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  1. ...,Nigeria,Ondo (state),Ekiti,Efon-Alaiye (1)
  2. ...,Nigeria,Ondo (state),Ekiti,Ikere (1)
  3. ...,Turkey,Aegean Region,Izmir province,Ephesus (2)
  4. ...,Turkey,Mediterranean Region,Isparta province,Antioch (2)
  5. ...,United States,Illinois,Cook County,Chicago (3)
  6. ...,United States,Massachusetts,Boston,Roxbury (2)
  7. ...,United States,New York,New York City,Brooklyn (1)
  8. ...,United States,New York,New York City,Long Island (1)
  9. .1) Cocktail Dress: Cotton, rayon, and silk damask; .2) Jacket: Rayon and nylon cloqu?? (1)
  10. <no date> (1)
  11. <P>The story of the denial of St. Peter depicted here follows the text of Matthew 26:69-70;"And as Peter was below in the courtyard, one of the maids of the high priest came; and seeing Peter warming himself, she looked at him and said, 'You were also with the Nazarene, Jesus.' But he denied it saying, 'I neither know nor understand what you mean. 'And immediately, while he was speaking, the cock crowed' And Peter remembered the words of the Lord, how he had said to him, 'Before the cock crows today, you will deny me three times'. And he went out and wept bitterly."</P><P>The story is also related in two other gospels: Mark 14:66 and Luke 22:54-62.The nocturnal fire as the setting is mentioned in all three accounts.</P> (1)
  12. <P>The three-legged ding is a ceramic shape that originated in the neolithic period. During the Shang and Zhou dynasties of China's bronze age, ritual vessels had highly specific shapes. In the Shang dynasty (1523-1028 B.C.), the commodious ding, used for the preparation of sacrificial food, was a sturdy, lidless vessel mounted on straight legs. Contact with other cultures introduced new elements in its shape and ornament, and by the time of the Eastern Zhou dynasty (770-256 B.C.) the ding had acquired the refined form with convex lid in which it appears here. The three loops on the lid had practical purposes: they could be used as grips for lifting or as feet for the lid when it was overturned.</P><P>The ding had been secularized by this time; bronze vessels continued to be buried with the dead, but they were also presented as state gifts to foreign rulers and preserved and handed down as symbols of family honor and status. Bronze was a costly material, and this ding's large size and refined decoration suggest that it was made for the tomb of a high-ranking person.</P><P>The ding provided a ground for ornament. Fantastic creatures, symbols, and sometimes even written characters recording ritual procedures were cast into its surface. On this example, five horizontal bands of continuous patterns in finely detailed decoration cover the lid and body. Zoomorphic forms suggesting dragons and the heads of rams, birds, and cats are interlaced with geometric patterns of restless spirals, striations, S-curves, triangles, scales, and granulations. The top of the lid has a quatrefoil, or four-petal floral design. On the 'knee' of each cabriole leg is an inlaid animal mask, an image from earlier ding forms.</P><P>It has been suggested that the animal imagery on dings like this is related to an old fable. According to the legend, in the Xia dynasty of China nine dings were made and decorated with a myriad of animals. These nine dings became symbols of the ruling dynasty and were passed on to subsequent dynasties. Centuries later dings continued to show lively animal heads, or abstracted and stylized animal forms, as part of their decoration. </P><P>[This text is excerpted and modified from department records and the following published source: Lorna Price, Masterpieces from the Los Angeles County Museum of Art Collection (Los Angeles: Los Angeles County Museum of Art, 1988), 82.]</P> (1)
  13. <P>This sculpture represents the Buddha as he was depicted in eleventh- through thirteenth-century Pagan.</P><P>The iconic gesture of the Buddha's lowered right hand indicates the granting of a wish. The left hand grasps the end of the robe or perhaps a sacred text. Above a simple monastic robe, the figure wears the jeweled collar, earrings, and a high crown of a universal monarch (Bodhisattva). In the center of the crown rises an elaborate lotus-topped stalk of three rings. Either a part of the crown or a tall coiffure, this protuberance evokes the usnisha, the Buddha's cranial bump.</P><P>[This history is excerpted and modified from the following published sources: 1.Lorna Price, Masterpieces from the Los Angeles County Museum of Art (Los Angeles: Los Angeles County Museum of Art, 1988), 102. 2.'Recent Acquisitions: Crowned Buddha,' Members Bulletin, Los Angeles County Museum of Art 23, no. 2: 6.]</P> (2)
  14. =1563-1614 wkg ald//=after 1560 wkg amr (1)
  15. =1624 wkg inscr (artist) (1)
  16. =1641-1661 wkg ald; 1650-1660 (1)
  17. =1647/1703 wkg ald (1)
  18. =1648/1703 wkg ald (1)
  19. =1652-1705 wkg ald (2)
  20. =1658/1665 wkg ald (1)