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Sri Nathji is a form of the Hindu god Krishna, manifested as a young boy. Shrinathji’s idol was brought to Rajasthan from Govardhana near Vrindavan to protect it from the hands of the Mughal emperor Aurangzeb who in 1665 was bent upon vandalizing the area of Vrindavan by widespread destruction of Hindu temples. When the Mughal army came to Govardhana, the devotees of the Lord showed them the titles and gifts given to the temple by the previous Mughal

This dish was created completely by using  silver, with the addition of small details throughout. The seen embossed patterns showcase the Indian culture in which the object was created in.

This cosmic diagram in the form of a celestial palace populated by Manjushri’s retinue was one of a series of mandalas based upon the Vajravali—an important Buddhist textual tradition. Sakyapa teachers and disciples appear around the mandala, which is painted in the intricate Nepalese-inspired style favored at the Sakyapa monasteries of central and south-central Tibet.

The bearded donor holds an elaborate garland in his hands, probably meant as an offering to the temple's main image. Standing in an exaggerated triple-flexion pose, he wears a short skirt, necklaces, armlets, and a distinctive chain-like cord. The scarf draped around his arms falls in whimsical corkscrew patterns at his sides. Attendants stand in attitudes of respect near his feet.

Court (Sherwani) | Unknown | South Asian Art | dyed and undyed wool, silk fabric with cotton filling and backing | second half of 19th century | Overall - 44 × 33 in. (111.76 × 83.82 cm)

This crown was made during the Ming/Qing Dynasty, showcasing Buddha on each of the peaks of the crown. These additions and other small, intricate details showcase the colors and patterns commonly found throughout China during the 15th century.

This small box was used for keeping incense balls, which at tea ceremonies were sprinkled onto a brazier of hot charcoals. The design of pine, bamboo, and plum blossoms was executed with clay in raised lines, a technique known as kochi.

Created during the Edo period (1615-1868), this painting mimics a tale, the Shell of Locust, heard from various old Japanese stories. Through the painting - shown in action - the audience is left in awe, wondering how the tale will end.

Ever wonder what the VMFA staff are really like? In this video we interview Alex Parrish, who is a part of the Youth Studio and Education Department at the VMFA.

Made in Japan during the 17th century, this mask features a Japanese man’s face showing extreme fear and pain in its expression.

This work features a sculpture of Fugen riding an elephant, both decorated in exquisite gems and copper. The sculpture was made in the Kamakura period (1185-1333) in Japan.

Cricket Cage (Winter Cage) | Unknown | East Asian Art | gourd, enamel | 19th century | 4 1/2" H" H x 2 1/2" dia. (11.43 cm. H" H x 6.35 cm. dia.)

This container was created during the Qing Dynasty (1644-1911). Made in China, the vase is made from jadeite, a one-of-a-kind mineral in China.

This elegant instrument was used by Mangbetu bards to accompany songs and recitation of epic poetry at the royal court. The woman’s elongated head reflects the Mangbetu practice of binding a child’s head to achieve a more beautiful form.

This elaborately decorated crown imitates the basic forms of the British royal crown, a poignant reminder that Yorubaland was once part of a British colony in West Africa. The birds, quintessential Yoruba motifs, refer to the Yoruba king’s relationship to the spirit world.

The bundles attached to this figure contain earth from ancestral graves, herbs, and other materials that harbor powers, including a feather and a small horn that introduce the spirits of the respective animals. Keen sensory perception is denoted by the figure’s large nose, projecting ears, and alert eyes, while the bared teeth convey aggression.