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                <text>Gift of Jayantilal K. and Geeta J. Patel &amp; Family to further the study of Hinduism</text>
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                <text>Having penetrated the citadel of Lanka, Hanuman finds Sita imprisoned in a grove of ashoka trees (upper left). Sita, diminutive and vulnerable in her translucent sari, her eyes cast downward in piety and terror, refuses to be taken away by Hanuman, as she will allow no man but her husband to touch her. Rama himself must wage war on the kingdom of Lanka to ensure her safe return. As Hanuman departs from his meeting with Sita, Ravana dispatches general after general to defeat the monkey. Hanuman crushes each in turn, leaving them maimed and bleeding in the grove, one shown having lost his arm. While other paintings portray demons as fierce, animal-like creatures, here the demons appear as Rajput noblemen, wearing turbans and regal clothes, signaling their high status in a wealthy kingdom and the potential for appearances to deceive.</text>
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                <text>© Michael C. Carlos Museum, Emory University.  Photo by Bruce M. White, 2015.</text>
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                <text>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.</text>
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                <text>Hanuman Fights for Sita</text>
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                <text>Gift of Jayantilal K. and Geeta J. Patel &amp; Family to further the study of Hinduism</text>
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                <text>India, Malwa</text>
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                <text>Rama and his companions have now joined forces with the forest monkeys to retrieve Sita. Sugriva, king of the monkeys, sends Hanuman (center), his nephew Angada (right), and the king of the bears, Jambavan (left), south in search of Sita. After they realize Sita is being held captive on the island of Lanka, Jambavan convinces Hanuman to use his superhuman powers to leap across the ocean to find her. Here, Hanuman wears both the prayer beads and white markings of an ascetic and the garb of a wealthy royal, marking his status as Rama’s devotee and equal. He wields his signature weapon, a mace, as he leaps from Mount Mahendra across the ocean toward Ravana’s fort, ornately painted with vases on display in niches. Ravana may be morally bankrupt, but his demon kingdom flourishes. The depiction of Jambavan as a bear—here depicted with a very humanlike beard—highlights an interesting evolution in this character. In Valmiki’s Ramayana, Jambavan is king of the apes, but later tellings understand him to be king of the bears, diversifying Rama’s allies.</text>
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Image (visible): 7 3/4 x 11 in. (19.7 x 27.9 cm)</text>
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                <text>2015.016.001</text>
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                <text>Michael C. Carlos Museum, Emory University</text>
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            <name>Rights</name>
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                <text>© Michael C. Carlos Museum, Emory University.  Photo by Bruce M. White, 2015.</text>
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                <text>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.</text>
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                <text>59190</text>
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                <text>Hanuman Leaps to Lanka</text>
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                <text>No</text>
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              <name>Creator</name>
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                  <text>Michael C. Carlos Museum, Emory University</text>
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              <name>Title</name>
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                  <text>'And Something Magical Happened': Baseball Photographs by Walter Iooss</text>
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                  <text>Photos supporting the 'And Something Magical' virtual exhibition</text>
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          <name>Original Format</name>
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              <text>Archival pigment print</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>20in x 24in</text>
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            <name>Creator</name>
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                <text>Walter Iooss, American born 1943</text>
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            <name>Title</name>
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                <text>Havana, Cuba, March 1998</text>
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            <name>Format</name>
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                <text>Archival pigment print</text>
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            <name>Identifier</name>
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                <text>2016.037.004</text>
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            <name>Contributor</name>
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                <text>Gift of Kurt Olender</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>“There's a famous picture taken in the 1950s of Willie Mays playing stickball in Harlem. I played a lot of stickball growing up and always loved it. I wanted to replicate the Mays photo in Cuba because baseball is the national sport there. It's everywhere. Cuban children play ball in the streets like kids in U.S. cities used to do. It was my last Saturday on this trip and I was slowly weaving through the streets of old Havana, looking for kids playing ball, when I came upon this corner, La Esquina. If you study the picture, you see that every eye, not just the kids' but even the dog's, is on that taped ball. It's the decisive moment, and there's no way to anticipate when you're going to get it.” –wi</text>
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                  <text>Georges Ricard Foundation Senusret Collection</text>
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                  <text>Objects of ancient Egyptian, Near-Eastern, Greek, Etruscan, and Roman art acquired in 2018 by the Michael C. Carlos Museum from the Georges Ricard Foundation</text>
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              <name>Identifier</name>
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                  <text>2018.010</text>
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              <name>Contributor</name>
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                  <text>Georges Ricard Foundation&#13;
California Institute of World Archaeology (CIWA)&#13;
Michael C. Carlos Museum&#13;
Emory University</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>This image is provided by the Michael C. Carlos Museum of Emory University, courtesy of the Georges Ricard Foundation and the California Institute of World Archaeology. 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.</text>
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                <text>Head of Amun-Re with Feather Crown</text>
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                <text>Third Intermediate Period, 1076-723 BC</text>
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                <text>Egypt</text>
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                <text>Schist, stone, gold&#13;
26.7 cm High x 9 cm x 7.6 cm</text>
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                <text>This head depicts the god Amun-Re, wearing the deity’s distinctive crown topped by two tall feathers. A round sun disk rests between the feathers on the modius of the crown. The eyes of the statue are inlaid with white and black stone, which becomes popular in Third Intermediate Period hard stone statuary. Traces of gold remain, which indicates the statue may once been gilded.&#13;
&#13;
The head was once part of a larger unfinished statue of the god with a tall back pillar. The statue remains unfinished as indicated by the original chisel marks on the neck, remaining shoulders, high back pillar and side of the statue. This head of Amun-Re was the first object purchased by Georges Ricard for the Senusret Collection. &#13;
&#13;
The sculpture was purchased by Georges Ricard for the Senusret Collection on 4 March 1972 in Marseille, France at the Ventes aux enchères Hotel du Prado: Collection d’un Amateur, lot number 49.&#13;
&#13;
[See additional images below]</text>
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                <text>Gift of the Georges Ricard Foundation</text>
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                <text>&lt;h5&gt;&lt;em&gt;&lt;span style="text-decoration:underline;"&gt;&lt;a href="https://digitalprojects.carlos.emory.edu/senusretrights"&gt;Senusret Collection: Usage and Reproduction Rights&lt;/a&gt;&lt;/span&gt;&lt;/em&gt;&lt;/h5&gt;</text>
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                <text>Parallels and References:&#13;
From the 18th Dynasty: New York, Metropolitan Museum of Art, 07.228.35</text>
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                <text>The sculpture was purchased by Georges Ricard for the Senusret Collection on 4 March 1972 at the Ventes aux enchères Hotel du Prado: Collection d’un Amateur, lot number 49. </text>
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