexico, Nayarit, Ixtlán del Río, 200 BCE-500 CE. Ceramics. Slip-painted ceramic with postfire applied paint

Mantle Nasca. Mantle, 100-200. colored wool embroidery and cotton field, 105 1/8 x 54 5/16 in. (267.0 x 138.0 cm). Arts of the Americas 100-200

Shadow Puppet (Wayang Kulit) of Arjuno Sosro, from the set KyaiNugroho. Maker: Ki Kertiwanda Maker: Ki Bekel Prawirasucitra

Mantle Nasca. Mantle, 100-200. colored wool embroidery and cotton field, 105 1/8 x 54 5/16 in. (267.0 x 138.0 cm). Arts of the Americas 100-200

Shadow player 19th century China. Shadow player 73278

Africa, Togo, Kpalime. Artisan handicraft center & training school. Artistic ceramic tile art.

Shadow Puppet (Wayang Kulit) of Duryadana orSuyadana. Maker: Ki Enthus Susmono, Indonesian, 1966-2018

Fragment. Probably north or central coast, Peru. Date: 1000-1476. Dimensions: 28.6 x 16.2 cm (11 1/4 x 6 3/8 in.). Cotton and wool (camelid), slit tapestry weave with eccentric and wrapping outlining wefts. Origin: Peru. Museum: The Chicago Art Institute, Chicago, USA. Author: Chancay.

Puppet (Wayang Klitik) probably of RamaWijaya

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Fragment, Medium: wool Technique: embroidered in stem stitch on plain weave foundation, Fragments of a standing human figure wearing a mask, headdress and holding serpent staffs. Completely embroidered in strong colors., Peru, 200 BC-200 AD, embroidery & stitching, Fragment

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Fragments, Medium: wool, cotton Technique: slit and single interlocked tapestry, Two fragments of very fine tapestry weave with cotton warps and wool wefts. A) Face of a man or god, conventionalized and angular in blue, red, tan, black and brown., Peru, ca. 400, woven textiles, Fragments

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Shadow Puppet Head, 20th century, 5 in. (12.7 cm), China, 20th century

Shadow Puppet (Wayang Kulit) of Tuguwasesa, from the set KyaiNugroho. Maker: Ki Kertiwanda Maker: Ki Bekel Prawirasucitra

Panel from aTunic?. Artist: Unknown

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Shadow Puppet (Wayang Kulit) of Overseas Soldier I or Prajurit SebrangI. Maker: Ki Enthus Susmono, Indonesian, 1966-2018

Llama wool fabric used to wrap mummies, detail with embroidered figure of warrior, from Peru

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Egyptian papyrus as a background

Hina. Paul Gauguin (French, 1848-1903); printed by Georges Daniel de Monfreid (French, 1856-1929). Date: 1891-1893. Dimensions: 346 × 200 mm (image); 369 × 263 mm (sheet). Rubbing in brown on ivory tissue taken from a cylindrical wooden carving. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Madame Cactus II - 1939/40 - 78x25x15,5 cm - bronze. Author: Julio Gonzalez. Location: FUNDACION JUAN MARCH COLECCIÓN. MADRID. SPAIN.

French Polynesia, Society Islands. Painted tapa cloth. (MR)

Shadow Puppet (Wayang Kulit) of Boma orBomancik. Maker: Ki Enthus Susmono, Indonesian, 1966-2018

Polish cartridge case monogrammed A. C. P. R., from the collection of Antoni Strzałecki ; drawing for the publication: Dominika Jeżewskiego Skarbiec Zabytków Polskich znajdujących się w prywatnych zbiorach Warszawy, malował z natury Władysław Sztolcman od. Sztolcman, Władysław Roman (1873-1950), painter

Gope, spirit board made from wood. From Papua New Guinea. Dated 20th Century

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Topola, Sumadija District, Serbia. September 11, 2024. Mural in Saint George's Church Oplenac, the Serbian Royal Mausoleum.

Shadow Puppet (Wayang Kulit) of Adimangsolo, from the set KyaiDrajat

Embroidered Mantle Fragment 3rd-2nd century B.C. Paracas. Embroidered Mantle Fragment. Paracas. 3rd-2nd century B.C.. Camelid hair, cotton. Peru. Textiles-Woven

Ruins of Jerash (Gerasa, Jerash mosaic. Section showing cupids, storks, etc. 1920, Jordan, Gerasa (Extinct city)

Shadow Puppet Head, 20th century, 5 in. (12.7 cm), China, 20th century

Colourful wood carving, Bali, Indonesia, Southeast Asia, Asia

Eharo mask from Papua New Guinea. Dated 20th Century

Zapotec civilization, Classic period (200-900). Anthropomorphic painted terracotta vase depicting the god of fire with features of a monkey, detail, the face

Terracotta funeral urn depicting a man-tiger, artefact from Miahuatlan (Mexico). Zapotec Civilization, classical period, 200-900.

