ART FROM THE CONTINENT OF ASIA

Garuda Eagle Mask, Bali, Southeast Asia, 20th century

Wood and pigment, 8' x 12"

Gift of Tony Teravainen CAT 2019 TT 2

Balinese Mask of a red and green Garuda with an Egg in its mouth. Garuda is a mythological bird with the power to bring about wealth and prosperity and the egg represents the elixir of life. Garuda has the face of an eagle, and when he spreads his wings he fully darkens the sky. According to the foundation story, Garuda was once enslaved by underworld serpents called Nagas.  When he broke free he took the magical elixir of life, called tirtha amertha which he found in a secret place guarded by the Nagas. Garuda flew directly to the heavens, and the Gods became so impressed with his feat they gave him the gift of immortality. He became Vishnu's steed, transporting the beloved deity between heaven and earth. Garuda's image is now very much revered in Bali, and frequently appears atop cremation towers in the belief he will transport the deceased's soul to the Gods.

Mask, Bali, Indonesia, mid 20th century

Wood and pigment, 7 1/4 x 3 1/2 x 5 1/4 inches

Gift of John Ross, CAT JR 2017 59

Bali and Lompok masks are found throughout the islands. Just as paintings and other art forms, Bali and Lompok masks were solely produced for sacred dances in the temples. Today Balinese and Lompok masks are still worn during temple dances where the Balinese and Lompok teach each other epic stories of their Hindu religion, the celebration of the various stages of life, the rice planting and harvesting season and the victory of good over evil. The Balinese and Lompok believe that everything has a soul: the rain, the winds, a rock and even a mask. The carving of these masks is a family tradition passed from father to son for generations. 

The carver is called the undagi tapel and those who make the mask for the temple must be a member of the Brahman caste (priestly) since he knows the required sacred rituals involved with making a mask. The masks are performed during the Barong and Topeng dances. Depending on the various masks used, these stories are often humorous or have a moral twist to it. The Barong dance is a fight between good, the Barong, and evil, Rangda the witch. The Topeng masks are only used by men who wear several of them during a performance. They use whole masks to depict noblemen and the king and they use half-masks for clowns or other humorous characters. They even have mad or funny ones that portray diseases so the Balinese can tone down these diseases (as seen here). The Balinese and Lompok Barong and Topeng dance teaches the audience stories of kings and noblemen. 

Medicine Container in form of an Aso (mythological dragon), Batak, Indonesia

Wood, 18” x 14 ½ “ inches

Gift of Susan and Richard Ulevitch, CAT 2022 RU 18

Medicine containers are commonly used to store herbs and medicines.   In many cases, Shamans would store Pupuk in the horn, a magical substance needed to attract ancestor spirits.  Aso is a  dragon-snake figure that has a protective function and is also associated with fertility. It usually appears at doorways, on house gables, and on ritual objects. The Batak of Indonesia and Dayak people of the interior of Borneo call the dragon-snake Aso.

Buraq, Mindanao and Sulu Archipelago, Philippines, 1920s

Carved wood and bone, 10" x 12"

Gift of Susan and Richard Ulevitch, CAT 2022 RU 36

Buraq is a  mythological flying centaur that transported Mohammed. It has outspread wings, a human face and chest carved in bone, four legs and a horse tail. It stands inside an associated ornate enclosure. Buraq is a half-horse, half-human, winged figure from the Islamicised people of the southern Philippines, most probably Mindanao. It has been carved from several pieces of wood and bone with decorative organic forms carvings.

It stands on four feet, on a flat platform with wings carved on both the upper and undersides with Islamic-inspired, Malay-like scrollwork typical of Mindanao and the Sulu Archipelago. The head is able to swivel around so that it can ‘look’ in any direction. These figures were decorative and were displayed among the Maranao people of Mindanao during important feasts.

The Buraq is not mentioned in the Koran, but according to Islamic tradition, it is supposed to have carried the Prophet Muhammad, accompanied by the Angel Jibril (Gabriel), to the sacred mosque in Mecca and later to the (then) farthest mosque, today known as the Al-aqsa Mosque in Jerusalem. The Prophet is then said to have ascended to heaven from the Temple Mount in Jerusalem with the help of the Buraq, passing through seven heavens, communing with several angels and prophets along the way, before meeting with God.

