Vessels representing animals—called zoomorphic rhytons—were popular in Cyprus during the Bronze Age (2500–1150 BC), and are usually found in sanctuaries and graves. A rhyton is a ritual vessel used to pour offerings such as wine or olive oil—known as libations—to the gods. The liquid was first poured into the hole in the back of the figure’s neck, and then poured out from the mouth or narrow muzzle of the animal. Rams and bulls were the most common figures chosen for rhytons.

Cypriot ArtistCyprusBase Ring II Bull Rhyton, ca. 1475 BCE - 1225 BCETerracotta3 1/8 x 2 x 4 1/8 in (8 x 5.1 x 10.5 cm)Gift of Hon. George C. McGhee, 1983.2.54

This ram-shaped vessel is called a “base ring” rhyton because the ram’s body was thrown on a potter’s wheel. The head of the ram is small in comparison to the body, and has a narrow muzzle and curved horns. The fleece of the ram is indicated with white dots applied to a reddish-black body. Traces of pink paint are also visible on the underside of the ram.

Cypriot ArtistCyprusBase Ring II Ram Rhyton, ca. 1475 BCE - 1225 BCETerracotta5 1/2 x 7 1/8 x 2 7/8 in (14 x 18.1 x 7.3 cm)Gift of Hon. George C. McGhee, 1983.2.30

This equestrian figure is decorated with an abstract two-color pattern. While the form of these sculptural horses evolved over the centuries, their significance and the importance of the animal itself as a necessity for civilization, a symbol of wealth, a funeral offering, and a gift from the gods, continues throughout the history of Ancient Greece.

Cypriot ArtistCyprusHorse and Rider, ca. 750 BCE - 480 BCETerracotta8 1/2 x 3 x 6 1/4 in (21.6 x 7.6 x 15.9 cm)Gift of Hon. George C. McGhee, 1983.2.38

Ceramic pot-bellied dogs like this one are probably a representation of the Xoloitzcuintli, the Mexican hairless dog. They were often represented by ancient artists in Colima, a state in West Mexico, showing a belief that these dogs accompanied the souls of deceased individuals on their journey to the Underworld.

Colima ArtistMesoamerica, Colima, MexicoDog Effigy Vessel, 200 BCE - 300 CECeramic, slip paint8 1/4 x 13 1/2 x 6 1/8 in (21 x 34.3 x 15.5 cm)

In many Andean cultures whistle vessels such as this were used in a variety of settings, including funerary rituals. Small holes in the corners of the mouth, at the base of the ears, at the end of the nose, and on the back of the fawn’s head would have emitted sound when played. Whistling sounds were produced in several ways including blowing air into the mouth of the spout or introducing water into the main chamber of the vessel to force air out through the holes.

Vicus ArtistNorth Coast, PeruFawn Whistle, ca. 300 CECeramic, paint7 1/2 x 10 1/2 x 7 in (19.1 x 26.7 x 17.8 cm)Gift of Daniel Friedenberg, 1983.22

Sculptures such as this horse and horse and rider were created during the Tang dynasty to line the “spirit road”—the entrance to the tomb of the deceased. Ceramic technology at that time included casting—where a mold is made from an original and many copies are cast from the mold—so there are many horses just like this throughout the world. Although the form of each one is the same, they were often glazed differently, and this one is almost completely bare of glaze.

Chinese ArtistChinaHorse, ca. 618 - 906 CECeramic with buff body and red, black, and green pigments26 1/8 x 28 x 10 in (66.4 x 71.1 x 25.4 cm)Gift of The Arthur M. Sackler Foundation, New York, 2013.6.5

This small Tang dynasty lion would have been included in the spirit road of a person of modest means. The lion displays the white, green, and gold “sancai” glaze pattern typical of funerary sculpture from 600-900 CE, which was prized for the unpredictable dripping and running of the glaze that took place during the firing process.

Chinese ArtistChinaStanding Roaring Lion, 618 - 906 CEStoneware5 1/4 x 4 1/8 x 3 in (13.3 x 10.5 x 7.6 cm)Gift of The Arthur M. Sackler Foundation, New York, 2013.6.3

As in ancient Cyprus, horses represented prosperity and status in Chinese culture as well. Like the rider-less horse, this piece was also cast from a mold, and the body of the horse was glazed in the sancai glaze pattern of gold, green and white. Originally, the figure would have held wire or fiber reins in its hands.

