Featured Events in Toronto in July, 2025 (April Updated)

What makes for a delightful picnic? Food and drink? Poetry? Music? A new installation offers a window into the pleasures, pastimes, and artistic heritage of Iran during the Safavid dynasty (1501-1736). A royal picnic, depicted on a large, treasured tile arch from the collections, is complemented by exceptional objects from the period. Gracing the Osler Gate on Level 1, a colourful tiled archway made over 350 years ago in Isfahan, Iran takes centre stage, showing picnic-goers out for an afternoon of leisure and luxury. Individual tiles reveal immaculately dressed figures relaxing, enjoying delicious food and drink, and being entertained with music, poetry, and feats of archery. Lively and cheerful, the scenes on the arch offer a wonderful glimpse into the cultural vibrancy of Iran when it was ruled by the Safavids, a Shi'a Muslim dynasty, who were great patrons of the arts and architecture, and who fostered international trade and diplomacy from Isfahan, their newly built capital city. The tile arch provides a magnificent focal point for the installation, which also showcases several stunning objects from the same period. A gorgeous lute with exquisite inlays and detail, an ornately decorated bow and arrow, a delicate swan-neck bottle, and beautifully crafted dishes - one of which carries words by medieval scholar Omar Khayyam (1048-1131) beginning with the lines: "This dish, which the intellect applauds, and on whose forehead it places a hundred kisses!" - bring the action on the tile arch to life. This beautiful collection of objects not only complements the arch scenes, but showcases the stunning artistry and intricacies of artisanal work iconic to the Safavid dynastic period. One has only to take in the physical objects to be transported to the scenes in the arch, enjoying music, poetry, food, and entertainment.

What makes for a delightful picnic? Food and drink? Poetry? Music? A new installation offers a window into the pleasures, pastimes, and artistic heritage of Iran during the Safavid dynasty (1501-1736). A royal picnic, depicted on a large, treasured tile arch from the collections, is complemented by exceptional objects from the period. Gracing the Osler Gate on Level 1, a colourful tiled archway made over 350 years ago in Isfahan, Iran takes centre stage, showing picnic-goers out for an afternoon of leisure and luxury. Individual tiles reveal immaculately dressed figures relaxing, enjoying delicious food and drink, and being entertained with music, poetry, and feats of archery. Lively and cheerful, the scenes on the arch offer a wonderful glimpse into the cultural vibrancy of Iran when it was ruled by the Safavids, a Shi'a Muslim dynasty, who were great patrons of the arts and architecture, and who fostered international trade and diplomacy from Isfahan, their newly built capital city. The tile arch provides a magnificent focal point for the installation, which also showcases several stunning objects from the same period. A gorgeous lute with exquisite inlays and detail, an ornately decorated bow and arrow, a delicate swan-neck bottle, and beautifully crafted dishes - one of which carries words by medieval scholar Omar Khayyam (1048-1131) beginning with the lines: "This dish, which the intellect applauds, and on whose forehead it places a hundred kisses!" - bring the action on the tile arch to life. This beautiful collection of objects not only complements the arch scenes, but showcases the stunning artistry and intricacies of artisanal work iconic to the Safavid dynastic period. One has only to take in the physical objects to be transported to the scenes in the arch, enjoying music, poetry, food, and entertainment.

MARVEL AT THE POWER OF COLOUR IN THE NATURAL WORLD. Anywhere you look in nature, colour holds meaning. From the fiery reds of warning to the soothing blues of calm waters, Nature in Brilliant Colour will take you on a kaleidoscopic journey through the vibrant hues of our planet. Awaken your senses, and have your perception forever altered, as you make your way through a series of spaces, each dedicated to a colour of the rainbow. Through over 200 specimens, photo-worthy projections, and shifting soundscapes, this exhibition promises to be a transformative experience that will deepen appreciation for the complex artistry of our world and celebrate its vivid and untamed beauty. This exhibition was created by the Field Museum.