Shadow Puppet (Wayang Kulit) ofAngada

Fragment of an Ornament, 700s - 800s. Egypt, Byzantine period, 8th - 9th century. Tapestry weave: wool; overall: 12 x 10.3 cm (4 3/4 x 4 1/16 in.).

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

RELIEVE. Location: INSTITUTO DE COOPERACION IBEROAMERICANA. MADRID. SPAIN.

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

Lluís Masriera / Colgante con figura oriental, 1919. Colección privada. Author: LLUÍS MASRIERA I ROSÉS.

Mantle ("The Paracas Textile") Nasca. Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, 24 5/8 × 58 11/16 in. (62.5 × 149 cm). This extraordinarily complex mantle, or cloak, is one of the most renowned Andean textiles in the world. It was most likely used as a ceremonial object. The ninety figures decorating the border, created by needle knitting, have been interpreted as a microcosm of life on Perus South Coast two thousand years ago, with a particular focus on agriculture. Many of the images illustrate native flora and fauna as well as cultivated plants. Costumed figures may represent humans impersonating gods and acting as intermediaries between the real and supernatural worlds. Severed human trophy heads are shown as germinating seeds, suggesting the practice of ritual sacrifice and the interconnected cycles of birth and death. Este extraordinariamente complejo manto, o capa, es uno de los textiles andinos más conocidos en el mundo. Fue usado probablemente como

ENCUADERNACION MODERNA-RELIEVE DE EGIPCIA.

Shadow Puppet (Wayang Kulit) ofGuaksa

Móvil publicitario de la firma Anís del Taup, de Sabadell. Año 1930.

Fragment of Lotus Flower surrounded by Leaves, 1300s. China, 14th century. Embroidery, needlelooping; silk and gold thread, silvered and gilded paper; overall: 11 x 12.1 cm (4 5/16 x 4 3/4 in.).

Shadow Puppet (Wayang Kulit) of Sabrangar or Tatagan, from the set KyaiDrajat

Cigar Store Indian. Dated: c. 1938. Dimensions: overall: 50.9 x 38.4 cm (20 1/16 x 15 1/8 in.). Medium: watercolor, colored pencil, graphite, and heightening on paperboard. Museum: National Gallery of Art, Washington DC. Author: Walter Hochstrasser.

Shadow Puppet (Wayang Kulit) ofSekuni

A woman carrying a large sack of fish on her back. Coloured engraving.

Tribal Sculpture Nigerian Art National Museum, Lagos, Nigeria

Colorful traditional monkey shadow puppet, 'Journey to the West', Tianjin, China. Shadow puppetry is a traditional Chinese performance art going back hundreds of years. Monkey puppet is a traditional puppet going back hundreds of years.

Shadow Puppet (Wayang Kulit) of Monyet Cantrik, from the set KyaiNugroho. Maker: Marto Suwondo Maker: Ki Kertiwanda Maker: Ki Bekel Prawirasucitra

Unicorn. Dated: c. 1937. Dimensions: overall: 40.6 x 30.7 cm (16 x 12 1/16 in.) Original IAD Object: about 8' tall. Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Alice Stearns.

JARRO DE ESTILO KAMARES 1800 A C. Location: ARCHAEOLOGICAL MUSEUM. HERAKLION. GREECE.

Shadow Puppet (Wayang Kulit) of Bukbis Mukosuro, from the set KyaiNugroho. Maker: Ki Kertiwanda Maker: Ki Bekel Prawirasucitra

Native Art Drum by Trevor Hunt featuring Wildman (Pugwis) and the Killer Whale.

Shadow Puppet (Wayang Kulit) ofDelem

Painting in art has an old culture and live tradition Painting in art has an old culture

A deity guarding the gates - Menshen in a warrior's outfit; the beginning of the 20th century (1900-00-00-1910-00-00);Antonina (1901-1994), Jabłońska, Jabłoński, Witold (1901-1957), Witold (1901-1957)-collection, Chinese (culture), gift (provenance), graphic prints, Chinese art

African statues, Saint Louis, Senegal, West Africa, Africa

The Scythians were an ancient Iranian people of horse-riding nomadic pastoralists who throughout Classical Antiquity dominated the Pontic-Caspian steppe, known at the time as Scythia. By Late Antiquity the closely-related Sarmatians came to dominate the Scythians in the west.

