41 10 420 https://digitalprojects.carlos.emory.edu/files/original/d151fbbd9a13a8c4a7657067581b6399.tif 3e9701f23a9e58f9f3594791870973eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/fe0ef3b89b22e6efcfe10329e39301de.tif a91184f1b033faff0c0983b5f7d8e88a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/c12d410614fdaa1ea32f6057b51ba3e8.tif 08f6bb4639659a59aaf8aff72072f867 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant West Africa, Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/7fd01b4dbcd238b246d1c0080100d101.tif 6e7d03ae1a214c631a489d95c4a85980 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio, meaning "empowered cadaver," are power objects (bo) that represent deceased human beings (cio) though the figure may appear to be alive. A bocio is not a spirit, but a kind of decoy meant to trick death by substituting for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. This highly unusual bocio consists of two kneeling female figures, the lower one carved from wood, holding her breasts in an attitude of supplication, and the upper one cast in brass and proffering a large calabash-like bowl. They are bound together (both physically and psychologically) by a cloth strap wrapped over the legs of the top figure and under the chin of the lower one. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only does the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. The lower figure's face is obscured by sacrificial matter, and her mouth is sealed by a long iron chain, thereby blocking the ability to speak. Considered to be a potentially serious weapon, the act of speech is silenced, controlled by another. Iron attachments are often associated with Gu, the deity of iron and war, and are meant to drive away evil associated with physical force. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo whose dispersion due to the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. There cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) priest who along with the hungan priest were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, iron, brass, cloth, sacrificial material 9 x 2 1/2 x 2 1/4 in. (22.9 x 6.4 x 5.7 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.469 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 108. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17404 Subject The topic of the resource Sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/51a86240841604f513f79b8df673f4e2.tif 6eaee76932f6db3e94982a9dbc1061c3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Benin, Africa Fon Date A point or period of time associated with an event in the lifecycle of the resource late 19th-early 20th Century Description An account of the resource Bocio, meaning "empowered cadaver," are power objects (bo) that represent deceased human beings (cio) though the figure may appear to be alive. A bocio is not a spirit, but a kind of decoy meant to trick death by substituting for a real person. Formerly, the Fon people of Dahomey (now Benin) placed bocio figures in tombs along with the deceased so that the dead person could not then claim another person's life. Essentially bocios are commissioned as a safeguard against misfortune, witchcraft, and death. This highly unusual bocio consists of two kneeling female figures, the lower one carved from wood, holding her breasts in an attitude of supplication, and the upper one cast in brass and proffering a large calabash-like bowl. They are bound together (both physically and psychologically) by a cloth strap wrapped over the legs of the top figure and under the chin of the lower one. The process of binding objects together is an important component of empowering the bocio figure. To further "energize" it, offerings -- which may include corn meal, blood, saliva, and urine -- are poured over it. Not only does the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. The lower figure's face is obscured by sacrificial matter, and her mouth is sealed by a long iron chain, thereby blocking the ability to speak. Considered to be a potentially serious weapon, the act of speech is silenced, controlled by another. Iron attachments are often associated with Gu, the deity of iron and war, and are meant to drive away evil associated with physical force. There are several types of bocio figures, including those associated with divination (Fa), and other types with royalty, with sorcery and anti-sorcery, and with the gods (vodun). All but the royal bocio retained their importance in the lives of Fon and Ewe people from Dahomey and present-day Togo whose dispersion due to the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. There cloth dolls performed protective and "attack" functions similar to carved bocio figures, and like them, were closely associated with the dead and with cemeteries. In Haiti it was the manbo (mother of bo) priestess and the bokor (knowledgeable in bo) priest who along with the hungan priest were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, iron, brass, cloth, sacrificial material 9 x 2 1/2 x 2 1/4 in. (22.9 x 6.4 x 5.7 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.469 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 108. