17 10 420 https://digitalprojects.carlos.emory.edu/files/original/af6d3e00ffac362049eee6b93d680e1d.jpg 3642d8f56736e043612a9fc32a479bd8 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/dde6aa126354b66e8ac86a87c898cb51.jpg 70c8226b27f16b6b3505f757a141b966 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/b899d05d1d14328b8e69308eab49ec05.jpg 66e952162676dd70978237cdf9ff9ba8 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/8acafc75c7076b7436feff996a5baf38.jpg 316acff6e2c8ab292d53d2c4abbf80d5 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/e236695160c21b2f19de50c191456892.jpg d76821284ae0a9c21fa9fdfef86575d1 https://digitalprojects.carlos.emory.edu/files/original/712f383e0a87a49a23adf2db217d8674.jpg 60bd89608dbfdd0424cddae2a62f7d80 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 18 14 in High x 7 3/4 in x 6 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 Krishna as a child, dancing Date A point or period of time associated with an event in the lifecycle of the resource late 11th - late 13th Century Format The file format, physical medium, or dimensions of the resource Bronze Identifier An unambiguous reference to the resource within a given context 2001.1.3 Contributor An entity responsible for making contributions to the resource The Ester R. Portnow Collection of Asian Art, a gift of the Nathan Rubin-Ida Ladd Family Foundation. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2007. https://digitalprojects.carlos.emory.edu/files/original/6540647749d72fb71a00d0b94d399e53.jpg 7fe59139f7436ac251f71b708a8b732b 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 9 in High x 6 1/2 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 Lakshmana and Hanuman's devotion to Rama Date A point or period of time associated with an event in the lifecycle of the resource late 18th - early 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 2012.14.1 Contributor An entity responsible for making contributions to the resource Gift of Jayantilal K. and Geeta J. Patel and family to further the study of Hinduism Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2012 https://digitalprojects.carlos.emory.edu/files/original/38bf9d83e5418ebe855fe4385fd7a2c1.jpg 3ec826bfd730fdde43f8957448df1e13 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 9 1/2 in High x 7 1/16 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 Parashurama battles the thousand-armed king Date A point or period of time associated with an event in the lifecycle of the resource Late 18th 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, Bengal Format The file format, physical medium, or dimensions of the resource Opaque watercolor with gold Identifier An unambiguous reference to the resource within a given context L2018.19.1 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/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/3d09e9625b3da0462511df6fd1afe488.jpg 14ab85d35851fb5e4891163e4f2d87c3 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Wood, palm oil, pigment 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 Byeri Guardian Figure Date A point or period of time associated with an event in the lifecycle of the resource late 19th - early 20th 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 Gabon Format The file format, physical medium, or dimensions of the resource Wood, palm oil, pigment Identifier An unambiguous reference to the resource within a given context L2010.4.1 Description An account of the resource Byeri reliquary figures are guardian figures that stand atop cylindrical bark boxes (nsuk byeri) filled with powerful medicine and the skulls of ancestors. Thus, they are not powerful in and of themselves, but indicate that something powerful lay beneath. The figures, however, were of great interest to western collectors and readily sold by the Fang, who considered the relics to be the most important part. This, in addition to colonial laws imposed during the twentieth century that outlawed byeri practices, meant that byeri tradition was virtually extinct by the middle of the century. Byeri figures are known for their animated quality. They are not naturalistic, but they are dynamic; the face is often carved with a relaxed expression, while the arms and legs are active and engaged, bent as though the figure is about to leap into action. The figure is further animated by the reflective surface that vibrantly responds to light. The goal of the Byeri cult was to connect living and deceased so the Fang kept the guardian figures and relics happy and nourished with the application of camwood oil, giving the figure a reddish sheen. Source A related resource from which the described resource is derived Lent by Lewis M. Dubroff 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