Bodhisattva
Chinese
12th century
Clay mixed with straw with traces of pigment and gold on gesso
2003.127.2
Seated on a straw mat and reading a sutra scroll, this figure may represent Puxian (Samantabhadra), the bodhisattva of kindness in Mahayana Buddhism. Its medium scale and unfinished back indicate that it may have been a temple wall hanging. The darkened face and garment hint of possible fire damage.
The Liao dynasty, ruled by nomadic people known as Khitan, occupied northeastern China, including present-day Inner Mongolia, Liaoning, Shanxi, and Beijing. The Khitan Empire adopted Buddhism as its religion and sponsored the construction of many temples where Buddhist sculptures were built and housed.
Chakrasamvara and Vajravarahi with Their Retinue (Primary Title)
paubha (Nepalese religious painting)
Nepalese
late 14th-early 15th century
opaque watercolor on cloth
91.550
Crown
Tibetan or Nepalese
18th-19th century
Gilded copper alloy, gemstones
91.536
Heavily encrusted with gems and semiprecious stones, this elaborate crown may, like the adjacent one, have been worn by a priest or shaman during rituals. However, the patterning around its lower band, which resembles the wound fabric of a court turban, suggests that it might have been used in a more secular context. Affixed to this band is a pair of receptacles for additional ornamentation, perhaps feathers or hanging jewels. The finial protruding from the floral medallion at the top may represent either a lotus or a vajra.
Dagger (Khanjar) with Scabbard
Indian
18th-19th century
Nephrite, green beryls or emeralds, colorless sapphires, diamonds, rubies, gold foil, silver foil, resinous organic material, steel; wooden scabbard covered with velvet
68.8.132a-b
The hilts of Mughal-style court daggers were frequently fashioned from semiprecious hard stones, intricately carved and inlaid with gold and jewels. Two more carved-stone hilts may be seen to the left. While such opulent daggers certainly could be used in hand-to-hand combat, they were largely ornamental. Presented to military commanders and other officials, they were worn as badges of royal favor and became one of the many sumptuous elements of court costume.
Fugen (Bodhisattva Samantabhadra) on Elephant
Kannon (Bodhisattva Avalokitesvara)
Monju (Bodhisattva Manjusri) on Lion
(Left)
Japanese
14th Century
Wood with polychrome, lacquer, copper, crystal, glass
66.73.2a-e
These rare examples of monumental sculptures show two bodhisattvas descending to earth, as in a scene described in the Lotus Sutra. The sword in Monju’s hand represents his wisdom and protects against ignorance and evil, while the scrolled sutra in the other hand suggests the source of his wisdom. Fugen, on the elephant, is considered a protector of Buddhist law. Their elaborate crowns and jewelry suggest their nobility and connection to Shayamuni Buddha.
(Middle)
Japanese
13th century
Wood with polychrome, traces of lacquer, gold dust, crystal
67.18.1
Kannon, known as the bodhisattva of compassion, is a primary deity worshipped in Pure Land Buddhism. In deep meditation, this Kannon sits cross-legged and holds a lotus bud. Although hands and forearms have been restored, the statue’s balanced form, divine features, and flowing drapery resemble the classical form of sculpture of the Kamakura period. To form this monumental sculpture, multiple sections of wood were joined together and then wrapped with hemp. Like many wood sculptures since the Heian period, this statue was once coated with lacquer to protect it from cracking and water or worm damage.
(Right)
Monju (Bodhisattva Manjusri) on Lion
Japanese
14th Century
Wood with polychrome, lacquer, copper, crystal, glass
66.73.1a-e
These rare examples of monumental sculptures show two bodhisattvas descending to earth, as in a scene described in the Lotus Sutra. The sword in Monju’s hand represents his wisdom and protects against ignorance and evil, while the scrolled sutra in the other hand suggests the source of his wisdom. Fugen, on the elephant, is considered a protector of Buddhist law. Their elaborate crowns and jewelry suggest their noblility and connection to Shayamuni Buddha.
Funerary Couch with Images of Filial Piety
Chinese
Early 6th century
Limestone with pigments, gold and silver leaf
2005.7a-h
Imitating wooden household furniture, this stone couch is a rare example of what was used as a platform for supporting a coffin in the burial chamber of a tomb. The design and function of the couch reflect the ancient Chinese belief in immortality, which was popular in early 6th-century China.
