16 10 420 https://digitalprojects.carlos.emory.edu/files/original/199c611b3066ed563f036b19bf00be68.jpg 7ae7e7cc0fc5bce553a11ddd1bd16069 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/. Title A name given to the resource The Avatars of Vishnu Description An account of the resource Objects included in the exhibition The Avatars of Vishnu, on view April 24, 2021 - July 18, 2021 Rights Information about rights held in and over the resource Images © Michael C. Carlos Museum, Emory University. Special thanks to Jayantilal K. and Geeta J. Patel & Family, Harshna and Pyush Patel, the Nathan Rubin Ida Ladd Foundation, and William Torres for helping the museum enhance its collection of South Asian art through gifts and loans. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 8 3/8 in High x 5 11/16 in 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/. Title A name given to the resource Narashima - the ferocious man-lion Date A point or period of time associated with an event in the lifecycle of the resource ca. 19th Century 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, Punjab Hills Format The file format, physical medium, or dimensions of the resource Opaque watercolor Identifier An unambiguous reference to the resource within a given context L2019.19.1 Contributor An entity responsible for making contributions to the resource Courtesy of Harshna and Pyush Patel Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University https://digitalprojects.carlos.emory.edu/files/original/b65908a2012580c4c13c36b730cdc28f.jpg c041e07d9cb42fd839da273b923fefdc https://digitalprojects.carlos.emory.edu/files/original/a3467524b0773241819d95f47abbf33d.jpg fbff473940f8599b4dc4912adddfe2b4 https://digitalprojects.carlos.emory.edu/files/original/4187f8ebf4e060b9d10d376bcabc2f22.jpg a3c677367e55293be261c19b76090563 https://digitalprojects.carlos.emory.edu/files/original/86398332f6b5929bc5c7290bb43a847c.jpg 3cc5c9a970fa7c26e4f7ca6c108470ed https://digitalprojects.carlos.emory.edu/files/original/797b13a822af55ab00e948babfa05c90.jpg 9bcdc78dd54d5da46ff30674f75e86a9 https://digitalprojects.carlos.emory.edu/files/original/fd4126a6845d31870b7f8c02c78cef4c.jpg cd9fdfcdc11afe96b1ae63529afbe5ce https://digitalprojects.carlos.emory.edu/files/original/94b368872f9592b70709d26b26553621.jpg 8742b2f973096ae2f26306873f5085ba https://digitalprojects.carlos.emory.edu/files/original/1ba5626318fe913c662f8d753fb1b8f3.jpg c041e07d9cb42fd839da273b923fefdc https://digitalprojects.carlos.emory.edu/files/original/8480ffc6e3871f9a88ae524e163b1e7e.jpg fa2d3cc3994de2b40ba2325f7eaeab82 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/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource 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 Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource 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. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Coffin Assemblage of Taosiris (Includes Coffin, Mummy, Cartonnage Mask, and Trappings) Date A point or period of time associated with an event in the lifecycle of the resource Early Ptolemaic Period, 332-275 BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Egypt, Akhmim Format The file format, physical medium, or dimensions of the resource Wood, pigment, gold, cartonnage, human remains 30.5 cm x 183.5cm x 52 cm (coffin lid) 11.5 cm x 183.5cm x 52 cm (coffin base) 34 cm x 20 cm x 22 cm (mummy mask) 35.5 cm x 27 cm (pectoral trapping) 34 cm x 26.7 cm (abdominal trapping) 7.4 cm x 9.5 cm (lower leg trapping) 13 cm x 18 cm x 17 cm (foot cover) Identifier An unambiguous reference to the resource within a given context 2018.010.181 (mummy mask), 2018.010.250 (lower-leg trapping), 2018.010.253 (abdominal trapping), 2018.010.517 (foot cover), 2018.010.641 (pectoral trapping), 2018.010.824A (coffin lid), 2018.010.824B (coffin base), 2018.010.826 (mummy) Description An account of the resource This coffin assemblage belongs to Taosiris who was a priestess of Osiris in Akhmim (ancient Egyptian name Ipu). She was the daughter of Nesmin and his wife Taamun. The assemblage consists of a coffin lid and base, cartonnage mummy trappings, and a wrapped mummy. The coffin group dates stylistically to the early Ptolemaic Period. 