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 17404 Subject The topic of the resource Sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/889eb689ac7c60aa9d03500f35b1c0ba.tif 9c5bf827c0e50cbce20d2b5de1059173 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Margaret and Charlie Shufeldt in honor of Dr. Walter S. Melion Creator An entity primarily responsible for making the resource Hendrick Goltzius, Dutch, 1558-1617 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1591-1592 Description An account of the resource The monumental size and extremely lifelike quality of this portrait of Coornhert (1522-1590), the master who taught Goltzius the art of engraving, are rivaled in this period only by the portrait of Goltzius engraved by his pupil Jan Muller. While the inscription on the oval frame states that the portrait was "painted from life" (ad vivum depictus), the engraving itself was executed only after Coornhert's death. It was an act of homage and remembrance from student to master. The portrait and its oval border were engraved on one copper plate, while the decorative surround was printed from another. The objects in each corner of the frame represent Coornhert's talents and accomplishments as an engraver and lover of painting, as a musician, as a swordsman, and as a humanist scholar. The motto in Dutch at the top center, "Weet, of rust" (Know, or be still) was Coornhert's own. The Latin inscription at the bottom praises Coornhert's love of truth and freendom as expressed in his writings. Border inscription: Theodorus Cornhertius, ad vivum depictus et aeri incisus ab H. goltzio/ Natus Amstelredami anno MDXXII. Denatus Goudea anno MDXC. Format The file format, physical medium, or dimensions of the resource Engraving 20 1/2 x 16 5/16 in. (52.1 x 41.4 cm) Identifier An unambiguous reference to the resource within a given context 2007.027.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Old Masters: Highlights of the Works on Paper Collection, Michael C. Carlos Museum, August 15 - December 6, 2009 MCCM Newsletter, September - November, 2009. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 13180 Title A name given to the resource Portrait of Dirck Volckertsz Coornhert Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/0d0714e9e25b3fe9aa1d8438e40dcf29.tif 5b79d44ad4540858287fd9bcc8468e86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Jayantilal K. and Geeta J. Patel & Family to further the study of Hinduism Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Kangra Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource Sons battle their father and uncles in this illustration of a scene from a later version of the Ramayana. Now ruling in Ayodhya, Rama begins the Ashvamedha, a horse sacrifice to define his territory. In this ritual, a horse, followed by the king’s army, wanders freely for one year, claiming new territories for the king. On this journey, the horse strays into the hermitage of the poet-sage Valmiki, where, unbeknownst to Rama, Sita and her twin sons Lava and Kusha have been living in her second exile. Lava and Kusha capture the horse and battle against the army of Rama, the father they have never known. At top center, Valmiki teaches young Lava and Kusha. Moving counter-clockwise, Sita embraces her sons, bidding them farewell as they head into battle. The sacrificial horse can be seen partly hidden in the bushes near other forest animals. Immediately to the right, Lava releases the captives Hanuman and Jambavan. The primary scene fills lower portion of the painting, and depicts the gruesome culmination of their battle, with Rama and his brothers left unconscious, but not dead. Format The file format, physical medium, or dimensions of the resource Opaque pigments on paper Frame: 17 1/2 x 20 1/2 in. (44.5 x 52.1 cm) Maximum (visible): 15 3/4 x 12 1/4 in. (40 x 31.1 cm) Identifier An unambiguous reference to the resource within a given context 2014.017.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, October 27, 2014 - November 7, 2016 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2014. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 48050 Title A name given to the resource An Alternative Ending: Rama Defeated by His Sons Type The nature or genre of the resource No Creator An entity primarily responsible for making the resource Attributed to Purkhu and his workshop https://digitalprojects.carlos.emory.edu/files/original/89916f34377c59ace1ee01102a191dec.tif e68dc7ec84f9316cb3936d7ae76fab68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Ex coll. William S. Arnett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Central Africa, Democratic Republic of the Congo Kuba Date A point or period of time associated with an event in the lifecycle of the resource 20th Century Description An account of the resource This embroidered cloth is sometimes called "Kasai velvet" after the region of the Democratic Republic of Congo from which they originate and the cut-pile technique of their manufacture. The underlying raffia structure is woven by men on upright looms while women embroider and cut the intricate geometric designs of intermeshing chevrons, squares, and crosses. Each pattern is separately named, and many are said to have originated with Woot, the