<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/9001">
    <dcterms:title><![CDATA[Rama and the Golden Statue of Sita]]></dcterms:title>
    <dcterms:description><![CDATA[In one version of the Ramayana, after his coronation, Rama banishes Sita to the forest in response to rumors that she was unfaithful during her captivity in Lanka. In this painting, Rama performs a fire sacrifice as part of his royal duties. Since tradition holds that the sacrificer’s wife must be present, a golden statue replaces the exiled Sita. The statue highlights the dilemma of a king who must follow the proscribed ritual of sacrifice, but must also banish a potentially unfaithful wife.<br />
The confinement of women to the private sphere on the edges of the composition also evokes conceptions of female subservience implied by the golden statue. The hierarchical organization of the male figures and architectural components infuse the central, public space with a sense of order, authority, and righteousness.<br />
The compositional lines draw the viewer’s attention consistently back to Rama, designating his position of importance at the center. Looking closely, one can also detect traces of preliminary drawings in the white planes of the composition.]]></dcterms:description>
    <dcterms:creator><![CDATA[Attributed to Purkhu and his workshop]]></dcterms:creator>
    <dcterms:source><![CDATA[Courtesy of Pyush and Harshna Patel]]></dcterms:source>
    <dcterms:date><![CDATA[19th Century]]></dcterms:date>
    <dcterms:format><![CDATA[Opaque watercolor and gold on paper<br />
Image: 10 3/4 x 14 1/8 in.<br />
Sheet: 13 1/4 x 16 3/4 in.]]></dcterms:format>
    <dcterms:medium><![CDATA[Watercolor with gilding]]></dcterms:medium>
    <dcterms:identifier><![CDATA[L2017.014.001]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Kangra]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/8994">
    <dcterms:title><![CDATA[Sandy Koufax - 1965 World Series, Minnesota, 10/14/65]]></dcterms:title>
    <dcterms:description><![CDATA[There are only so many angles that a photographer can capture from the press box. Iooss created this non-sequential series of images to represent what he calls Koufax’s “perfect motion.” The central image is also featured in this exhibition.]]></dcterms:description>
    <dcterms:creator><![CDATA[Walter Iooss, American born 1943]]></dcterms:creator>
    <dcterms:date><![CDATA[1965, printed 1990]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Walter Iooss]]></dcterms:contributor>
    <dcterms:rights><![CDATA[© Walter Iooss]]></dcterms:rights>
    <dcterms:format><![CDATA[Contact print]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2017.016.001]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/8995">
    <dcterms:title><![CDATA[Stickball, Cuba, 1999]]></dcterms:title>
    <dcterms:description><![CDATA[“The best light in Cuba is reflected off these faded pastel toned walls. It might be amber, it might be pink. Even with black-and white film, it’s perfect. The light looks like somebody set it up in a studio.”<br />
Iooss loves photographing kids playing sports, you can hear it in his words: “The beauty of the game is seen when you’re a child—when the ball is thrown to you, nothing else exists in the world.”]]></dcterms:description>
    <dcterms:creator><![CDATA[Walter Iooss, American born 1943]]></dcterms:creator>
    <dcterms:date><![CDATA[1999]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Walter Iooss]]></dcterms:contributor>
    <dcterms:rights><![CDATA[© Walter Iooss]]></dcterms:rights>
    <dcterms:format><![CDATA[Photograph]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2017.016.002]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/8996">
    <dcterms:title><![CDATA[Hank Aaron, pre-game in Montreal, 1969]]></dcterms:title>
    <dcterms:description><![CDATA[While in pursuit of the home run record held by Babe Ruth (714), Aaron received thousands of letters daily. Some were congratulatory, but many were angry that an African American was poised to eclipse Ruth and Break baseball’s most hallowed record.<br />
Iooss was assigned to follow Hank Aaron for a portion of the 1969 season. Usually serious of expression during this intense period of his career, Aaron burst into a genuine, hearty laugh as the legendary Satchel Paige entered the locker room. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Walter Iooss, American born 1943]]></dcterms:creator>
    <dcterms:date><![CDATA[1969, printed 1980]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Walter Iooss]]></dcterms:contributor>
    <dcterms:rights><![CDATA[© Walter Iooss]]></dcterms:rights>
    <dcterms:format><![CDATA[Photograph]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2017.016.003]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/8997">
    <dcterms:title><![CDATA[Cal Ripken, Jr. Signing Autographs, Baltimore, 1995 ]]></dcterms:title>
    <dcterms:description><![CDATA[Iooss took this pre-game photograph of Cal Ripken Jr. on the day that he broke the record for consecutive games played. Lou Gehrig previously held this record with 2,130 consecutive games. Ripken’s streak would finally end in 1998 at 2,632, a record that still holds. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Walter Iooss, American born 1943]]></dcterms:creator>
