42 10 420 https://digitalprojects.carlos.emory.edu/files/original/431025c49ba08f7c17a1735e029fd61e.tif 8a3b99ef0df526ed55988071460b1c17 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 E. Torres 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, Mewar Date A point or period of time associated with an event in the lifecycle of the resource ca. 1710 Description An account of the resource It could be said that the Ramayana begins with a failure: Rama should be king, but his rightful claim to the throne is denied. Here king Dasharatha, having joyously resolved on the succession of his eldest son Rama, has sent the charioteer Sumantra to summon him. As is typical of Mewari style, the painting tells a sequential narrative, with individual scenes separated by architectural motifs and blocks of color. It centers on Rama’s brief chariot journey, across a sparse, stylized field, from his private but majestic home (right) to Dasharatha’s palace (left), its lofty height indicated by a short set of stairs. In the assembly, Rama, seated reverently below three brahmin advisors and the enthroned king himself, learns of his imminent coronation. The coronation, however, will soon be interrupted by the plotting of Kaikeyi, one of Dasharatha’s three wives. Invoking two royal boons promised to her years earlier, she demands that the king banish Rama to a life of asceticism in the forest, and consecrate her son, Bharata, in his place. Bound by oath, Dasharatha complies, before dying of grief over this perversion of natural succession. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and gold on paper Image: 10 1/2 x 16 1/2 in. (26.7 x 41.9 cm) Identifier An unambiguous reference to the resource within a given context 2013.012.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59185 Title A name given to the resource Rama Shall be King? Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/3b9bd4d10d50dc1845edf7be09783d2d.tif 0d2e7d7a86419fac9c7d76b7725dad20 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 Museum purchase 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, Kishangarh Indian Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource Ravana’s sister Shurpanakha fell deeply in love with Rama when she encountered him in the forest. Rama, faithful to his wife, Sita, rejected the demoness’s advances and incited Lakshmana to punish her by cutting off her ears and nose. This manuscript illustrates the aftermath of these events. In the upper left, a wounded Shurpanakha, seeking revenge, enlists the help of her brother Khara, flanked by two demons, who leads an army to kill the heroes (center). Below, after Rama directs his brother and wife to seek refuge, Rama valiantly prepares for battle. This manuscript shows Shurpanakha as a fair-faced, beautiful maiden wearing a sari identical to Sita’s. This depiction contrasts with Valmiki’s portrayal of her as a hideous-looking demoness and humanizes Shurpanakha, especially in comparison to her animal-faced demon brothers Format The file format, physical medium, or dimensions of the resource Opaque watercolor and ink on paper Image: 16 1/8 x 11 1/8 in. (41 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2013.011.002 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59178 Title A name given to the resource The Mutilation of Shurpanakha Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/e4902193894a058496c2888f12265364.tif 6d1d2fa8b4e84c418f81fa0e89c9fceb 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 Museum purchase 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, Kishangarh Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource Here, Rama is shown slaughtering Khara’s demon army and then resting after battle with Lakshmana and Sita, who massages his feet. Depictions of Rama on both sides of this manuscript page emphasize his nobility, grace, and might, illus-trating the hero as an archetypal warrior and nobleman. On this side, Rama’s strength is evident as he massacres an entire army, without incurring so much as a scratch. Below, he wears the princely attire of a Rajput nobleman, rather than the garb of a forest-dwelling ascetic, emphasizing his nobility. On the other side, Rama is depicted bow in hand, a proficient and elegant warrior. He smiles fearlessly as a demon army approaches, demonstrating the kingly virtue of bravery. