2d:I[858142,["/_next/static/immutable/chunks/255piilrawf4-.js","/_next/static/immutable/chunks/0xb2gyr70_77n.js","/_next/static/immutable/chunks/308r35hpzorn7.js","/_next/static/immutable/chunks/3k-s6obdbo2zm.js","/_next/static/immutable/chunks/3e863s_w-yvmx.js","/_next/static/immutable/chunks/32kc6dnh25_mn.js","/_next/static/immutable/chunks/1imbdjg3hw3xb.js","/_next/static/immutable/chunks/1wthql338je_f.js","/_next/static/immutable/chunks/1f_3ajg9rx1_p.js","/_next/static/immutable/chunks/3170khdsynuq5.js","/_next/static/immutable/chunks/0qa3qvmxdmnwk.js","/_next/static/immutable/chunks/144e0g-b2a-re.js","/_next/static/immutable/chunks/2eb0nvgade691.js","/_next/static/immutable/chunks/2r_imi_jc_sd2.js","/_next/static/immutable/chunks/3csk620o8wwe8.js","/_next/static/immutable/chunks/2ql7skq0s6q04.js","/_next/static/immutable/chunks/0z3z5x8oyn2re.js"],"default"] 31:I[25855,["/_next/static/immutable/chunks/255piilrawf4-.js"],"IconMark"] 2e:T6e7, Uncut Natural, Doubly Terminated Black Quartz Crystal no. 96.9.470c, and Quartz Crystal Form Pendants 48.101.240, 48.101.200, and 40.170.404 The type of pendant represented by these three quartz crystal form pendants from the Nishapur excavations, offers a striking example of the influence of natural crystal forms on facet-cut stone forms (and through these, on cast as well as fabricated metal). We feel quite secure in pointing to the doubly terminated quartz crystal, beautifully exemplified by no. 96.9.470c in the Museum's Greek and Roman Department, as the inspiration, since its form is characteristic for quartz; and while this example is probably from Italy, such crystals are known from, among other places, Turkey and New York State. The source of inspiration seems sure, in spite of the fact that many of the pendants (including these three) are in fact octagonal rather than hexagonal prisms (the latter being the invariable habit of the natural quartz crystal). The occurrence of the octagonal form must be due simply to the ease with which it can be cut and the pleasing effect it gives. For there are no natural crystals of octagonal prism form, not to mention those that are doubly terminated. Furthermore, among the known pendants of this type, the hexagonal section is more common than the octagonal. Two other jet examples were excavated at Nishapur, one hexagonal and one octagonal ( exp. neg. no. 39N588). Also known are a carnelian example acquired in Isfahan and two cast bronze examples acquired in Kabul but reportedly from Balkh (private collection, New York). All are hexagonal with the exception of one of the bronze pieces, which is an irregular pentagon, a form also without parallel in nature. [Jenkins and Keene 1983]2f:Ta5a, Carnelian Ring Sealstone The personal seal, which served in the Near East long before the advent of Islam as an individual official signature (as well as a very effective means of securing goods), was essential to the conducting of business affairs. According to tradition, the prophet Muhammad was told that his letters to foreign rulers would be taken seriously only if stamped with a personal seal. He thereupon ordered a seal made in the form of a ring.[1] Whether or not this story is true, the seal ring was certainly the most common way to carry a seal. Sometimes the inscription was cut into the metallic top of the ring, although it was probably more common for the inscription to be cut into a stone that was then set in the usual manner. Among the many stones employed as seals, carnelian was by far the most popular. We do not know whether this was, as Pliny (citing Zenothemis) affirmed,[2] because it did not pull away the wax upon which it was being impressed. Certainly carnelian has other qualities that recommend it for this use: availability, toughness, and resistance to abrasion. Seals were also commonly applied to clay and, after application of ink to the surface of the seal, to paper. Early Islamic sealstones were made from many kinds of stones and came in many forms, This sealstone is made of fine dark red but highly translucent carnelian and is unusual among Islamic-style seals tones of this period for being inscribed in Hebrew. The form of the stone is characteristic of those from Iran of the tenth and eleventh centuries; note, for instance, the similarity in form between this stone and the silver ring MMA 40.170.201. Literally hundreds of seals tones are known from the tenth, eleventh, and twelfth centuries with this form and similar proportions. The present stone is also unusual in the amount and type of information it supplies. A reading of the inscription was kindly offered by Christopher Brunner: 'wzr'dl proper name sstwhtn father's name plus suffix of attribution, -n/an wr'sty "prepared, fashioned"(?) yhy ("function uncertain") If the third line does indeed read "prepared, fashioned," there is a good possibility that the "yhy" is the name of the seal cutter, perhaps some equivalent of the Arabic name "Yahya"; indeed, on certain Arab-Sasanian coins the mintmaster's name is inscribed in abbreviated form. [Jenkins and Keene 1983] Footnotes: 1. Allan, James. "Khatam, Khatim." The Encycfopaedia of Islam, new ed., vol. 4. Leiden, 1978. 