Moments in Modernismhighlights the diversity and high quality of the AGO’s modern art collection, which has been built over time by generations of museum curators and patrons. This installation will show collection strengths from artistic movements such as Pop Art, Abstraction, Realism, and Minimalism. An international approach in artistic styles will be presented, including a body of work from the AGO holdings by Brazilian artists, recognizing the global nature of modernism. A selection of contemporary works that respond to modernist movements will also be shown. Many of the artists, including Andy Warhol, Helen Frankenthaler, Jules Olitski, Gerhard Richter, and Mark Rothko are well known while others are still yet to be broadly recognized such as Tomie Ohtake, Rubem Valentim, Gene Davis and Kazuo Nakamura.A particular focus will be Canadian artists including Alex Colville, Rita Letendre, Jack Bush, Agnes Martin, Guido Molinari and Norval Morrisseau. Moments in Modernismfeatures artworks that will form the cornerstone for the expansion of the new Dani Reiss Modern and Contemporary Gallery, starting construction in 2024. The new building is being designed by architects Diamond Schmitt, Selldorf Architects and Two Row Architect to showcase the AGO's growing collection of modern and contemporary art.

Moments in Modernismhighlights the diversity and high quality of the AGO’s modern art collection, which has been built over time by generations of museum curators and patrons. This installation will show collection strengths from artistic movements such as Pop Art, Abstraction, Realism, and Minimalism. An international approach in artistic styles will be presented, including a body of work from the AGO holdings by Brazilian artists, recognizing the global nature of modernism. A selection of contemporary works that respond to modernist movements will also be shown. Many of the artists, including Andy Warhol, Helen Frankenthaler, Jules Olitski, Gerhard Richter, and Mark Rothko are well known while others are still yet to be broadly recognized such as Tomie Ohtake, Rubem Valentim, Gene Davis and Kazuo Nakamura.A particular focus will be Canadian artists including Alex Colville, Rita Letendre, Jack Bush, Agnes Martin, Guido Molinari and Norval Morrisseau. Moments in Modernismfeatures artworks that will form the cornerstone for the expansion of the new Dani Reiss Modern and Contemporary Gallery, starting construction in 2024. The new building is being designed by architects Diamond Schmitt, Selldorf Architects and Two Row Architect to showcase the AGO's growing collection of modern and contemporary art.

A prodigious collector of contemporary art, the late Phil Lind (1943-2023) was drawn to artworks that illuminated social and political histories. An enthusiastic supporter of what has since come to be known as the Vancouver school of conceptual photography, this exhibition features works by noted Vancouver-born artists Stan Douglas, Rodney Graham, Ron Terada and Jeff Wall. Complementing these lens-based works – some intimate, some large-scale light boxes, some multimedia - are paintings, photographs and sculptures by Thomas Demand, William Eggleston, Antony Gormley, Philip Guston, William Kentridge, Thomas Ruff, Laurie Simmons, Wolfgang Tillmans and Ai Weiwei. This exhibition is curated by AGO's Curator of Modern Art Adam Welch.

Moments in Modernismhighlights the diversity and high quality of the AGO’s modern art collection, which has been built over time by generations of museum curators and patrons. This installation will show collection strengths from artistic movements such as Pop Art, Abstraction, Realism, and Minimalism. An international approach in artistic styles will be presented, including a body of work from the AGO holdings by Brazilian artists, recognizing the global nature of modernism. A selection of contemporary works that respond to modernist movements will also be shown. Many of the artists, including Andy Warhol, Helen Frankenthaler, Jules Olitski, Gerhard Richter, and Mark Rothko are well known while others are still yet to be broadly recognized such as Tomie Ohtake, Rubem Valentim, Gene Davis and Kazuo Nakamura.A particular focus will be Canadian artists including Alex Colville, Rita Letendre, Jack Bush, Agnes Martin, Guido Molinari and Norval Morrisseau. Moments in Modernismfeatures artworks that will form the cornerstone for the expansion of the new Dani Reiss Modern and Contemporary Gallery, starting construction in 2024. The new building is being designed by architects Diamond Schmitt, Selldorf Architects and Two Row Architect to showcase the AGO's growing collection of modern and contemporary art.

A prodigious collector of contemporary art, the late Phil Lind (1943-2023) was drawn to artworks that illuminated social and political histories. An enthusiastic supporter of what has since come to be known as the Vancouver school of conceptual photography, this exhibition features works by noted Vancouver-born artists Stan Douglas, Rodney Graham, Ron Terada and Jeff Wall. Complementing these lens-based works – some intimate, some large-scale light boxes, some multimedia - are paintings, photographs and sculptures by Thomas Demand, William Eggleston, Antony Gormley, Philip Guston, William Kentridge, Thomas Ruff, Laurie Simmons, Wolfgang Tillmans and Ai Weiwei. This exhibition is curated by AGO's Curator of Modern Art Adam Welch.

