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.
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.]]> Image: 10 3/4 x 14 1/8 in.
Sheet: 13 1/4 x 16 3/4 in.]]>
Reading the painting from left to right, Ravana carries Sita away from her opulent hermitage in the highly stylized forest while Rama chastises to Lakshmana over the corpses of Maricha and the golden deer.

The juxtaposition of these two scenes in painting is unusual, and the focus on Lakshmana suggests that a failure of fraternal duty leads to Sita’s abduction as much as the villainy of Ravana. By ignoring his elder brother’s command, Lakshmana ignores his duty. All around, flowers blossom in vibrant colors, contrasting the perfection of nature with the failings of Lakshmana.
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This striking crest mask cannot be traced to a particular ethnic or cultural group. It displays elements reminiscent of Igbo, Idoma, Boki and Ejagham carving styles. The mask is therefore typical for the Cross River region where artists, art objects, and styles are highly mobile.]]> MCCM Permanent Collection Gallery, August 6, 2016 - Present]]> Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 103.]]>
This striking crest mask cannot be traced to a particular ethnic or cultural group. It displays elements reminiscent of Igbo, Idoma, Boki and Ejagham carving styles. The mask is therefore typical for the Cross River region where artists, art objects, and styles are highly mobile.]]> MCCM Permanent Collection Gallery, August 6, 2016 - Present]]> Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 103.]]> 50 in High x 32 in]]>