2. Pliny. Natural History, vol. 10. Translated by D. E. Eichholz. Cambridge, Mass., and London, 1962, p. 235.30:T775, Jet Seal The personal seal, which served in the Near East long before the advent of Islam as an individual official signature (as well as a very effective means of securing goods), was essential to the conducting of business affairs. According to tradition, the prophet Muhammad was told that his letters to foreign rulers would be taken seriously only if stamped with a personal seal. He thereupon ordered a seal made in the form of a ring.[1] Whether or not this story is true, the seal ring was certainly the most common way to carry a seal. Sometimes the inscription was cut into the metallic top of the ring, although it was probably more common for the inscription to be cut into a stone that was then set in the usual manner. Among the many stones employed as seals, carnelian was by far the most popular. We do not know whether this was, as Pliny (citing Zenothemis) affirmed,[2] because it did not pull away the wax upon which it was being impressed. Certainly carnelian has other qualities that recommend it for this use: availability, toughness, and resistance to abrasion. Seals were also commonly applied to clay and, after application of ink to the surface of the seal, to paper. Early Islamic sealstones were made from many kinds of stones and came in many forms. This jet seal, pierced for suspension—perhaps around the wrist or neck—by a cord, bears no name but rather the common Islamic phrase: Tatuwa[kil] 'ala Allah ("Re[Iy] on God"), which was often inscribed on sealstones in this general period, in many cases shortened to the abbreviated ("Re[ly]"), typically in conjunction with the name of the owner of the seal. [Jenkins and Keene 1983] Footnotes: 1. Allan, James. "Khatam, Khatim." The Encyclopaedia of Islam, new ed., vol. 4. Leiden, 1978. 2. Pliny. Natural History, vol. 10. Translated by D. E. Eichholz. Cambridge, Mass., and London, 1962, p. 235.7:["$","$L2d",null,{"title":"Religions Finds","subtitle":null,"about":null,"suggestedLinks":null,"announcements":[],"segments":[{"name":"The Met Collection","path":"/art/collection"},{"name":"Religions Finds","path":""}],"objectPackage":{"id":854,"title":"Religions Finds","objects":[{"id":450818,"objectID":450818,"titles":{"primary":{"title":"Strand of Beads"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th–12th century","extendedStatuses":["accessioned"],"culture":"","medium":"Carnelian","dimensions":"H. 5 3/4 in. (14.6 cm)
W. 4 5/8 in. (11.7 cm)
D. 5/8 in. (1.6 cm)","creditLine":"Rogers Fund, 1948","accessionNumber":"48.101.70","rightsAndReproduction":null,"webLabel":"These beads, found together but restrung in a modern setting, may have formed a strand of prayer beads, which in Islamic practice have either thirty-three or ninety-nine beads to facilitate the recitation of the ninety-nine names of God. The pendant bead here is of the size and form commonly used as the chief spacer and \"handle,\" which the person praying could use to keep track of a circuit.","images":{"primary":{"openAccess":true,"objectID":450818,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/450818/907350/main-image","altText":"Strand of Beads, Carnelian"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"These beads, found together but restrung in a modern setting, may have formed a strand of prayer beads, which in Islamic practice have either thirty-three or ninety-nine beads to facilitate the recitation of the ninety-nine names of God. The pendant bead here is of the size and form commonly used as the chief spacer and \"handle,\" which the person praying could use to keep track of a circuit."},{"textEntry":"\r\nStrand of Carnelian Beads\r\n\r\nOne form of Muslim jewelry associated primarily with men is the subha, or strand of prayer beads, which usually has thirty-three or ninety-nine beads to facilitate the recitation of the ninety-nine \"beautiful names\" of God. Such beads have been made of a wide variety of materials—seeds, wood, bone, and semiprecious stones, as well as the most valuable precious stones and pearls. A number of beads seen here were probably elements on strands of prayer beads; in particular, the pendant bead on this carnelian strand is of the size and form commonly used as the chief spacer and \"handle,\" by which the user knew by touch that he had finished the circuit.\r\n\r\n[Jenkins and Keene 1983]"}],"exhibitionLabels":[]},{"id":450760,"objectID":450760,"titles":{"primary":{"title":"Unglazed Jug with Writing"}},"artists":{"primary":null,"all":[]},"period":"","date":"8th–9th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; painted, unglazed","dimensions":"H. 6 3/4 in. (17.1 cm)