From the Bader Collection at the Agnes Etherington Art Centre, the AGO welcomes a remarkable selection of seventeenth century Dutch paintings. Shown in dialogue with paintings from the AGO’s European Collection of Art, at the centre of this focused installation are seven artworks attributed to Rembrandt van Rijn (1606-1669), shown together for the first time. Featuring intensely observed still life paintings, detailed interiors and mesmerizing portraits, these striking artworks offer a rare glimpse of Dutch artistry at work. This exhibition is co-curated by Adam Harris Levine, AGO Associate Curator European Art and Suzanne van de Meerendonk, Bader Curator of European Art, Agnes Etherington Art Centre. This exhibition is co-organized by the Art Gallery of Ontario and the Agnes Etherington Art Centre, Queen's University.

At the dawn of the 20th century, on both sides of the Atlantic, the human mind was of great interest to scientists, scholars, and artists alike. What does it look like, they wondered, to learn and to dream? What is the shape of imagination? This installation of 13 beloved paintings from the AGO collections of European and Canadian Art brings together dream-like landscapes, portraits of children reading, and adults lost in thought, to consider the many ways artists gave form to that intangible thing – one’s interior thoughts. Featuring examples of Realist, Impressionist, Expressionist and Symbolist art, the installation demonstrates how this pursuit helped push the bounds of traditional representation.

At the dawn of the 20th century, on both sides of the Atlantic, the human mind was of great interest to scientists, scholars, and artists alike. What does it look like, they wondered, to learn and to dream? What is the shape of imagination? This installation of 13 beloved paintings from the AGO collections of European and Canadian Art brings together dream-like landscapes, portraits of children reading, and adults lost in thought, to consider the many ways artists gave form to that intangible thing – one’s interior thoughts. Featuring examples of Realist, Impressionist, Expressionist and Symbolist art, the installation demonstrates how this pursuit helped push the bounds of traditional representation.

At the dawn of the 20th century, on both sides of the Atlantic, the human mind was of great interest to scientists, scholars, and artists alike. What does it look like, they wondered, to learn and to dream? What is the shape of imagination? This installation of 13 beloved paintings from the AGO collections of European and Canadian Art brings together dream-like landscapes, portraits of children reading, and adults lost in thought, to consider the many ways artists gave form to that intangible thing – one’s interior thoughts. Featuring examples of Realist, Impressionist, Expressionist and Symbolist art, the installation demonstrates how this pursuit helped push the bounds of traditional representation.

For more than five decades, distinguished Toronto artist Louise Noguchi has been working in sculpture, installation, photography, and video. Unifying her work is a conviction that identity is not given—but constructed—shaped by events, beliefs, and circumstance. Spotlighting Noguchi’s work in video and sculpture, the AGO’s Associate Curator of Canadian Art Renée van der Avoird brings together three works from the AGO collection. Reverberating with sound, Noguchi’s looping video workCrack(2000) sees the artist performing as an assistant in a wild-west act, holding out flowers only to have them suddenly cut down mid-air by the lash of whip. Noguchi’s large sculptural installationFruits of Belief: The Grand Landscape(1986) brings together a head, a cornucopia, and a photographic reproduction of Thomas Gainsborough’s 1770s painting,A Grand Landscape, to examine our shared relationship to nature—as something real, constructed, and imaginary. By contrast, the third work in this exhibition, Noguchi’s 1990–91 mirror sculptureEden,addresses themes of surveillance and freedom, asking: are we approaching paradise, or withdrawing from it?

For more than five decades, distinguished Toronto artist Louise Noguchi has been working in sculpture, installation, photography, and video. Unifying her work is a conviction that identity is not given—but constructed—shaped by events, beliefs, and circumstance. Spotlighting Noguchi’s work in video and sculpture, the AGO’s Associate Curator of Canadian Art Renée van der Avoird brings together three works from the AGO collection. Reverberating with sound, Noguchi’s looping video workCrack(2000) sees the artist performing as an assistant in a wild-west act, holding out flowers only to have them suddenly cut down mid-air by the lash of whip. Noguchi’s large sculptural installationFruits of Belief: The Grand Landscape(1986) brings together a head, a cornucopia, and a photographic reproduction of Thomas Gainsborough’s 1770s painting,A Grand Landscape, to examine our shared relationship to nature—as something real, constructed, and imaginary. By contrast, the third work in this exhibition, Noguchi’s 1990–91 mirror sculptureEden,addresses themes of surveillance and freedom, asking: are we approaching paradise, or withdrawing from it?

