Object Narratives

To most modern visitors, the Chicken-Feeding Girl displays the stereotypical concern of a doting mother, and a number of scholars have described this image as representative of the pastoral life of the region during the Song Dynasty (960—1279 CE). While this is in fact one way to interpret the work, the Song dynasty audience for Chicken-Feeding Girl read her presence at the site in an entirely different manner.

Lake View Lutheran Church on Chicago’s north side is the fourth building of a congregation founded by Scandinavian immigrants in 1848. About 1960, demographic changes pushed the congregation to relocate and rebuild.

This dramatic death cart is an object that was used in acts of corporal penance performed by the Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesús Nazareno (Brothers of the Pious Fraternity of Our Father Jesus of Nazareth).

This form is replicated in over 70 statues remaining at Longmen. The votive inscriptions of the statues inform us that they were given the specific title “King Udayana Image,” and not considered as a general Tathagata image, such as the Buddha Sakyamuni.

In this single folio, a woman is engaged in prayer. She sits on a pink cloth, her head in profile, with her body turned three-quarters to the viewer. Her right hand is covered by a golden textile, under which she counts beads on a rosary in meditation. She has garlanded the linga, or symbol of the Hindu god Shiva, and its three stripes of orange are mirrored on her forehead.

This is the only known drawing by John Valentine Haidt, the most important Moravian artist of the eighteenth century. It appears at the opening of a small black-leather-bound hymnal that belonged to Haidt, upon a sheet of paper lightly stained and speckled with rusty spots.

The Chart of the Magic Presence is the visual synopsis of the self-centered teleology of “I AM,” a new religious movement founded in 1932 by Guy and Edna Ballard.

Elaborately crafted artworks, jealously kept insignia of power, and piously cherished devotional paraphernalia, central African crucifixes illustrate the Kongo people’s deep and enduring engagement with the visual forms and religious message of Christianity.

A young king sits tall in the saddle, gazing intently at something in the distance. There is apparently nowhere for the steed to go: horse and rider are perched on a leafy pedestal that is just large enough to bear their life-size forms, and they have stood frozen there since they were carved into the fabric of Bamberg Cathedral in the thirteenth century.