These iconographical details have integrated Chinese tradition and Central Asian elements. The front panels of this couch feature painted towers and a wall, as if leading through the entranceway to a private property. Details include molded roof tiles and painted designs of wooden frames and brackets, representing Chinese architectural components of the period. The couch is enclosed by a four-paneled screen that form the back and sides.
The panels are incised with twelve scenes, including a seated couple (the tomb occupants), processions, and Chinese stories of filial piety, which became well known with the growing popularity of Confucius’ teachings. The baseboard and legs are carved with mythological animals including a dragon, the Wind Spirit, and the Thunder Spirit.
The owner and the origin of the couch are unclear. Judging from the pictorial style and the stone construction, it most likely belongs to a local Chinese official from central North China.
Ganesha Dancing
Indian
Late 9th-early 10th century
Buff sandstone with traces of pigment
68.8.20
In his capacity as the remover of obstacles, the Hindu god Ganesha is invoked at the beginning of all significant undertakings. This elephant-headed deity is the son of Shiva, and like children everywhere he imitates the actions of his father. One of Shiva’s most significant roles is King of Dancers, so it is not surprising that Ganesha performs his own playful and rambunctious version of his father’s cosmic dance. Ganesha’s eight arms, which hold various attributes, and swaying chubby-baby body move to an unheard rhythm. He is flanked by a pair of flying celestial figures above and by a small drummer and dancer at ground level.
Garden Pavilion
Indian
19th century
White marble with black schist and brown mottled marble inlays
2005.2
Elegant arcaded pavilions were standard features in royal gardens and palace complexes in India between the 17th and 19th centuries. Large examples could accommodate a ruler and his court, assembled for state business or entertainment. More intimately sealed pavilions such as this one were used for private retreat, pleasure, and contemplation.
This pavilion’s architectural style, like the garden where it once stood, owes much to the influence of the Mughals. These rulers brought with them from Central Asia a highly developed tradition of formal gardens that incorporated exotic plantings, cooling waters, and multiple structures intended for both leisure and ceremony. During the reign of Shah Jahan (1628-58), patron of the Taj Mahal, white marble became the favored construction material for such stately structures.
Associated with wealth and prestige, the Mughals’ refined architecture was quickly adopted by India’s many princely states and endured long after the Mughals’ decline. Stylistic comparisons suggest that this pavilion was created in the 19th century in eastern Rajasthan’s princely state of Bharatpur. It may have been commissioned by the ruling Maharaja of Bharatpur or by a wealthy noble from that region.
The white marble used to construct the pavilion is quite varied. The undersides of some pieces indicate that they were recycled from previous buildings, and the structure has been repaired several times. Some variations in the stone are, however, intentional, such as the matching grayish panels on each of the four corner piers. Bold inlays of mottled brown marble and black schist pattern the pavilion’s floor, at the center of which is a basin that was once fed by a gently splashing fountain. The pavilion’s delicate columns originally carried far more weight than they do now, including a ceiling of stone slabs and a considerable superstructure with stone brackets; deep, angled stone eaves; and possibly an observation deck surrounded by a railing.
The evocative structure is a fitting complement to this gallery’s paintings and objects, most of which were also produced for India’s princely courts. It is easy to imagine a noble seated in the pavilion leafing through an album of paintings, or a group of court ladies partaking of delicacies from jade and silver serving dishes while being serenaded by nearby musicians. Comparable structures appear in several of the surrounding paintings, some showing the sort of patterned textiles that probably once hung from the bronze rings above this pavilion’s arches. These hangings could be raised or lowered depending upon the angle of the sun and the occupants’ desire for privacy.
Guardian Lion Dogs
Japanese
14th century
Wood with traces of pigment
67.57.1
Konjikido (Golden Hall), Hiraizumi
Japanese
May 1957
Woodblock print, ink and color on paper
On November 7, 1957, Kawase Hasui passed away at the age of seventy-four. This print, produced earlier that year, was his very last, and copies were distributed to guests at his funeral. Hasui's printmaking career spanned decades, bearing witness to momentous periods of peace, conflict, and occupation in 20th century Japan. Here, a lone figure ascends the stairs to Konjikido, or the "Golden Hall," a small bulding in Chusonji, a Buddhist temple complex in the northern Iwate Prefecture. Under the night sky, cedar trees line the snow-covered pathway in the graceful yet solemn scene.