For more than five decades, distinguished Toronto artist Louise Noguchi has been working in sculpture, installation, photography, and video. Unifying her work is a conviction that identity is not given—but constructed—shaped by events, beliefs, and circumstance. Spotlighting Noguchi’s work in video and sculpture, the AGO’s Associate Curator of Canadian Art Renée van der Avoird brings together three works from the AGO collection. Reverberating with sound, Noguchi’s looping video workCrack(2000) sees the artist performing as an assistant in a wild-west act, holding out flowers only to have them suddenly cut down mid-air by the lash of whip. Noguchi’s large sculptural installationFruits of Belief: The Grand Landscape(1986) brings together a head, a cornucopia, and a photographic reproduction of Thomas Gainsborough’s 1770s painting,A Grand Landscape, to examine our shared relationship to nature—as something real, constructed, and imaginary. By contrast, the third work in this exhibition, Noguchi’s 1990–91 mirror sculptureEden,addresses themes of surveillance and freedom, asking: are we approaching paradise, or withdrawing from it?

At the dawn of the 20th century, on both sides of the Atlantic, the human mind was of great interest to scientists, scholars, and artists alike. What does it look like, they wondered, to learn and to dream? What is the shape of imagination? This installation of 13 beloved paintings from the AGO collections of European and Canadian Art brings together dream-like landscapes, portraits of children reading, and adults lost in thought, to consider the many ways artists gave form to that intangible thing – one’s interior thoughts. Featuring examples of Realist, Impressionist, Expressionist and Symbolist art, the installation demonstrates how this pursuit helped push the bounds of traditional representation.

Moments in Modernismhighlights the diversity and high quality of the AGO’s modern art collection, which has been built over time by generations of museum curators and patrons. This installation will show collection strengths from artistic movements such as Pop Art, Abstraction, Realism, and Minimalism. An international approach in artistic styles will be presented, including a body of work from the AGO holdings by Brazilian artists, recognizing the global nature of modernism. A selection of contemporary works that respond to modernist movements will also be shown. Many of the artists, including Andy Warhol, Helen Frankenthaler, Jules Olitski, Gerhard Richter, and Mark Rothko are well known while others are still yet to be broadly recognized such as Tomie Ohtake, Rubem Valentim, Gene Davis and Kazuo Nakamura.A particular focus will be Canadian artists including Alex Colville, Rita Letendre, Jack Bush, Agnes Martin, Guido Molinari and Norval Morrisseau. Moments in Modernismfeatures artworks that will form the cornerstone for the expansion of the new Dani Reiss Modern and Contemporary Gallery, starting construction in 2024. The new building is being designed by architects Diamond Schmitt, Selldorf Architects and Two Row Architect to showcase the AGO's growing collection of modern and contemporary art.

An unprecedented exhibition that examines the history and legacy of Auschwitz. Created by Nazi Germany, the most significant site of the Holocaust, Auschwitz, was not a single entity. It gradually became a system of camps that combined two functions: a concentration camp and a killing centre in which some 1 million Jews— and tens of thousands of others, including Poles, Romani people, and Soviet POWs — were detained and murdered in a systematic and industrialized fashion. This powerful exhibition, which arrives in Toronto just ahead of the 80th anniversary of the liberation of Auschwitz on January 27, 2025, explores the dual identity of the Auschwitz camp as a physical setting — the largest documented mass murder site in human history— and as a symbol of the borderless manifestation of hatred and human atrocity.

An unprecedented exhibition that examines the history and legacy of Auschwitz. Created by Nazi Germany, the most significant site of the Holocaust, Auschwitz, was not a single entity. It gradually became a system of camps that combined two functions: a concentration camp and a killing centre in which some 1 million Jews— and tens of thousands of others, including Poles, Romani people, and Soviet POWs — were detained and murdered in a systematic and industrialized fashion. This powerful exhibition, which arrives in Toronto just ahead of the 80th anniversary of the liberation of Auschwitz on January 27, 2025, explores the dual identity of the Auschwitz camp as a physical setting — the largest documented mass murder site in human history— and as a symbol of the borderless manifestation of hatred and human atrocity.