Pharaoh Ramses II

Shadow Puppet (Wayang Kulit) of Utara, from the set KyaiDrajat

Costume design for the theatre play Triumph of the States by A. Bobrishchev-Pushkin by Sudeykin, Sergei Yurievich (1882-1946) State A. Radishchev Art Museum, Saratov 1914 Watercolour, Gouache, tempera on cardboard 50x33,7 Russia Theatrical scenic p

Maharao Ram Singh (r. 1827-1866). India, Rajasthan, Kota, circa 1835. Drawings; watercolors. Ink and opaque watercolor on paper

Ancient Mexican paintings and hieroglyphics, by Augustine Aglio, color print from Antiquities of Mexico: comprising fac-similes of ancient Mexican paintings and hieroglyphics, by Edward King Kingsborough, volume III, 1831-1848, London.

Shadow Puppet (Wayang Kulit) of Sumbadra, from the set KyaiDrajat

ABANDERADO - LAMINA X - PAGINA 82 DE LA RELACION DE MICHOACAN. Location: INSTITUTO DE COOPERACION IBEROAMERICANA. MADRID. SPAIN.

Kite

Shadow Puppet (Wayang Kulit) of Resi Duporo, from the set KyaiDrajat

Narasimha Avatara Narasimha Avatara, ca. 1910. Watercolor, ink and silver on paper, 17 1/4 x 11 in. (43.8 x 27.9 cm). Asian Art ca. 1910

Albuquerque, New Mexico, USA. Central Ave, Route 66, Cow skull wall sconce detail at the Kimo Theater

Shadow Puppet (Wayang Kulit) of Citraksa, from the set KyaiDrajat

Section from aTunic. Artist: Unknown

Cylindrical Vessel. Culture: Maya. Dimensions: H. 5 1/4 x Diam. 4 1/8 in. (13.3 x 10.5 cm). Date: 7th-8th century.This cylindrical vessel framed by red bands contains a hieroglyphic text around its rim and shows two seated gods. It is painted in the 'codex-style', and the artist used simple shading to emphasize the two figures. The deities could be a version of K'awiil, the Maya god of lightning, as evidenced by the smoking scrolls emerging from their foreheads. 'Codex-style' pots are so-called for the style of painting which bears a close resemblance to the four extant screen-fold Maya books, known as codices, located in Madrid, Paris, Dresden, and Mexico City. These books date to the Postclassic Period (ca. a.d. 1000-1492). The characteristics of the codex-style are a cream or yellowish slipped background, often framed by red bands above and below, and a black calligraphic line outlining figures and hieroglyphic texts. Sometimes the painters applied a gray wash to shade figures or

Shadow Puppet (Wayang Kulit) of Galiyuk, from the set KyaiDrajat

Statuette depicting Goddess of Snakes, from shrine at Palace of Knossos

Hapi, God of the Nile. Reverred for being responsible for the annual flooding of the river which deposited rich silt in which Nile farmers planted crops. After an engraving in Jean Francois Champol

Shadow Puppet (Wayang Kulit) of ButaTrung

Anthropomorphic sculpture, detail from a wooden throne, Foumban, Cameroon.

Lorenzo Mercadante de Bretaña / 'San Miguel Arcángel', c. 1460, Terracota policromada y dorada. Author: LORENZO MERCADANTE DE BRETAÑA (S. XV).

Manufacture of Sèvres, movement by Etienne Lenoir, bronze frame attributed to Pierre Gouthière (1732-1813), French bronzier. Pendulum. Porcelain, gilded bronze, 1780-1785. Paris, Cognacq-Jay museum. 79450-30 Art decorative, bronze gilded, gilding, detail, bronze frame, pendulum, lyre pendulum, porcelain, sun, 18th 18th 18th 18th 18th 18th 18

ARTE ETNICO. CULTURA KWAKWAKA'WAKW. SIGLO XX MUNGO MARTIN (1881-1962). MASCARA (hacia 1900) en madera. Canadá. Museo de Arte de Denver. Estado de Colorado. Estados Unidos.

Tat Chom Yong, vintage engraved illustration. Le Tour du Monde, Travel Journal, (1872).

Shadow Puppet (Wayang Kulit) of Antaboga, from the set KyaiDrajat

Stump Speaker Bank. Dated: c. 1938. Dimensions: overall: 42.7 x 28.9 cm (16 13/16 x 11 3/8 in.) Original IAD Object: 10" high; 5" wide; 4" deep. Medium: watercolor, gouache, and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: Florian Rokita.

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