    <dcterms:date><![CDATA[1995]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Walter Iooss]]></dcterms:contributor>
    <dcterms:rights><![CDATA[© Walter Iooss]]></dcterms:rights>
    <dcterms:format><![CDATA[Photograph]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2017.016.004]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/8998">
    <dcterms:title><![CDATA[&quot;Sudden&quot; Sam McDowell during Yankees Spring Training, Bradenton, Florida, 3/6/1974 (McKecknie Field)]]></dcterms:title>
    <dcterms:description><![CDATA[The press ate lunch in the long, white building in the  background. Iooss came outside and got this shot while most of the journalists and photographers were still chatting inside.]]></dcterms:description>
    <dcterms:creator><![CDATA[Walter Iooss, American born 1943]]></dcterms:creator>
    <dcterms:date><![CDATA[1974]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Walter Iooss]]></dcterms:contributor>
    <dcterms:rights><![CDATA[© Walter Iooss]]></dcterms:rights>
    <dcterms:format><![CDATA[Gelatin silver print]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2017.016.005]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/9002">
    <dcterms:title><![CDATA[Ravana Fights Back]]></dcterms:title>
    <dcterms:description><![CDATA[Besieged in Lanka and on the verge of defeat, Ravana enlists the help of two demon allies, his brother, Kumbhakarna, and the illusionist Kalanemi.<br />
The upper scene depicts Ravana with nine human heads and a tenth donkey head promising the demon Kalanemi half his kingdom if he can defeat Hanuman. The lower scene depicts Ravana supervising his demon soldiers as they sound horns and drums to awaken his indolent giant brother Kumbhakarna from his usual six-month slumber. Both demons are reluctant to fight and are ultimately killed by Rama’s allies.<br />
This painting illustrates Ravana’s desperate attempt to coerce mercenaries, who contrast with the willing heroes fighting with Rama. While Rama is the ideal king, certain of his victory, Ravana stubbornly enlists allies into a war he is doomed to lose.<br />
The ornate border, adorned with flowers and animals, suggests that the painting was created in a workshop in Jaipur. A black Sanskrit inscription below the border corrects the gold label in the top left that misidentifies Kalenemi. This correction may indicate the artist’s unfamiliarity with the Kalanemi narrative, which only occurs in some tellings of the Ramayana.]]></dcterms:description>
    <dcterms:source><![CDATA[Courtesy of Harshna and Pyush Patel]]></dcterms:source>
    <dcterms:date><![CDATA[ca. 1840]]></dcterms:date>
    <dcterms:format><![CDATA[Opaque pigments on paper<br />
Image: 8 1/16 x 5 7/8 in.<br />
Sheet: 12 x 8 7/16 in.]]></dcterms:format>
    <dcterms:medium><![CDATA[Ink, polychrome pigments, and gold on paper]]></dcterms:medium>
    <dcterms:identifier><![CDATA[L2017.019.001]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[India, Jaipur]]></dcterms:coverage>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/9340">
    <dcterms:title><![CDATA[Ultimate Cock Fight]]></dcterms:title>
    <dcterms:creator><![CDATA[Thomas Hück (American, born 1971)]]></dcterms:creator>
    <dcterms:date><![CDATA[2001-2005]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Jeff Hartz Gallery]]></dcterms:contributor>
    <dcterms:rights><![CDATA[This image is provided by the Michael C. Carlos Museum of Emory University and may contain artworks © Tom Hück. 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&#039;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.]]></dcterms:rights>
    <dcterms:format><![CDATA[Woodcut<br />
50 in High x 32 in]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2018.020.005]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/9341">
    <dcterms:title><![CDATA[The Jolly Guano Brothers Ride Again]]></dcterms:title>
    <dcterms:creator><![CDATA[Thomas Hück (American, born 1971)]]></dcterms:creator>
    <dcterms:date><![CDATA[2001-2005]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by Jeff Hartz Gallery]]></dcterms:contributor>
    <dcterms:rights><![CDATA[This image is provided by the Michael C. Carlos Museum of Emory University and may contain artworks © Tom Hück. 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&#039;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.]]></dcterms:rights>
    <dcterms:format><![CDATA[Woodcut<br />
50 in High x 32 in]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2018.020.006]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://digitalprojects.carlos.emory.edu/items/show/9342">
    <dcterms:title><![CDATA[The Martyrdom of St. Catherine]]></dcterms:title>
    <dcterms:creator><![CDATA[Albrecht Dürer (German, 1471-1528)]]></dcterms:creator>
    <dcterms:date><![CDATA[1498]]></dcterms:date>
    <dcterms:contributor><![CDATA[Lent by the Pitts Theology Library, Candler School of Theology]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Image courtesy of the Pitts Theology Library, Candler School of Theology, Emory Universtiy]]></dcterms:rights>
    <dcterms:format><![CDATA[Woodcut<br />
]]></dcterms:format>
    <dcterms:identifier><![CDATA[L2018.021.001]]></dcterms:identifier>
</rdf:Description></rdf:RDF>