An unprecedented exhibition that examines the history and legacy of Auschwitz. Created by Nazi Germany, the most significant site of the Holocaust, Auschwitz, was not a single entity. It gradually became a system of camps that combined two functions: a concentration camp and a killing centre in which some 1 million Jews— and tens of thousands of others, including Poles, Romani people, and Soviet POWs — were detained and murdered in a systematic and industrialized fashion. This powerful exhibition, which arrives in Toronto just ahead of the 80th anniversary of the liberation of Auschwitz on January 27, 2025, explores the dual identity of the Auschwitz camp as a physical setting — the largest documented mass murder site in human history— and as a symbol of the borderless manifestation of hatred and human atrocity.

Japanese-American artist Isamu Noguchi is one of the most famous sculptors of the 20th century and one of the first to try to combine sculpture and landscape design. He studied under Constantin Brancusi and Qi Baishi, and his works not only transcend national boundaries, but also transcend the dimension of time. Renée van der Avoird, associate curator of Canadian art at the Art Gallery of Ontario, focuses the exhibition on the artist's video and sculpture works, and combines three works from the Art Gallery's collection: Fruit of Faith: Large Landscape (1986), Eden (1990-91) and Cracks (2000).

Japanese-American artist Isamu Noguchi is one of the most famous sculptors of the 20th century and one of the first to try to combine sculpture and landscape design. He studied under Constantin Brancusi and Qi Baishi, and his works not only transcend national boundaries, but also transcend the dimension of time. Renée van der Avoird, associate curator of Canadian art at the Art Gallery of Ontario, focuses the exhibition on the artist's video and sculpture works, and combines three works from the Art Gallery's collection: Fruit of Faith: Large Landscape (1986), Eden (1990-91) and Cracks (2000).

Japanese-American artist Isamu Noguchi is one of the most famous sculptors of the 20th century and one of the first to try to combine sculpture and landscape design. He studied under Constantin Brancusi and Qi Baishi, and his works not only transcend national boundaries, but also transcend the dimension of time. Renée van der Avoird, associate curator of Canadian art at the Art Gallery of Ontario, focuses the exhibition on the artist's video and sculpture works, and combines three works from the Art Gallery's collection: Fruit of Faith: Large Landscape (1986), Eden (1990-91) and Cracks (2000).

As part of our annual zodiac installation, January 29, 2025 ushers in the Year of the Snake (蛇), the sixth animal in the Chinese zodiac. Those born under this sign are believed to be wise and charismatic. The snake rarely appears as a decorative motif in Chinese art and design, however, when depicted with a tortoise, the pair have come to symbolize the mythical creature Xuanwu (玄武, the Dark Warrior), later evolving into the god Zhenwu (真武, the Perfected Warrior). The snake and tortoise symbolize the interplay of power, wisdom, and harmony of nature. Experience an exquisite array of snake and tortoise-themed objects and cultural belongings in this specially curated zodiac case. Marvel at impressive ceramics, including a mythical double-headed serpent from the early 500s. This and much more are now on view in this unique display celebrating the powerful snake.

Experience Free Public Art at Union Station celebrating Black Artists & Cultural Legacy “A Transit Through Time” features a six-artist group exhibition co-curated by Union and MakeRoom Inc. as well as a special featured project by renowned artist Jordan Sook, “Nothing More Nothing Less”. The entire exhibition reminds viewers that everyone is part of the past, and we are responsible for shaping the future. Championing Black Artists with “A Transit Through Time” The featured works of artists Destinie Adélakun, Pixel Heller, Segun Caezar, Heritier Bilaka, Rico Poku and Camille Kiffin encourage exploration of the connections between the past and present, and the traditions that have shaped culture through time. They offer a glimpse into the enduring legacy and boundless creativity of Black communities. Transformative Beauty with “Nothing More Nothing Less” In addition to the group exhibition, Union has selected special guest artist Jordan Sook to present the solo exhibition, Nothing More Nothing Less, a collection of images of butterflies showcased in various mediums throughout Union for people to discover. The butterflies, containing the artist’s signature hand painted spots, represent self-expression and the joyfulness of the human spirit. Each piece merges entomology with curiosity, exploring themes of metamorphosis, transformation and evolution