Diam. 5 5/8 in. (14.3 cm)","creditLine":"Rogers Fund, 1948","accessionNumber":"48.101.4","rightsAndReproduction":null,"webLabel":"This jug’s entire surface is covered with writing, and the faint image of a demon can be discerned on the shoulder. While quite unusual for the Islamic period, this combination of features can be found on a group of sixth- and seventh-century ceramics known as incantation bowls. These bowls were supposed to rid their owners of ailments or to exorcize demons from their homes, and were inscribed with curses in Aramaic, Syriac, and Mandaic. The few known examples of such ceramics from the early Islamic period take the form of jugs with handles, rather than bowls, and seem to have only Qur’anic writing, though other forms appeared later on.","images":{"primary":{"openAccess":true,"objectID":450760,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/450760/907356/main-image","altText":"Unglazed Jug with Writing, Earthenware; painted, unglazed"}},"location":{"gallery":null,"onView":false},"textEntries":[{"textEntry":"This jug’s entire surface is covered with writing, and the faint image of a demon can be discerned on the shoulder. While quite unusual for the Islamic period, this combination of features can be found on a group of sixth- and seventh-century ceramics known as incantation bowls. These bowls were supposed to rid their owners of ailments or to exorcize demons from their homes, and were inscribed with curses in Aramaic, Syriac, and Mandaic. The few known examples of such ceramics from the early Islamic period take the form of jugs with handles, rather than bowls, and seem to have only Qur’anic writing, though other forms appeared later on."}],"exhibitionLabels":[]},{"id":450080,"objectID":450080,"titles":{"primary":{"title":"Cylindrical Pendant with Magical Writing"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th–10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Jet","dimensions":"H. 7/8 in. (2.3 cm)
W. 1 11/16 in. (4.3 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.404","rightsAndReproduction":null,"webLabel":"This cylindrical stone pendant (now broken) is carved with lines of magic symbols on two facets, and the image of a quadruped on one facet. Rather than forming actual words, the writing appears to represent a magical alphabet. The inscription remains undeciphered, and exactly what such a pendant was meant to protect against remains a mystery.","images":{"primary":{"openAccess":true,"objectID":450080,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/450080/903214/main-image","altText":"Cylindrical Pendant with Magical Writing, Jet"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This cylindrical stone pendant (now broken) is carved with lines of magic symbols on two facets, and the image of a quadruped on one facet. Rather than forming actual words, the writing appears to represent a magical alphabet. The inscription remains undeciphered, and exactly what such a pendant was meant to protect against remains a mystery."},{"textEntry":"$2e"}],"exhibitionLabels":[]},{"id":449929,"objectID":449929,"titles":{"primary":{"title":"Pendant with Lion and Scorpion"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Bronze; cast","dimensions":"Diam. 15/16 in. (2.4 cm)
Thickness. 3/16 in. (0.5 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.245","rightsAndReproduction":null,"webLabel":"This circular metal pendant is believed to be a talisman, an object that provides protection for the wearer. The pseudo-writing on this pendant, though illegible, resembles the Arabic phrase that translates to, \"There is no god but God.\" It is thought it had talismanic power because belief in this concept is one of the basic tenets of Islam. It has been suggested that the lion and scorpion represent the Zodiac symbols of Leo and Scorpio, which were thought to give their owners protection. But why these two signs in particular are found on so many objects is still unclear. The inclusion of esoteric symbols and images is what sets this pendant apart from later Islamic talismans, when signs with more specifically Islamic connotations, especially legible quotations from the Qur’an or magic squares with letters representing the names of God, became more common.","images":{"primary":{"openAccess":true,"objectID":449929,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449929/906081/main-image","altText":"Pendant with Lion and Scorpion, Bronze; cast"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This circular metal pendant is believed to be a talisman, an object that provides protection for the wearer. The pseudo-writing on this pendant, though illegible, resembles the Arabic phrase that translates to, \"There is no god but God.