Citipati, Nepalese mask, India

Wood and Patina, 10 x 3 x 7 ½ inches

Gift of Dr. John Ross, CAT 2017 JR 5

Citipati is a wrathful deity and one of the several manifestations of Mahakala. He is also considered a very important protector of the doctrine in Tibetan and Vajrayana Buddhism.

In Tibet Buddhist monks perform twice a year a special “cham dance” ritual wearing the Cittipati masks and dancing in the monastery cemetery. The skull mask of Citipati is a reminder of the impermanence of life and the eternal cycle of life and death.

Shiva riding his mount Nandi (bull), Bangkok, Thailand, n.d.

Gilt bronze; 11 1/2 x 2 1/2 x 7 ½”

Gift of Dr. John Ross, CAT 2017 JR 78

Shiva is considered the creator of life, the destroyer of evil forces and divine ascetic who meditates on the nature of the universe. Shiva’s symbolism includes a trident, ax, sword, skull crescent moon (some of which is seen here). He can also borrow tools from Vishnu (deity of goodness and mercy). Shiva is also known as a great dancer, Nataraja; “Lord of Dance.” His consort is Parvati, a major deity in her own right.  Shiva is associated with the bull Nandi. One day, Surabhi, who was the original mother of all the world’s cows, began to give birth to an untold number of perfectly white cows. The milk from all these cows flooded the home of Shiva, somewhere in the Himalaya. Angry at this disturbance to his meditation, the god struck the cows with fire from his third eye. As a result, patches of the cows’ hides were turned brown. Still angry, the other gods sought to calm Shiva down by offering him a magnificent bull – Nandi (shown here),  the son of Surabhi and Kasyapa - which Shiva accepted and rode. Nandi also became the protector of all animals. The sculpture of Shiva and Nandi shown here is from Thailand which is known for for its decorative, ornate details, elongated figures and form (note crown/mountain and the peak) Hindu temples in Thailand have a similar pointed peaked.

Source: Neave, Dorinda, Asian Art. New York: Pearson Publishers, 2015.

Shi-Shi (lion/dragon mask), Japan

Wood with black, red and gold paint, brass over eyes, horsehair, 9” x 7” x 7” 

Gift of Dr. John Ross, CAT 2017 JR 6

The shishi mask represents a mythical lion that protects and purifies the region in which it dances, driving away evil spirits, famine, and disease. The shishi mai (lion dance) is performed throughout Japan on festival days, especially during the lunar new year and Buddha’s birthday. Its appearance varies in different villages, with the lion style (like this mask) predominating, but other animals, such as a deer, cow, or mythical kirin, used in certain villages. The lion is accompanied by a retinue of drummers playing the taiko drum, as it walks through the town, dancing and bestowing blessings on locals. To drive away evil spirits, the shishi bites the head of villagers, which brings good luck and health.

The lion dance originated in China and was brought to Japan by Chinese travelers around the early 16th century (Muromachi Period). As in China, the shishi can be danced by a sole performer or a group. In western Japan, the gigaku-kei style of shishi mai is performed by two or more dancers bundled into a long costume. In the Kantō and Tōhoku, the dance style is known as furyu-kei, and is performed by a single dancer, who beats a drum tied around his waist.

Qilin (Chimera), China, n.d.

Marble, 15" x 4 "

Gift of Robert V. Berg, CAT 2019 RB 29

The Qilin first appears in written Chinese in texts of the 5th century BCE. A popular decorative motif, the fantastic animal appears in sculpture, painting, and textiles from this time on.  The Qilin or Kirin is a winged figure, covered with scales and with four cloven hoofs. It can also have a horn and so is sometimes equated with the unicorn.  Typically colorful, the Qilin has a single horn, a dragon or lion's head, an elk's body, a tiger's eyes, a dragon's scales, cattle's hooves, and an ox's tail. The Qilin signifies goodwill, benevolence, gentleness, and integrity. Like the phoenix, the Qilin is very kind towards other living beings, careful not to harm even insects and grass. To avoid harm, the creatures are reputedly able to walk on water as well as land.