2 10 420 https://digitalprojects.carlos.emory.edu/files/original/fe0ef3b89b22e6efcfe10329e39301de.tif a91184f1b033faff0c0983b5f7d8e88a 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 West Africa, 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 are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute 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. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. 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 do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. 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. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their 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) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 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 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/d151fbbd9a13a8c4a7657067581b6399.tif 3e9701f23a9e58f9f3594791870973eb 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 West Africa, 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 are power objects (bo) that represent deceased human beings (chio). A bocio is not a spirit, but a kind of decoy meant to trick death by acting as a substitute 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. The core of this bocio is a standing female figure carved in wood, but several other objects have been affixed to it. Bottles are fastened to the front and the back of the figure, a metal disk is nailed into the head, and skulls of a reptile, a bird, and a small mammal are bound to it. The bottles are plugged and may have once contained potent substances prescribed by a diviner. 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 do the addition of these materials make the object more powerful, but this augmentation continually transforms the bocio's appearance as a work of art. 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. The dispersion of these peoples during the slave trade created a creolized version of bo in Haiti and later among Haitian ex-slaves in the United States. Their 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) sorcerer who, along with the hungan, were responsible for their manufacture and for activating them ritually. Format The file format, physical medium, or dimensions of the resource Wood, glass, bone, iron, fiber 22 5/8 x 6 5/16 x 6 3/8 in. (57.5 x 16 x 16.2 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.102 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Art of Collecting: Recent Acquisitions at the Michael C. Carlos Museum, Michael C. Carlos Museum, November 8, 1997 - January 4, 1998| Divine Intervention: African Art and Religion, Michael C. Carlos Museum, February 5 - December 4, 2011 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 17388 Subject The topic of the resource Effigy, fetish, mixed media, sculpture Title A name given to the resource Power Figure, Bocio Type The nature or genre of the resource No 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 https://digitalprojects.carlos.emory.edu/files/original/7fd01b4dbcd238b246d1c0080100d101.tif 6e7d03ae1a214c631a489d95c4a85980 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 https://digitalprojects.carlos.emory.edu/files/original/89916f34377c59ace1ee01102a191dec.tif e68dc7ec84f9316cb3936d7ae76fab68 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 Central Africa, Democratic Republic of the Congo Kuba Date A point or period of time associated with an event in the lifecycle of the resource 20th Century Description An account of the resource This embroidered cloth is sometimes called "Kasai velvet" after the region of the Democratic Republic of Congo from which they originate and the cut-pile technique of their manufacture. The underlying raffia structure is woven by men on upright looms while women embroider and cut the intricate geometric designs of intermeshing chevrons, squares, and crosses. Each pattern is separately named, and many are said to have originated with Woot, the mythic founder-hero of the Kuba state or with his mother who is said to have invented mat-weaving. The most distinctive feature of Kuba textile design is the staggering and suspension of the pattern. This characteristic discontinuity makes them quite different from European textiles which usually exhibit either an overall symmetry or continuous repeats of design elements. Instead the offbeat repetitions found in Kuba designs have been likened by scholars to the improvisation and breaks found in jazz music. At the same time the overall effect is one of an orderly decorated surface. Format The file format, physical medium, or dimensions of the resource Raffia, pigment 24 3/16 x 21 7/8 in. (61.4 x 55.5 cm) Identifier An unambiguous reference to the resource within a given context 1994.004.520 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource The Social Life of Kuba Cloth, Michael C. Carlos Museum, June 27, 1998 - February 21, 1999 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 36449 Subject The topic of the resource Textile, cloth, fiber Title A name given to the resource Textile Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/7e019d0a6d6aa7af41a6223fe68cd4e2.jpg 6ec914c8102ff1043982de041a7e0cbf 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 35 1/2 in High x 48 in x 13 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 Vishnu reclining on the Cosmic Ocean Date A point or period of time associated with an event in the lifecycle of the resource 11th 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 Northern India Format The file format, physical medium, or dimensions of the resource Sandstone Identifier An unambiguous reference to the resource within a given context 2001.1.14 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, 2004. 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/82f144fb7c76917e10ef73b252763537.jpg 6cf807f87fb8615cabd033c472dbcb2e 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 37 1/2 in High x 24 in x 10 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 Eighteen-armed Vishnu Date A point or period of time associated with an event in the lifecycle of the resource 11th 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 Northern India Format The file format, physical medium, or dimensions of the resource Sandstone Identifier An unambiguous reference to the resource within a given context 2001.1.4 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/9c71f8a0ae73246110f8e0a17fd9cf57.jpg 28a1a3418b3dc506bb8c7a5f63d7569d 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 24 in High x 15 in 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 Earth-touching Buddha Date A point or period of time associated with an event in the lifecycle of the resource Pala Kingdom, ca. 10th 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 Format The file format, physical medium, or dimensions of the resource Black stone Identifier An unambiguous reference to the resource within a given context 2001.1.7 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, 2004 https://digitalprojects.carlos.emory.edu/files/original/918bdff774ea8db1e3bd7d04581e1f99.tif af1141b9669acc94ac846d4749c159c2 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 Center Oil Corporation Creator An entity primarily responsible for making the resource Thomas Huck, American, 1971- Date A point or period of time associated with an event in the lifecycle of the resource 1995-1998 Description An account of the resource AP Suite 19/20 2 WIA T. Huck 2000 Format The file format, physical medium, or dimensions of the resource Woodcut, folio cover Sheet: 34 x 30 in. (86.4 x 76.2 cm) Image: 17 3/4 x 15 in. (45.1 x 38.1 cm) Identifier An unambiguous reference to the resource within a given context 2002.039.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Newsletter, March - May 2003. Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2018. 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 74430 Title A name given to the resource 2 Weeks in August: 14 Rural Absurdities Type The nature or genre of the resource No