Experience Free Public Art at Union Station celebrating Black Artists & Cultural Legacy “A Transit Through Time” features a six-artist group exhibition co-curated by Union and MakeRoom Inc. as well as a special featured project by renowned artist Jordan Sook, “Nothing More Nothing Less”. The entire exhibition reminds viewers that everyone is part of the past, and we are responsible for shaping the future. Championing Black Artists with “A Transit Through Time” The featured works of artists Destinie Adélakun, Pixel Heller, Segun Caezar, Heritier Bilaka, Rico Poku and Camille Kiffin encourage exploration of the connections between the past and present, and the traditions that have shaped culture through time. They offer a glimpse into the enduring legacy and boundless creativity of Black communities. Transformative Beauty with “Nothing More Nothing Less” In addition to the group exhibition, Union has selected special guest artist Jordan Sook to present the solo exhibition, Nothing More Nothing Less, a collection of images of butterflies showcased in various mediums throughout Union for people to discover. The butterflies, containing the artist’s signature hand painted spots, represent self-expression and the joyfulness of the human spirit. Each piece merges entomology with curiosity, exploring themes of metamorphosis, transformation and evolution

Experience Free Public Art at Union Station celebrating Black Artists & Cultural Legacy “A Transit Through Time” features a six-artist group exhibition co-curated by Union and MakeRoom Inc. as well as a special featured project by renowned artist Jordan Sook, “Nothing More Nothing Less”. The entire exhibition reminds viewers that everyone is part of the past, and we are responsible for shaping the future. Championing Black Artists with “A Transit Through Time” The featured works of artists Destinie Adélakun, Pixel Heller, Segun Caezar, Heritier Bilaka, Rico Poku and Camille Kiffin encourage exploration of the connections between the past and present, and the traditions that have shaped culture through time. They offer a glimpse into the enduring legacy and boundless creativity of Black communities. Transformative Beauty with “Nothing More Nothing Less” In addition to the group exhibition, Union has selected special guest artist Jordan Sook to present the solo exhibition, Nothing More Nothing Less, a collection of images of butterflies showcased in various mediums throughout Union for people to discover. The butterflies, containing the artist’s signature hand painted spots, represent self-expression and the joyfulness of the human spirit. Each piece merges entomology with curiosity, exploring themes of metamorphosis, transformation and evolution

Listen to nature’s symphony for it WILL shape our future. Step inside this cinematic odyssey, inspired by the vast natural history collections at ROM, and experience our planet through the eyes of a unique protagonist – a chimpanzee. Encounter breathtaking landscapes and diverse species that remind us that humanity is only a small chapter in Earth's expansive story spanning 4.5 billion years. A love letter to the natural world – this is a clarion call to protect and look after our Earth and everything in it. Scored by Donizetti's dramatic opera, L’elisir d’amore, the film transcends human perspective, revealing how every species, from the smallest insect to the most majestic mammal, plays a vital role in the ecosystem and nature's enduring narrative.

Listen to nature’s symphony for it WILL shape our future. Step inside this cinematic odyssey, inspired by the vast natural history collections at ROM, and experience our planet through the eyes of a unique protagonist – a chimpanzee. Encounter breathtaking landscapes and diverse species that remind us that humanity is only a small chapter in Earth's expansive story spanning 4.5 billion years. A love letter to the natural world – this is a clarion call to protect and look after our Earth and everything in it. Scored by Donizetti's dramatic opera, L’elisir d’amore, the film transcends human perspective, revealing how every species, from the smallest insect to the most majestic mammal, plays a vital role in the ecosystem and nature's enduring narrative.

Tracing Blackness through its many migrations and manifestations, the interdisciplinary artist Oluseye blends the ancestral with the contemporary and the physical with the spiritual. Inspired by merindinlogun, a Yoruba divination ritual, Oluseye presents a new installation that illustrates the spiritual, mythological, and biographical elements that have shaped his worldview and art practice. In Yoruba culture, cowrie shells symbolize wealth and prosperity and are used by diviners to communicate with ancestors and receive guidance. Paying homage to that cultural practice and his own narratives, Oluseye presents 16 large-scale bronze cowrie shells, resting atop a hand-carved divination tray.