2027-562
Lingering Snow at Sanno Shrine
Kawase Hasui
1926
Japanese
Woodblock print; ink and color on paper
2017.564
Sanno Shrine, also known as Hie Shrine, is a Shinto shrine in Tokyo that houses the guardian deity of the city and organizes the annual Sanno Festival in June. The structure was built in the early 17th century in Edo Castle, the residence of the Tokugawa Shoguns. In 1659 it was relocated to south of the castle for public worship. Here Hasui depicted a close-up cropped view of the grand gate of the shrine, showing the overhanging roof supported by wooden brackets, lattice windows, and the side wing covered with ceramic tiles. The gate suffered structural damage later from bombing in 1945 during World War II, and the present gate on the site was reconstructed in 1958.
Miyazaki Genzoji Temple, Saitama Prefecture
Kawase Hasui
Japanese
1883-1995
Woodblock print; ink and color on paper.
2017-561
It was the summer of 1955. Hasui traveled to Chichibu in Saitama Prefecturek, sixty miles north of Tokyo. On a rainy day, he visited the Genzoji, a 17th-century Zen Buddhist temple, where he captured the moment when a woman carrying a child walked in front of the temple gate. This two-story wooden structure features an extended sloping roof, lattice windows, railings, and plaster walls, representing the old Japanese building concept of bringing natural surroundings such as farmland and distant mountains into the design. The bronze temple bell on the upper level, cast in 1705 for a local shrine, was transferred to this temple in 1722.
Moon Over Karikachi Mountain Pass
Kawase Hasui
Japanese
Woodblock print; ink and color on paper
Sabre (Talwar) with Scabbard
Set of Armor Plates (Char-aina)
Indian
18th-19th century
Gold, silver, steel, lead, solder, iron pigment, resinous material, bedding material, rubies, emeralds, diamonds; wooden scabbard covered with velvet and overlaid with gold
68.8.134a-b
The long, curved shape of the Indian talwar’s blade was likely influenced by Persian and Central Asian swords. Refined under the Mughals, the talwar was adopted by India’s nobles and became part of the royal regalia of most Indian rulers. This example’s lavish hilt, which is encrusted with gems set into nearly pure gold, and its delicate gold scabbard fittings suggest that it was meant for ceremonial, rather than military, use.
Indian
18th century
Steel, copper alloy, gold leaf, velvet
90.119.1-4
This set of armor consists of a breastplate, back plate, and two side plates cut away to accommodate the arms. Connected by leather straps, it would have been worn over a chain-mail shirt. Called a char-aina (four mirrors), it was thought to deflect the evil eye, as well as blades and arrowheads. The central steel panels are decorated with low-relief volutes and surrounded by a wide border of finely engraved palmettes filled with gold. The weak internal structures of the plates suggest that they were meant to be worn in parades and court ceremonies, rather than in battle.
Sakunami Hot Springs in Miyagi
Kawase Hasui
Japanese
Prefecture, 1941
Woodblock print; ink and color on paper
2017.548
A hot spring resort in northern Japan, Salkunami is nested in the mountains and forests near the coastal city of Sendai, 250 miles from Tokyo, in the 8th century, a Buddhist monk discovered the spot and used the mineral-rich springs to treat illiness and discomfort. During the Edo period (1615-1868), wooden inns, known as ryokan, were built here by the Sendai Domain. For centuries, the site attracted feudal lords, the Shoguns, and family members. Here Hasui illustrated a covered sloping pathway leading to a two-story Japanese inn. The misty forest around the inn conveys many untold stories.
Samurai Armor with Andō-Family Crest (Translation)伊予札色糸素懸威胸取二枚胴具足 安藤家伝 (Primary Title)
Unknown (Artist)
18th century
Japanese
Lacquered and gilded iron alloy, silk thread, brocade, leather, papier-mâché, metal fittings
2020.33.1-5
This suit of armor is composed of a five-panel cuirass fastened along the right side, shoulder guards, metal sleeves with laces, a skirt, underpants, and a helmet. The superb craftsmanship of silk lacing and lacquered metal plates suggest that it was produced for ceremonial events. The helmet, inscribed with “Hachiman daibosatsu,” a Shinto deity, conveys a blessing for success. A chrysanthemum crest that adorned the armor and helmet reveals that this suit belonged to the Andō family, whose ancestor served for Tokugawa Ieyasu, the first ruler of the Tokugawa shogunate.