\" It is thought it had talismanic power because belief in this concept is one of the basic tenets of Islam. It has been suggested that the lion and scorpion represent the Zodiac symbols of Leo and Scorpio, which were thought to give their owners protection. But why these two signs in particular are found on so many objects is still unclear. The inclusion of esoteric symbols and images is what sets this pendant apart from later Islamic talismans, when signs with more specifically Islamic connotations, especially legible quotations from the Qur’an or magic squares with letters representing the names of God, became more common."},{"textEntry":"Bronze Pendant 40.170.245 and Silver Pendant 40.170.246\r\n\r\nDecorated with intriguing imagery, these two pendants have essentially the same elements but in slightly different arrangements. The conjunction of the lion and the scorpion (see also MMA 1975.118) with what appear to be crossed compasses leads to conjecture that some special significance was intended. The \"inscriptions\" on both these pendants shed no light on the matter, since they are merely decorative pseudo-writing, a feature common to ninth- and tenth-century Islamic objects, especially those from Nishapur.\r\n\r\n[Jenkins and Keene 1983]"}],"exhibitionLabels":[]},{"id":449848,"objectID":449848,"titles":{"primary":{"title":"Seal with Hebrew Inscription"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th–11th century","extendedStatuses":["accessioned"],"culture":"","medium":"Carnelian; incised","dimensions":"H. 1/16 in. (0.1 cm)
W. 1/2 in. (1.2 cm)
D. 1/16 in. (0.2 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.158","rightsAndReproduction":null,"webLabel":"The Hebrew text on this seal gives the name of the seal’s owner, his father’s name, and the word \"prepared\" or \"fashioned,\" followed by the letters y-h-. One proposal is that this is the Arabic name Yahya, but there are other known Hebrew seals that end with the phrase \"May Yahweh have mercy\" or \"The work of Yahweh,\" which may be the phrase included here. We do not know whether the find of this seal testifies to the existence of a Jewish community in eleventh-century Nishapur, or if the seal had been preserved because its foreign letters were believed to ward off evil. Arabic seals with random Hebrew and Syriac words, as well as ancient seals to which Arabic phrases have been added, are both well documented.","images":{"primary":{"openAccess":true,"objectID":449848,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449848/906838/main-image","altText":"Seal with Hebrew Inscription, Carnelian; incised"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"The Hebrew text on this seal gives the name of the seal’s owner, his father’s name, and the word \"prepared\" or \"fashioned,\" followed by the letters y-h-. One proposal is that this is the Arabic name Yahya, but there are other known Hebrew seals that end with the phrase \"May Yahweh have mercy\" or \"The work of Yahweh,\" which may be the phrase included here. We do not know whether the find of this seal testifies to the existence of a Jewish community in eleventh-century Nishapur, or if the seal had been preserved because its foreign letters were believed to ward off evil. Arabic seals with random Hebrew and Syriac words, as well as ancient seals to which Arabic phrases have been added, are both well documented."},{"textEntry":"$2f"}],"exhibitionLabels":[]},{"id":449671,"objectID":449671,"titles":{"primary":{"title":"Inscribed Seal"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th–11th century","extendedStatuses":["accessioned"],"culture":"","medium":"Jet; incised","dimensions":"H. 13/16 in. (2 cm)
W. 7/16 in. (1.1 cm)
D. 5/16 in. (0.8 cm)","creditLine":"Rogers Fund, 1939","accessionNumber":"39.40.141","rightsAndReproduction":null,"webLabel":"Inscribed seals, used to validate documents or goods, were often worn on a string or chain. Some examples, whose inscriptions invoke God and no personal name, are believed to have doubled as talismans to provide protection to their bearers (although it has been argued that the religious formulas would have had no power until they were stamped and could be read forwards). Depending on the reading of this seal's inscription, it could fall into either category. One suggestion is that it is a common abbreviation of the phrase, \"Rely on God;\" another is that it reads, \"Ali trusts in God\", implying that the seal's owner was a man named 'Ali, or that he was Shi'i.","images":{"primary":{"openAccess":true,"objectID":449671,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449671/907347/main-image","altText":"Inscribed Seal, Jet; incised"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Inscribed seals, used to validate documents or goods, were often worn on a string or chain. Some examples, whose inscriptions invoke God and no personal name, are believed to have doubled as talismans to provide protection to their bearers (although it has been argued that the religious formulas would have had no power until they were stamped and could be read forwards). Depending on the reading of this seal's inscription, it could fall into either category. One suggestion is that it is a common abbreviation of the phrase, \"Rely on God;\" another is that it reads, \"Ali trusts in God\", implying that the seal's owner was a man named 'Ali, or that he was Shi'i."