Taosiris’ coffin lid is decorated with a number of religious images. She wears a tripartite blue wig with rows of red, yellow, blue and green between. Below is a pectoral of disks, petals and lotus flowers ending with a row of drop beads and falcon-headed terminal fasteners. Also, around her neck, lying on top of the pectoral is a necklace with the gods Osiris, Ma’at and another god within a shrine. Below this, the kneeling figure of a winged goddess wearing a sun disk stretches out her arms, protecting the mummy. In her hands, she holds two Ma’at feathers, symbolizing truth. Above the goddess, two flanking udjat eyes, and below two sphinxes and a kneeling woman on one side before Qebhsenuef and on the other, Imsety, all facing outwards. The next scene, a djed-pillar with the crown of Osiris is flanked by two cobras wearing the atef-crowns. To either side are four sets of deities. Below these images are seven columns of offering text, framed by five vignettes to either side with three kneeling figures each. At the foot of the coffin are two images of jackal-god Anubis on his shrine, upside down, so Taosiris could view him. On the bottom of the coffin foot is a representation of the Apis bull carrying the mummy of the deceased. Above the join between the bottom of the coffin and the coffin lid are thirty-nine protective kneeling figures holding knives. The coffin interior is decorated with a full-length red outline of a goddess wearing a tripartite wig. 

 The face of the cartonnage mummy mask is gilded and framed by a tripartite blue wig, diadem, and broad collar. At the top of her head, the winged scarab beetle Khepri pushes a gilded sun disk. The mummy trappings include the chest covering with rows of protective winged gods, a multicolored bead collar and a winged goddess with arms outstretched holding the feathers of truth above an alternating frieze of hieroglyphs saying “all dominion and life.” The central panel shows Isis and Nepthys mourning over the mummy on a bier under a winged disk, which is framed by the Four Sons of Horus enclosed in shrines and two mourners below. The foot cover depicts sandals with straps and a buckle, with a frieze above of alternating djed-pillars and ankh signs between two representations of Anubis on his shrine. The mummy is wrapped in its original bandages. In 1884, the coffin was given by Gaston Maspero to the French Commander Cazeneuve. In 1914, the coffin was in the collection of Gabriel Peytraud of Toulouse who wrote Charles Boreux, curator of the Department of Egyptian Antiquities at the Louvre, to ask for a translation of the coffin and the papyrus that was with it. In 1915, the coffin was acquired by the Marquis de Gestas in Tarbes. Georges Ricard acquired the coffin in May 1975. [See additional images below] Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Relation A related resource Parallels and References: Berlin, Ägyptisches Museum, no. 868. In: Kaiser, Werner (ed.) 1967. Ägyptisches Museum Berlin: östlicher Stülerbau am Schloss Charlottenburg. Staatliche Museen Preussischer Kulturbesitz. Berlin: Staatliche Museen Berlin. Memphis, Institute of Egyptian Art and Archaeology, University of Memphis, no. 1985.3.1a. Brech, Ruth 2008. Spätägyptische Särge aus Achmim: eine typologische und chronologische Studie. Aegyptiaca Hamburgensia 3. Gladbeck: PeWe-Verlag, ‘Group-E.’ Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Given by Gaston Maspero French Commander Cazeneuve in 1884. In 1914, the coffin was in the collection of Gabriel Peytraud of Toulouse who wrote Charles Boreux, then curator of Egyptian Antiquities at the Louvre, to ask for a translation of the coffin and the papyrus that was with it. In 1915, the coffin was acquired by the Marquis de Gestas in Tarbes. Georges Richard acquired the coffin in May 1975. https://digitalprojects.carlos.emory.edu/files/original/ab8b72f207dfc6b49b26d8daf04e044f.tif cfe5b33d6d87757940b836f79f72fb60 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 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, Nigeria Ibibio, Annang Date A point or period of time associated with an event in the lifecycle of the resource early-mid 20th Century Description An account of the resource This figure represents "Mami Wata," the pidgin English term for "Mother of Water," a water spirit who has enjoyed a wide following in Central Africa, West Africa, and regions of the African Diaspora. It was carved by an Ibibio artist living in Nigeria. In Ibibio thought, the otherworld exists in contrast to the world of physical reality. It is a world of the dead as well as of malevolent and benevolent spirits, including Mami Wata, whose particular domain is the watery otherworld beneath rivers and creeks. She is a charismatic spirit, a seductive temptress who bestows good fortune and material wealth on followers as long as they do not break their "contract" with her, in which case she may inflict laziness, madness, infertility, sickness, and other maladies. Representations of Mami Wata generally depict her as a woman with light skin and long dark hair, wreathed in snakes. Her luxuriant long hair refers to the dada locks worn by spiritually marked individuals, and the snakes are pythons sacred in West African belief. Mami Wata reveals herself to future devotees through recurring dreams, physical maladies, or unusual behavior. In consultation with a diviner a person many discover they are a chosen one of Mami Wata. Establishing