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and ink on paper Image: 16 1/8 x 11 1/8 in. (41 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2013.011.002 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59178 Title A name given to the resource Rama Battles the Demon Army Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/3ce51ce7b5f01b27148eadbb9d4f97e9.tif 8e46f64d003c8445469ae969078d49d9 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 Museum purchase 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 Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource This folio tells the story from the Adi Parva, the first book of the Mahabharata, of the eagle Garuda, who became the vahana (animal mount) for the god Vishnu. Garuda's mother Vinata and her co-wife Kadru had engaged in a wager that Vinata lost, which resulted in her life-long servitude to Kadru's serpent sons. The serpents told Garuda that he and his mother would be released from servitude only if he would bring to them the amrita (the nectar of immortality) that lay in the hands of the gods. Knowing he would have to fight the gods to procure the amrita, Garuda asked his father Kashyapa for some food to strengthen him. His father directed him towards a tortoise and elephant that were fighting at a nearby lake; they were, he explained, two fighting brothers who had been sages. In their anger, one sage had cursed the other to become an elephant and the other cursed his brother to become a tortoise. Eating these, Kashyapa assured his son, would give him the strength he required to obtain the amrita. Garuda grabbed the elephant in one claw and the tortoise in the other and flew with them to a magnificent tree. The tree trembled under his weight and he realized the branch upon which he was sitting was filled with Brahmans performing penance. He broke off the large limb they were inhabiting and carried it in his beak to a great mountain, where he gently put them down and proceeded to eat the elephant and tortoise. To retrieve the amrita, Garuda battled Indra and the other gods. He defeated all of them except for Vishnu, who was himself injured. Vishnu promised, then, that Garuda would become immortal and become his vahana. The folio pictures Garuda picking up the elephant and tortoise, the thousand-eyed Indra, and Garuda battling the gods for the amrita. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and ink on paper Image: 16 1/8 x 11 1/8 in. (41 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2013.011.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59165 Title A name given to the resource Stealing of the Amrita: Page from a Mahabharata Manuscript Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/ae25d2bce8172d56927b4c29eb821d39.tif 5cc05b7bbe9e1a5c92fd9c83df4c2060 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 Museum purchase 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 Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource This folio tells the story from the Adi Parva, the first book of the Mahabharata, of the eagle Garuda, who became the vahana (animal mount) for the god Vishnu. Garuda's mother Vinata and her co-wife Kadru had engaged in a wager that Vinata lost, which resulted in her life-long servitude to Kadru's serpent sons. The serpents told Garuda that he and his mother would be released from servitude only if he would bring to them the amrita (the nectar of immortality) that lay in the hands of the gods. Knowing he would have to fight the gods to procure the amrita, Garuda asked his father Kashyapa for some food to strengthen him. His father directed him towards a tortoise and elephant that were fighting at a nearby lake; they were, he explained, two fighting brothers who had been sages. In their anger, one sage had cursed the other to become an elephant and the other cursed his brother to become a tortoise. Eating these, Kashyapa assured his son, would give him the strength he required to obtain the amrita. Garuda grabbed the elephant in one claw and the tortoise in the other and flew with them to a magnificent tree. The tree trembled under his weight and he realized the branch upon which he was sitting was filled with Brahmans performing penance. He broke off the large limb they were inhabiting and carried it in his beak to a great mountain, where he gently put them down and proceeded to eat the elephant and tortoise. To retrieve the amrita, Garuda battled Indra and the other gods. He defeated all of them except for Vishnu, who was himself injured. Vishnu promised, then, that Garuda would become immortal and become his vahana. The folio pictures Garuda picking up the elephant and tortoise, the thousand-eyed Indra, and Garuda battling the gods for the amrita. Format The file format, physical medium, or dimensions of the resource Opaque watercolor and ink on paper Image: 16 1/8 x 11 1/8 in. (41 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2013.011.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Relation A related resource MCCM Permanent Collection Reinstallation, April 1 - October 27, 2014 Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59165 Title A name given to the resource Stealing of the Amrita: Page from a Mahabharata Manuscript Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/11f0f6f0755c6cd2aa479cd0f3f819b5.tif 0142db4fe445ec6db619781b765889b9 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, Malwa Date A point or period of time associated with an event in the lifecycle of the resource ca. 1680s Description An account of the resource Numbered "52" on verso. Having penetrated the citadel of Lanka, Hanuman finds Sita imprisoned in a grove of ashoka trees (upper left). Sita, diminutive and vulnerable in her translucent sari, her