Seated Amida (Amitabha)
Japanese
Late 14th century
Hanging scroll; ink, color, and gold leaf on silk
68.42.1
Amida Buddha, one of the Five Buddhas in Esoteric Buddhism, is believed to enable the attainment of wisdom, compassion, and strength. Indian in origin, Amida was introduced to Japan in the Heian period (794–1185) and retained its popularity in the Nanbokucho period (1336–1392). Here Amida appears as a red-bodied bodhisattva wearing an elaborate robe and a five-buddha crown that symbolizes the five wisdoms of Esoteric teachings. His unique gesture of meditation—the right hand on the left with thumbs and index fingers forming circles—identifies him as the Amida Buddha. The two vajras that form the lotus stand represent Buddhist power and fundamental law. Sacred Esoteric paintings like this example are used as tools for teaching and for worship.
Seated Buddha
Indian
2nd-3rd century
Dark gray schist
2002.556
Behind this Buddha’s serene face is an intensity of meditative concentration strongly indicated by the flame-like striations of his hair. These almost frenetic curls climb the cranial protuberance or ushnisha that is a mark of the Buddha’s superhuman wisdom. Other standard Indian iconographic conventions include his elongated earlobes, stretched by heavy gold earrings that he wore before renouncing worldly luxuries, and a circular mark or urna between his eyes that symbolizes his extraordinary insight. This Buddha’s now-broken right hand would have been held in a gesture of reassurance. His left hand gathers a piece of his outer garment, which then cascades from his palm and spreads out on the plinth below him. The confidently rendered folds of his toga-like robes reveal Western Classicism’s impact on the art of Gandhara. Buddha images in this hybrid style would become one of India’s most significant artistic exports, providing the earliest models for a long tradition of imageryin Central and East Asia.
Shiva as King of Dancers (Nataraja)
Indian
Mid-12th century
Copper alloy
69.46
Dynamically posed, with long locks flying wildly, Shiva performs the cosmic dance that creates, sustains, and destroys the universe – again and again. The drum in his upper right hand represents sound, the prime element that signals creation and thebeginning of time. The flickering flame originally held in his upper left hand symbolizes the great fire that will engulf the universe at the end of time. Encircled by a ring of flames, Shiva tramples the demon of ignorant forgetfulness. The devotee who comprehends the cosmic meaning of the Great God’s dance will overcome ignorance and attain salvation.
Snow Valley of Mount Hakuba
Kawase Hasui
Japanese
Summer 1932
Woodblock print; ink and color on paper
2017.545
Mount Hakuba, known as the Japan Alps, is located in Nagano Prefecture of central Japan. Its two-mile-long (3.5 km) mountainous valley is named Snow Valley for the heavy snow that remains unmelted throughout the year. In this print, Hasui depicted a silvery valley where travelers are carrying goods, walking with canes along the snow-covered path with steep slopes rising on both sides. Even on sunny days in July when flowers are blooming, the weather can change dramatically here and the sky, mountains, and valley all disappear in whiteness
Standing Guanyin (Avalokitesvara) (Translation)
銅鎏金觀音菩薩立像 北宋 (Primary Title)
11th century
Chinese
Gilded copper alloy with traces of pigment
64.19
This rare, remarkable figure is one of the largest and best preserved of its type. The five seated Buddhas on its crown and the lotus bottle in its hand identify this standing figure as Guanyin, bodhisattva of compassion. The notable iconography includes the scene of the death of Buddha (nirvana) on the medallion and the Buddhist triad flanked by two dragons on the lavishly decorated long necklace. The luxurious style of this figure suggests that it was commissioned by the court or an imperial patron. The iron chaplet at the back may indicate that this hollow statue was once used as a reliquary.
Wenshu Bodhisattva (Manjushri) (Translation)铜鎏金觀音菩薩坐像 明永樂 (Primary Title)
Early 15th century
Chinese
Gilt copper alloy with traces of red lacquer
73.77.1
An imitation of the Tibetan prototype, this statue shows Wenshu, an enlightened being and a disciple of the historical Buddha, sitting on a lotus pedestal. One hand is raised holding a jewel, while the other holds a lotus spray, surmounted by a sutra. He wears a crown with five panels, a symbol of the Tibetan Buddhist concept of the Five Wisdoms. The base is incised with a six-character inscription that translates to “Respectfully made in the Yongle year of the Great Ming.”
Emperor Yongle maintained close relationships with Tibetan Buddhist monastic rulers. He ordered the construction of Lama temples in Beijing and other parts of the country and the production of new Buddhist images similar to this statue, which was either an altarpiece or a gift to Lamas and diplomats.
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