a shrine to Mami Wata will please and honor her, thereby bringing to an end any maladies and problems previously experienced. The physical form that sculptures like this one take is derived from knowledge of her gained by both the client and the artist through their dreams of her. The altar on which this shrine figure once stood would have been densely packed with offerings like alcohol, perfume, talcum powder, plastic jewelry, and other imported luxury goods, all spiritual magnets to attract Mami Wata so that her presence and support are assured. The shrines of Mami Wata devotees reflect their very personal relationships with the spirit. Through dreams and visions, devotees journey to Mami Wata's fabulous underwater realm. These aquatic excursions are evoked in the shrine through the use of white, blue and green colors and the inclusion of boats, canoes, fish, wavy lines, and aquatic plants. It is this inward, lived experience of the dream world where devotee and deity meet that is externalized and reified in the carved art work and shrine environment. Format The file format, physical medium, or dimensions of the resource Wood, kaolin, pigment, paint 34 1/4 x 24 x 9 13/16 in. (87 x 61 x 25 cm) Identifier An unambiguous reference to the resource within a given context 1994.003.009 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Art of Nigeria from the William S. Arnett Collection, Michael C. Carlos Museum, October 15, 1994 - January 2, 1995| Mami Wata: Arts for Water Spirits in Africa and the African Atlantic World (travelling show), Fowler Museum at UCLA, March 1 - July 2008; Chazen Museum of Art, University of Wisconsin, October 18, 2008 - January 11, 2009; National Museum of African Art, Smithsonian Institution, April - July 2009| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011| MCCM Permanent Collection Gallery, March 29, 2013 - December 1, 2014 MCCM Permanent Collection Gallery, August 6, 2016 - Present Marcilene K. Wittmer and William Arnett, Three Rivers of Nigeria: Art of the Lower Niger, Cross, and Benue from the Collection of William and Robert Arnett (Atlanta: High Museum of Art, 1978), front cover, 62-63, number 144.| Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 100. Henry John Drewal, "Introduction: Sources and Currents," Mami Wata: Arts for Water Spirits in Africa and Its Diasporas, ed. Henry John Drewal (Los Angeles: Fowler Museum at UCLA, 2008).| MCCM Newsletter, September - November 2009.| Jessica Stephenson, "African Art: At the Intersection of Religion, Psychology, and Medicine," Emory in the World (Spring 2011): 39-41.| MCCM Newsletter, Spring/Summer 2011.| Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 102.| Henry J. Drewal, "Local Transformations, Global Inspirations: The Visual Histories And Cultures Of Mami Wata Arts In Africa," in A Companion to Modern African Art, ed. Gitti Salami et al. (Chichester: John Wiley & Sons, Ltd, 2013). Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2016. 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 64428 Subject The topic of the resource Carving, effigy, sculpture Title A name given to the resource Mami Wata Figure Type The nature or genre of the resource Yes https://digitalprojects.carlos.emory.edu/files/original/4a74c067d3a906f7e00ab7c6b1811138.tif 69594db32771137c0272413a75e366d1 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 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, Nigeria Ibibio, Annang Date A point or period of time associated with an event in the lifecycle of the resource early-mid 20th Century Description An account of the resource This figure represents "Mami Wata," the pidgin English term for "Mother of Water," a water spirit who has enjoyed a wide following in Central Africa, West Africa, and regions of the African Diaspora. It was carved by an Ibibio artist living in Nigeria. In Ibibio thought, the otherworld exists in contrast to the world of physical reality. It is a world of the dead as well as of malevolent and benevolent spirits, including Mami Wata, whose particular domain is the watery otherworld beneath rivers and creeks. She is a charismatic spirit, a seductive temptress who bestows good fortune and material wealth on followers as long as they do not break their "contract" with her, in which case she may inflict laziness, madness, infertility, sickness, and other maladies. Representations of Mami Wata generally depict her as a woman with light skin and long dark hair, wreathed in snakes. Her luxuriant long hair refers to the dada locks worn by spiritually marked individuals, and the snakes are pythons sacred in West African belief. Mami Wata reveals herself to future devotees through recurring dreams, physical maladies, or unusual behavior. In consultation with a diviner a person many discover they are a chosen one of Mami Wata. Establishing a