Chinese ArtistChinaHorse and Rider, 618 - 906 CETerracotta16 1/2 x 14 1/2 in (41.9 x 36.8 cm)Gift of Mr. and Mrs. Charles F. Baldwin, 1978, 1978.30

Dürer never set eyes on a rhinoceros. After receiving a drawing from a friend in Portugal, Dürer designed this fanciful woodcut with patterned body sections resembling his designs for armor. Although the anatomical inaccuracies are now widely acknowledged, in the 16th century Dürer’s creature became the definitive image of the rhinoceros in illustrated works on travel and natural history for the next three hundred years.

Albrecht Dürer (German, 1471 - 1528)Rhinoceros, 1515 (third edition printed 1540 - 1550)Meder 273, Third EditionWoodcut on paper10 x 12 in (25.4 x 30.5 cm)Gift of the Honorable Hugh S. Cumming, 1982.30.5

With a passion for red and black chalk, French artist Jean-Honore Fragonard’s drawings display an expressive fluidity. Despite the small scale of this work, the treatment of line and form is fluent and rapid. Broad diagonal hatchings create shadows, while the lines in the lion’s mane swell and taper in an almost ornamental manner.

Jean-Honoré Fragonard (French, 1732 - 1806)Crouching Lion, 18th century - 19th centuryRed chalk on wove paper6 1/2 x 4 1/2 in (16.5 x 11.4 cm)Gift of The Frederick and Lucy S. Herman Foundation, 2006.11. 19

This small ceramic vessel in the shape of a duck was made by an artist from Cochiti, a Pueblo (Town) in New Mexico. Ducks are important because they reveal the presence of water in this dry climate. The artist was very skillful in rendering the plump body of a small duck, and even though she painted only few details of the feathers, they are very precise.

Cochiti Pueblo ArtistCochiti Pueblo, New Mexico, United StatesDuck-Shaped Vessel, late 19th centuryHand-built earthenware with burnished clay slip and organic paint6 x 7 in (15.2 x 17.8 cm)The William James Rucker Collection. Transfer from School of Nursing, University of Virginia, 2001.6.19

At planting time men dance in the fields with delicately carved headdresses to honor chi wara, the mythical antelope-like creature who taught agriculture to the ancestors of the Bamana. The long, straight horns of chi wara represent the tall growth of millet. The pointed snout and the lower part of the body are those of the strong anteater, which burrows into the ground.

Bamana ArtistMaliChiwara Headdress (Male Antelope), 20th centuryWood, metal, cloth, and yarn35 x 3 x 12 in (88.9 x 7.6 x 30.5 cm)Gift of Mr. and Mrs. Edward G. Lanpher, 1979.40.1

The female chi wara headdress, representing the earth, always accompanies the male headdress during the harvest dances. Because chi wara was partly human, the female form of this sculpture shows chi wara carrying her offspring on her back like human mothers, who gain strength and fertility from the millet that chi wara showed the Bamana how to cultivate.

Bamana ArtistMaliFemale Headdress (Chiwara), 20th centuryWood39 1/2 x 11 7/8 x 2 3/4 in (100.3 x 30.2 x 7 cm)Anonymous Gift, 1979.44.14

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WORD SEARCH

DOWN1. Abstract geometric equine from Cyprus5. Tang dynasty feline9. Sheep-shaped pitcher10. Fat smiling canine

ACROSS2. No, it’s NOT a cow creamer!3. Odd-toed ungulate by German Renaissance painter4. It’s a Mouse! It’s a Pig! No, it’s a Baby Deer and a musical instrument!6. Tang dynasty equine with human companion7. Tang dynasty equine8. Drawing of panthera leo by French painter Fragonard11. Bamana agricultural antelope12. This clay fowl likes to fly and swim!

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CROSSWORD PUZZLEANSWER KEY | Down: 1. Cypriot Horse 5. Standing Lion 9. Ram Rhyton 10. Colima DogAcross: 2. Bull Rhyton 3. Durer Rhinoceros 4. Fawn Whistle 6. Horse and rider 7. Horse 8. Crouching Lion 11. Chiwara 12. Cochiti duck