},{"textEntry":"$30"}],"exhibitionLabels":[]},{"id":449501,"objectID":449501,"titles":{"primary":{"title":"Inkwell with Crosses"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; polychrome decoration under transparent glaze (buff ware)","dimensions":"H. 2 3/16 in. (5.6 cm)
W. 2 3/4 in. (7 cm)
D. 2 3/4 in. (7 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.296","rightsAndReproduction":null,"webLabel":"This inkwell preserves a small ball inside that was probably used to stir the ink it once held. The color scheme of this object is typical of the buff ware group, but the main decorative motif—a cross-like symbol—is not. The cross may indicate that the object belonged to one of Nishapur's Christians, or it may simply have been a decorative device improvised by the potter.","images":{"primary":{"openAccess":true,"objectID":449501,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449501/906124/main-image","altText":"Inkwell with Crosses, Earthenware; polychrome decoration under transparent glaze (buff ware)"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This inkwell preserves a small ball inside that was probably used to stir the ink it once held. The color scheme of this object is typical of the buff ware group, but the main decorative motif—a cross-like symbol—is not. The cross may indicate that the object belonged to one of Nishapur's Christians, or it may simply have been a decorative device improvised by the potter."}],"exhibitionLabels":[]},{"id":449930,"objectID":449930,"titles":{"primary":{"title":"Pendant with Lion and Scorpion"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Silver; incised","dimensions":"W. 3/8 in. (1 cm)
Diam. 3/4 in. (1.9 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.246","rightsAndReproduction":null,"webLabel":"This small pendant was excavated in Nishapur, Iran, and is believed to be a talisman, an object that provides protection for the wearer. On one side are lines of pseudo-inscriptions resembling the Arabic phrase that translates to \"There is no god but God.\" Etched designs on the verso are symbols of the lion and the scorpion, perhaps representing the Zodiac signs of Leo and Scorpio, which in medieval Iran were thought to protect their owners.","images":{"primary":{"openAccess":true,"objectID":449930,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449930/906806/main-image","altText":"Pendant with Lion and Scorpion, Silver; incised"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Bronze Pendant 40.170.245 and Silver Pendant 40.170.246\r\n\r\nDecorated with intriguing imagery, these two pendants have essentially the same elements but in slightly different arrangements. The conjunction of the lion and the scorpion (see also MMA 1975.118) with what appear to be crossed compasses leads to conjecture that some special significance was intended. The \"inscriptions\" on both these pendants shed no light on the matter, since they are merely decorative pseudo-writing, a feature common to ninth- and tenth-century Islamic objects, especially those from Nishapur.\r\n\r\n[Jenkins and Keene 1983]"},{"textEntry":"\r\nThis small pendant was excavated in Nishapur, Iran, and is believed to be a talisman, an object that provides protection for the wearer. On one side are lines of pseudo-inscriptions resembling the Arabic phrase that translates to \"There is no god but God.\" Etched designs on the verso are symbols of the lion and the scorpion, perhaps representing the Zodiac signs of Leo and Scorpio, which in medieval Iran were thought to protect their owners. \r\n\r\n\r\n　"}],"exhibitionLabels":[]},{"id":456952,"objectID":456952,"titles":{"primary":{"title":"Gravestone of Fudayl ibn Musa"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th–11th century","extendedStatuses":["accessioned"],"culture":"","medium":"Alabaster; carved","dimensions":"H. 30 in (76.2 cm)
W. 17 1/2 in (44.5 cm)