shrine to Mami Wata will please and honor her, thereby bringing to an end any maladies and problems previously experienced. The physical form that sculptures like this one take is derived from knowledge of her gained by both the client and the artist through their dreams of her. The altar on which this shrine figure once stood would have been densely packed with offerings like alcohol, perfume, talcum powder, plastic jewelry, and other imported luxury goods, all spiritual magnets to attract Mami Wata so that her presence and support are assured. The shrines of Mami Wata devotees reflect their very personal relationships with the spirit. Through dreams and visions, devotees journey to Mami Wata's fabulous underwater realm. These aquatic excursions are evoked in the shrine through the use of white, blue and green colors and the inclusion of boats, canoes, fish, wavy lines, and aquatic plants. It is this inward, lived experience of the dream world where devotee and deity meet that is externalized and reified in the carved art work and shrine environment. Format The file format, physical medium, or dimensions of the resource Wood, kaolin, pigment, paint 34 1/4 x 24 x 9 13/16 in. (87 x 61 x 25 cm) Identifier An unambiguous reference to the resource within a given context 1994.003.009 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource Art of Nigeria from the William S. Arnett Collection, Michael C. Carlos Museum, October 15, 1994 - January 2, 1995| Mami Wata: Arts for Water Spirits in Africa and the African Atlantic World (travelling show), Fowler Museum at UCLA, March 1 - July 2008; Chazen Museum of Art, University of Wisconsin, October 18, 2008 - January 11, 2009; National Museum of African Art, Smithsonian Institution, April - July 2009| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011| MCCM Permanent Collection Gallery, March 29, 2013 - December 1, 2014 MCCM Permanent Collection Gallery, August 6, 2016 - Present Marcilene K. Wittmer and William Arnett, Three Rivers of Nigeria: Art of the Lower Niger, Cross, and Benue from the Collection of William and Robert Arnett (Atlanta: High Museum of Art, 1978), front cover, 62-63, number 144.| Michael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 100. Henry John Drewal, "Introduction: Sources and Currents," Mami Wata: Arts for Water Spirits in Africa and Its Diasporas, ed. Henry John Drewal (Los Angeles: Fowler Museum at UCLA, 2008).| MCCM Newsletter, September - November 2009.| Jessica Stephenson, "African Art: At the Intersection of Religion, Psychology, and Medicine," Emory in the World (Spring 2011): 39-41.| MCCM Newsletter, Spring/Summer 2011.| Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 102.| Henry J. Drewal, "Local Transformations, Global Inspirations: The Visual Histories And Cultures Of Mami Wata Arts In Africa," in A Companion to Modern African Art, ed. Gitti Salami et al. (Chichester: John Wiley & Sons, Ltd, 2013). Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2016. 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 64428 Subject The topic of the resource Carving, effigy, sculpture Title A name given to the resource Mami Wata Figure Type The nature or genre of the resource Yes https://digitalprojects.carlos.emory.edu/files/original/7e03e7d76094ea8ed9fa57bb2581bd63.jpg 880f5eca687d323a863009141dd248c3 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/. Title A name given to the resource Georges Ricard Foundation Senusret Collection Subject The topic of the resource 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 Identifier An unambiguous reference to the resource within a given context 2018.010 Contributor An entity responsible for making contributions to the resource Georges Ricard Foundation California Institute of World Archaeology (CIWA) Michael C. Carlos Museum Emory University Rights Information about rights held in and over the resource 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. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Bowl with Ibexes Date A point or period of time associated with an event in the lifecycle of the resource Iron Age III, ca. late 8th – 7th Century BC Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Western Iran Format The file format, physical medium, or dimensions of the resource Bronze 4.5 cm High x 18 cm Identifier An unambiguous reference to the resource within a given context 2018.010.055 Description An account of the resource This bronze bowl is composed of a short flaring neck and lobed body. The inside of the bowl is decorated with two rearing ibexes in repoussé within a roundel framed by three concentric circles of varying width. The musculature of the ibexes and their horns are beautifully detailed. Several bowls of this type were excavated at War Kabud and Chamzhi-Mumah in Luristan, and date to the late eighth – early 7th century BC. The bowl was purchased by Georges Ricard for the Senusret Collection on 7 July 1973 in Marseille, France at the Hotel des ventes du Prado: Vente aux enchères publiques, archeologie, objets de fouilles, monnaies anciennes, lot number 71. Contributor An entity responsible for making contributions to the resource Gift of the Georges Ricard Foundation Relation A related resource Parallels and References: New York, Metropolitan Museum of Art, 32.1611 Muscarella, Oscar W. 1988. Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, p. 206, no. 316. Calmeyer, Peter. 1964. Altiranische Bronzen der Sammlung Bröckelschen. Berlin: Staatlichen Museen, p. 43, Taf. 57, no. 110. Rights Information about rights held in and over the resource <h5><em><span style="text-decoration:underline;"><a href="https://digitalprojects.carlos.emory.edu/senusretrights">Senusret Collection: Usage and Reproduction Rights</a></span></em></h5> Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The bowl was acquired at the Hotel des ventes du Prado: Vente aux enchères publiques, archeologie, objets de fouilles, monnaies anciennes on July 7, 1973, lot number 71. https://digitalprojects.carlos.emory.edu/files/original/c931a451ebc7b170ff146323661012dd.jpg 83222eb1646c15690181f61411278bda 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Tell the Whole Story from Beginning to End: Loan Objects Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Views of the gallery Description An account of the resource Gallery installation photographs from 'Tell the Whole Story from Beginning to End': The Ramayana in Indian Painting Rights Information about rights held in and over the resource Photo © Michael C. Carlos Museum, Emory University Date A point or period of time associated with an event in the lifecycle of the resource January 13, 2018 - May 20, 2018 https://digitalprojects.carlos.emory.edu/files/original/3a0d07740a7078565235a1ef7958dbf6.jpg f11a90ef8ee57e8e53db9c394249c525 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Tell the Whole Story from Beginning to End: Loan Objects Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Views of the gallery Date A point or period of time associated with an event in the lifecycle of the resource January 13, 2018 - May 20, 2018 Description An account of the resource Gallery installation photographs from 'Tell the Whole Story from Beginning to End': The Ramayana in Indian Painting Rights Information about rights held in and over the resource Photo © Michael C. Carlos Museum, Emory University https://digitalprojects.carlos.emory.edu/files/original/231784975685db5ab2cba884cbe40d16.jpg 041c6bd6f4b0f7e320d68b2b4b078c06 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Tell the Whole Story from Beginning to End: Loan Objects Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Views of the gallery Date A point or period of time associated with an event in the lifecycle of the resource January 13, 2018 - May 20, 2018 Description An account of the resource Gallery installation photographs from 'Tell the Whole Story from Beginning to End': The Ramayana in Indian Painting Rights Information about rights held in and over the resource Photo © Michael C. Carlos Museum, Emory Univeristy https://digitalprojects.carlos.emory.edu/files/original/b78e59bdab42ca2578b2ddc43bedc2cf.jpg 09d3d08ffa041355514c336381738418 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Tell the Whole Story from Beginning to End: Loan Objects Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Views of the gallery Date A point or period of time associated with an event in the lifecycle of the resource January 13, 2018 - May 20, 2018 Description An account of the resource Gallery installation photographs from 'Tell the Whole Story from Beginning to End': The Ramayana in Indian Painting Rights Information about rights held in and over the resource Photo © Michael C. Carlos Museum, Emory University https://digitalprojects.carlos.emory.edu/files/original/d5ed2906b3391feb07bc511779a31e82.jpg 7cc24e72b4182650c032a5689600206a 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/. Creator An entity primarily responsible for making the resource Michael C. Carlos Museum, Emory University Title A name given to the resource Tell the Whole Story from Beginning to End: Loan Objects Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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/. Title A name given to the resource Views of the gallery Date A point or period of time associated with an event in the lifecycle of the resource January 13, 2018 - May 20, 2018 Description An account of the resource Gallery installation photographs from 'Tell the Whole Story from Beginning to End': The Ramayana in Indian Painting Rights Information about rights held in and over the resource Photo © Michael C. Carlos Museum, Emory University