eyes cast downward in piety and terror, refuses to be taken away by Hanuman, as she will allow no man but her husband to touch her. Rama himself must wage war on the kingdom of Lanka to ensure her safe return. As Hanuman departs from his meeting with Sita, Ravana dispatches general after general to defeat the monkey. Hanuman crushes each in turn, leaving them maimed and bleeding in the grove, one shown having lost his arm. While other paintings portray demons as fierce, animal-like creatures, here the demons appear as Rajput noblemen, wearing turbans and regal clothes, signaling their high status in a wealthy kingdom and the potential for appearances to deceive. Format The file format, physical medium, or dimensions of the resource Ink and watercolor on paper Framed: 11 1/4 x 14 1/2 in. (28.6 x 36.8 cm) Image (visible): 7 3/4 x 11 1/8 in. (19.7 x 28.3 cm) Identifier An unambiguous reference to the resource within a given context 2015.016.002 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59196 Title A name given to the resource Hanuman Fights for Sita Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/1ca71f68c839ea79d45c5ef15bcad013.tif 95904d7ade7c02cabf7313e9b3cb2410 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, Malwa Date A point or period of time associated with an event in the lifecycle of the resource ca. 1680s Description An account of the resource Numbered "48" on verso. Rama and his companions have now joined forces with the forest monkeys to retrieve Sita. Sugriva, king of the monkeys, sends Hanuman (center), his nephew Angada (right), and the king of the bears, Jambavan (left), south in search of Sita. After they realize Sita is being held captive on the island of Lanka, Jambavan convinces Hanuman to use his superhuman powers to leap across the ocean to find her. Here, Hanuman wears both the prayer beads and white markings of an ascetic and the garb of a wealthy royal, marking his status as Rama’s devotee and equal. He wields his signature weapon, a mace, as he leaps from Mount Mahendra across the ocean toward Ravana’s fort, ornately painted with vases on display in niches. Ravana may be morally bankrupt, but his demon kingdom flourishes. The depiction of Jambavan as a bear—here depicted with a very humanlike beard—highlights an interesting evolution in this character. In Valmiki’s Ramayana, Jambavan is king of the apes, but later tellings understand him to be king of the bears, diversifying Rama’s allies. Format The file format, physical medium, or dimensions of the resource Ink and watercolor on paper Framed: 11 1/4 x 14 1/2 in. (28.6 x 36.8 cm) Image (visible): 7 3/4 x 11 in. (19.7 x 27.9 cm) Identifier An unambiguous reference to the resource within a given context 2015.016.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59190 Title A name given to the resource Hanuman Leaps to Lanka Type The nature or genre of the resource No https://digitalprojects.carlos.emory.edu/files/original/a2c58d318b1ba650a4d85bfae9dc8258.tif 98814fe597f753de65503aa9a7093a88 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, Rajasthan, Mewar Date A point or period of time associated with an event in the lifecycle of the resource ca. 1710 Format The file format, physical medium, or dimensions of the resource Opaque watercolor and gold on paper Image: 10 1/2 x 16 1/2 in. (26.7 x 41.9 cm) Identifier An unambiguous reference to the resource within a given context 2015.036.001 Publisher An entity responsible for making the resource available Michael C. Carlos Museum, Emory University Rights Information about rights held in and over the resource © Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2015. 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 59200 Title A name given to the resource Rama Leaves for Exile, Bharata Laments Type The nature or genre of the resource No Description An account of the resource The Rajasthani text at the top of this painting directs us to begin at the bottom right, where Guha, chief of the Nishadas, a forest tribe, reports his earlier encounter with Rama to Bharata, outside of his royal tent. The other scenes depict Guha’s account. At top left, Guha converses with Lakshmana, who watches over Rama and Sita as they sleep on the forest floor, about the precarious state of Ayodhya. A scene of the court is seen at top right, with Dasharatha surrounded by his three queens. Guha then explains how, taking on ascetic garb, Rama matted his hair with the sap of a banyan tree (center), prior to crossing the Ganges River, ferried by Guha (bottom left). The story ends in the bottom right, where Bharata appears again, collapsing in grief after hearing of Rama’s arduous journey. In reaction to Rama’s untimely exile, the painting illustrates multiple forms fraternal piety: Lakshmana’s steadfast devotion and Bharata’s pious grief. One joins Rama in his forest trial; the other must endure his absence, reluctantly ruling a kingdom bereft of its true king. 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/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