D. 2 1/2 in (6.4 cm)","creditLine":"Rogers Fund, 1936","accessionNumber":"36.20.27","rightsAndReproduction":null,"webLabel":"The tabular stele is the most common form of gravestone in the Islamic tradition, and this example belongs to a larger group, dated to the medieval period, whose inscriptions are fitted within a mihrab-like niche. The inscriptions on these gravestones all follow the same basic outline, starting with the invocation, \"In the name of God, the Merciful, the Compassionate,\" and the profession of faith, \"There is no god but God, Muhammad is the Messenger of God,\" followed by the name of the deceased and his father, ending with the prayer for blessings upon him. There were probably verses from the Qur'an surrounding this niche, but only the inner part of this tombstone has been preserved.","images":{"primary":{"openAccess":true,"objectID":456952,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/456952/907370/main-image","altText":"Gravestone of Fudayl ibn Musa, Alabaster; carved"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"The tabular stele is the most common form of gravestone in the Islamic tradition, and this example belongs to a larger group, dated to the medieval period, whose inscriptions are fitted within a mihrab-like niche. The inscriptions on these gravestones all follow the same basic outline, starting with the invocation, \"In the name of God, the Merciful, the Compassionate,\" and the profession of faith, \"There is no god but God, Muhammad is the Messenger of God,\" followed by the name of the deceased and his father, ending with the prayer for blessings upon him. There were probably verses from the Qur'an surrounding this niche, but only the inner part of this tombstone has been preserved."}],"exhibitionLabels":[]}],"highlightedObjectIDs":[],"highlightedObjects":[],"total":9},"relatedContent":{"articles":[],"essays":[],"exhibitions":[],"publications":[]},"researchLinks":[],"filter":false,"perLoad":100,"meta":{"description":null,"image":{"_type":"image","alt":"The Met Fifth facade","asset":{"_createdAt":"2026-03-11T21:35:05Z","_id":"image-cca3f8a98beb107f9c647bb946bbbe3b6740b6ed-3200x1800-jpg","_rev":"Q7A9CpsAlQvp16AhxwkXbO","_type":"sanity.imageAsset","_updatedAt":"2026-07-06T18:08:14Z","altText":"Arial view of The Metropolitan Museum of Art building on Fifth Avenue with large steps, fountains, and people walking around on a sunny day.","assetId":"cca3f8a98beb107f9c647bb946bbbe3b6740b6ed","creditLine":null,"description":null,"extension":"jpg","metadata":{"_type":"sanity.imageMetadata","blurHash":"MBHxpS=_0L_3-pO^Vq?HIpIU%%$yM{xut8","dimensions":{"_type":"sanity.imageDimensions","aspectRatio":1.7777777777777777,"height":1800,"width":3200},"hasAlpha":false,"isOpaque":true,"lqip":"data:image/jpeg;base64,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","lquip":null,"palette":{"dominant":{"_type":"sanity.imagePaletteSwatch","background":"#363e26","foreground":"#fff","population":7.91,"title":"#fff"}},"thumbHash":"IwgGFIIprnlqXHWcll95oPVCCQ=="},"mimeType":"image/jpeg","opt":{"media":{"tags":null}},"originalFilename":"BI_BrettBeyer_Ext_2-JPG-Original-300dpi.jpg","path":"images/cctd4ker/production/cca3f8a98beb107f9c647bb946bbbe3b6740b6ed-3200x1800.jpg","sha1hash":"cca3f8a98beb107f9c647bb946bbbe3b6740b6ed","size":1211950,"title":null,"uploadId":"Z0JzB0WdzasYMBmk2v8U5e3PqxTvamKQ","url":"https://cdn.sanity.io/images/cctd4ker/production/cca3f8a98beb107f9c647bb946bbbe3b6740b6ed-3200x1800.jpg"},"credit":null},"title":"Religions Finds"}}] 10:null 14:[["$","title","0",{"children":"Religions Finds - The Metropolitan Museum of Art"}],["$","meta","1",{"name":"description","content":"The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy."}],["$","link","2",{"rel":"manifest","href":"/manifest.webmanifest","crossOrigin":"$undefined"}],["$","meta","3",{"property":"og:title","content":"Religions Finds - The Metropolitan Museum of Art"}],["$","meta","4",{"property":"og:description","content":"The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy."}],["$","meta","5",{"property":"og:image","content":"https://cdn.sanity.io/images/cctd4ker/production/cca3f8a98beb107f9c647bb946bbbe3b6740b6ed-3200x1800.jpg?w=600&q=75&auto=format"}],["$","meta","6",{"property":"og:image:alt","content":"The Met Fifth facade"}],["$","meta","7",{"name":"twitter:card","content":"summary_large_image"}],["$","meta","8",{"name":"twitter:title","content":"Religions Finds - The Metropolitan Museum of Art"}],["$","meta","9",{"name":"twitter:description","content":"The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy."}],["$","meta","10",{"name":"twitter:image","content":"https://cdn.sanity.io/images/cctd4ker/production/cca3f8a98beb107f9c647bb946bbbe3b6740b6ed-3200x1800.jpg?w=600&q=75&auto=format"}],["$","meta","11",{"name":"twitter:image:alt","content":"The Met Fifth facade"}],["$","link","12",{"rel":"icon","href":"/icon.png?icon.37ak3j96jutub.png","sizes":"256x256","type":"image/png"}],["$","link","13",{"rel":"apple-touch-icon","href":"/apple-icon.png?apple-icon.37ak3j96jutub.png","sizes":"256x256","type":"image/png"}],["$","$L31","14",{}]]