Three-dimensional works of art from various periods and regions, showcasing the skill of sculptors in stone, metal, and other materials. These pieces range from monumental figures to delicate carvings.
This intriguing monster, originating from the late 500s CE during the Northern Qi dynasty, served as a supportive element in Buddhist cave temples, blending grotesque ferocity with protective symbolism to ward off evil spirits.
This piece not only showcases masterful craftsmanship from the Qing dynasty but also invites us to explore the poet Li Taibo's life, blending themes of indulgence, fortune, and the fleeting nature of existence.
Soldani captures the dramatic instant when the nymph Daphne transforms into a laurel tree to escape the pursuing god Apollo, offering viewers an immediate insight into Baroque art's obsession with movement, metamorphosis, and fleeting moments.
The wild boar vessel is traditionally dated to between 700 and 500 BC and attributed to the Etruscan culture of ancient Italy. However, recent scientific analyses have complicated this attribution.
This work depicts a female figure, known as a fallen caryatid—a term from classical Greek architecture referring to a sculpted woman serving as a supporting column—collapsed under the immense weight of a stone she bears on her shoulder.
Carved from precious sandalwood during China's tumultuous Five Dynasties period in the 900s, this portable figure depicts Potala Guanyin, the Bodhisattva of Compassion (known as Avalokiteshvara in Sanskrit), who resides on the mythical Mount Potala.
Dating to the 1000s–1100s in Nepal, the sculpture captures her in a dynamic, ecstatic tantric pose symbolizing the transformative energy of Vajrayana Buddhism.
It depicts a mythical hybrid creature with two heads sharing a single body: one fierce, gaping lion head symbolizing power and aggression, and one calm bull head with horns representing fertility and strength.
Crafted in limestone with bright polychromy (multiple colors) and gilding, this enthroned virgin blends tenderness with deep theological meaning, making it a poignant example of late medieval devotional art.
Rather than depicting submission, Jean-Baptiste Carpeaux presents a figure who resists her fate through posture and expression. The work immediately provokes emotional and moral reflection, compelling viewers to confront the horror of being enslaved.
Far from being a static or purely decorative piece, the sculpture embodies a vivid moment of life and movement atop a turtle, evoking curiosity, joy, and the spontaneous energy of childhood.
Wrapping around the surface of the carved tooth, human figures, animals, and patterned motifs unfold like a visual story, inviting close inspection and rewarding the attentive eye with layers of meaning about trade, encounter, and cultural change in Central Africa.