mythic founder-hero of the Kuba state or with his mother who is said to have invented mat-weaving. The most distinctive feature of Kuba textile design is the staggering and suspension of the pattern. This characteristic discontinuity makes them quite different from European textiles which usually exhibit either an overall symmetry or continuous repeats of design elements. Instead the offbeat repetitions found in Kuba designs have been likened by scholars to the improvisation and breaks found in jazz music. At the same time the overall effect is one of an orderly decorated surface. Format The file format, physical medium, or dimensions of the resource Raffia, pigment 24 3/16 x 21 7/8 in. (61.4 x 55.5 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.520 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Social Life of Kuba Cloth, Michael C. Carlos Museum, June 27, 1998 - February 21, 1999 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2012. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 36449 Subject The topic of the resource Textile, cloth, fiber Title A name given to the resource Textile Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/bf93e536e15cdf6c208d4eae3e89e0e4.tif 532a1b74e69812e1fe3e80b938d96b55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Jayantilal K. and Geeta J. Patel & Family to further the study of Hinduism Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Kangra-style Date A point or period of time associated with an event in the lifecycle of the resource late 18th Century - late 19th Century Description An account of the resource After Ravana kidnaps Sita, Rama journeys to rescue his wife. On the way, he meets Hanuman, who becomes his faithful servant. In this scene, Rama, Lakshmana, and Hanuman rest in the forest on a leaf mat in a moment of quiet devotion that contrasts with the scenes of ritual and violence depicted in other paintings in the exhibition. Rama’s bow and arrows lie on the ground in front of the leaf mat. Holding Rama’s foot in his hand, Lakshmana tenderly removes a thorn from Rama’s foot as Hanuman places his arm around Rama’s shoulder. Because this scene does not appear in textual versions of the Ramayana, it is possible that this painting was produced for devotional purposes. Rama, Lakshmana, and Hanuman often function as moral exemplars. Here, Hanuman and Lakshmana are the ideal devotees of Rama, understood to be God incarnate. Format The file format, physical medium, or dimensions of the resource Opaque watercolor on paper Image: 9 x 6 1/2 in. (22.9 x 16.5 cm) Page: 9 1/4 x 7 in. (23.5 x 17.8 cm) Identifier An unambiguous reference to the resource within a given context 2012.014.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, February 22, 2013 - October 27, 2014 MCCM Newsletter, Fall/Winter 2012. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2012. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 35153 Title A name given to the resource Rama, Lakshmana, and Hanuman Rest in the Forest Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/92d66cdcfc459231ac66812636bff358.tif b1635ff1f5043cebd67e03ecbf3a1381 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Gift of Jayantilal K. and Geeta J. Patel & Family to further the study of Hinduism Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant India, Guler Date A point or period of time associated with an event in the lifecycle of the resource ca. 1840 Description An account of the resource Having defeated Ravana, rescued Sita, and returned to his kingdom, Rama here takes center stage at his coronation in Ayodhya. Holding his characteristic bow and arrow, clothed in gold, his crowned head ringed by a shining halo, he sits on a throne in the pose of royal ease, with one foot raised and the other resting firmly on a footstool. Below are the ritual vessels used in the consecration. To his left, Sita leans into her husband with a look of satisfaction; behind stand his three brothers bearing the implements of kingship. At the front edge of the pavilion, to the left, Rama’s monkey allies, joined by the demon defector Vibhishana—here in human form—attend their new king. To the right sit a group of Brahmin ascetics who have come from the forest to pay their regards. A depiction of Ayodhya frames this public display of kingship. A high horizon line—an index of Mughal influence in this later Pahari painting—is demarcated by a palatial wall. On the left, the towers of Ayodhya are balanced by the treetops of a dense forest on the right, a division that corresponds to the courtly and ascetic groups attending the coronation. The ongoing oscillation of city and forest forms a central objective of the Ramayana itself: by a bloody assault on the demonic forces of the wild, Rama secures a perfectly ordered kingdom. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and gold on paper Image: 8 5/8 x 11 1/4 in. (21.9 x 28.6 cm) Identifier An unambiguous reference to the resource within a given context 2013.010.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder. Source A related resource from which the described resource is derived 59155 Title A name given to the resource The Ideal Ending: Rama's Coronation Type The nature or genre of the resource No