China's pantheon of Buddhist deities, with their accompanying rituals and artistic styles, burgeoned following its conquest by the Mongols and its absorption into the pan-Asian, multiethnic Yuan empire (1279-1368). From then on, many Chinese rulers and members of elite society, of both native and foreign heritage, became fervent devotees of Tibetan Buddhism. This tradition is also known as Vajrayana (Diamond Path) or Tantric Buddhism. Buddhist images made in China but influenced by Tibetan (as well as Nepalese) iconography and style are termed Sino-Tibetan.<\/p>\n

This image depicts one of many emanations of the compassionate deity Tara. An inscription on the top surface of its throne reads "Da Ming Yongle nian zhi" (Bestowed in the Yongle reign of the Great Ming). The Yongle emperor was the third ruler of the Ming dynasty and a great patron of Buddhist art.<\/p>\n","short_description":null,"dimensions":"21.5 \u00d7 13.5 \u00d7 12.5 cm (8 1\/2 \u00d7 5 1\/4 \u00d7 4 7\/8 in.)","dimensions_detail":[{"depth":12,"width":13,"height":21,"diameter":null,"clarification":null}],"medium_display":"Gilt copper alloy with traces of pigment (lapis lazuli)","inscriptions":null,"credit_line":"Gift of Guy H. 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Part human and part horse, silenoi (sing. silenos) were older satyrs who belonged to the entourage of Bacchus, the Roman god of wine, theater, and revelry. Each figure is made of two pieces that were cast separately and fastened together. Anchoring the lush wreaths that encircle their heads are short, thin struts of metal. The whites of their eyes and their teeth are silver, and their lips were once inlaid with copper, giving them a lifelike appearance. These magnificent silenoi once decorated the sides of the curved headboard of a couch used by guests at the lavish banquets enjoyed by members of high society.<\/p>\n","short_description":null,"dimensions":"1: 17.8 \u00d7 14.6 \u00d7 8.6 cm (7 \u00d7 5 3\/4 \u00d7 3 3\/8 in.); 2: 18.7 \u00d7 16.2 \u00d7 8.9 cm (7 3\/8 \u00d7 6 3\/8 \u00d7 4 1\/2 in.)","dimensions_detail":[],"medium_display":"Bronze, silver, and copper","inscriptions":null,"credit_line":"Katherine K. Adler Memorial Fund","catalogue_display":null,"publication_history":"Art Institute of Chicago, Annual Report: 1997\u201398 (Art Institute of Chicago, 1998), p. 12.\n\nArt Institute of Chicago, Treasures from the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2000), p. 73 (ill., 1997.554.2).\n\nKaren B. Alexander, \"From Plaster to Stone: Ancient Art at the Art Institute of Chicago,\" in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), pp. 33, 39.\n\nKaren Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New York: Yale University Press, 2012), pp. 76\u201377; 111\u2013112, cat. 15 (ill.).\n\nArt Institute of Chicago, The Art Institute of Chicago: The Essential Guide (Art Institute of Chicago, 2013), p. 71 (ill.).\n\nJohn Dorfman, \u201cImprints of Ecstasy,\u201d in Art and Antiques (Winter 2015\u201316), p. 67 (ill., 1997.554.1).\n\nJohn Twilley, \u201cCat. 139 Attachment Depicting the Bust of a Silenos: Technical Report,\u201d in Roman Art at the Art Institute of Chicago (Art Institute of Chicago, 2016).\n\nKatharine A. 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This is one of only a few representations of a giraffe from the Early Byzantine period. Its accuracy suggests that the designers directly observed giraffes that were brought to Constantinople as gifts for the emperor, as described in 5th-century texts. The figure in this fragment wears a long fabric wrap with an intricate knot as well as a headdress, suggesting that he represents the \u201cIndian\u201d keeper who reportedly accompanied the animals from their place of origin. Viewers of this mosaic may have had a limited understanding of world geography, so we are not sure if they assumed that the pair had traveled from eastern Africa (south of Egypt) or the subcontinent of India.<\/p>\n","short_description":"This mosaic fragment was once part of a larger composition that paved the floor of a wealthy family home in the Eastern Mediterranean area of the Roman Empire. 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Across the Byzantine Empire, one of the most common ways to decorate public buildings and elite homes was with mosaic floors made up of tesserae: small pieces of stone, ceramic, or occasionally glass. They were designed to accommodate the ways a viewer\u2019s perspective changed while walking over the composition. The placement of figures could also help guide people through architectural spaces. The camel in this mosaic wears a bell around its neck, indicating that it had an owner, whose foot appears in the bottom-right corner of the fragment. Camels were particularly important for trade, as they could carry substantial weight over long distances.<\/p>\n","short_description":null,"dimensions":"143 \u00d7 166.5 \u00d7 6.5 cm (56 1\/4 \u00d7 61 1\/2 \u00d7 2 1\/2 in.)","dimensions_detail":[{"depth":6,"width":166,"height":143,"diameter":null,"clarification":null}],"medium_display":"Stone in mortar","inscriptions":null,"credit_line":"Gift of Mr. and Mrs. Robert B. 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