The hand-modeled, terracotta, wheeled figurine of a bird with a ram's head was excavated from an archaeological site in the Indus Valley called Mohenjo-daro, a city that flourished between 2600 and 1900 BCE. Museum curators added the wooden axle attaching the wheels to the body as the original had not been preserved. Excavations from sites in the Indus Valley included many figurines made from terracotta, some of which were clearly for entertainment, including whistles shaped like birds, small animals with moveable heads, and toy carts. Such figurines are about 2.5 inches (ca. 5 cm) in length.

These photographs are included in an archive with over 600 images all taken by U.S. airman Glenn S. Hensley in 1945 in various locations where he was stationed. The island of Akyab in the Bay of Bengal, which is called Sittwe today, was occupied during World War II, first by the Japanese, then, in 1945, by the British and the Americans. It was a strategically important airfield from which supplies could be airlifted into Burma. These are two of a series of photographs documenting four different ways in which children pounded or ground grain for use. These small children wielded heavy hardwood implements for hulling rice or grinding grain. The tools have a timeless quality and show obvious signs of constant use. Similarly, the chores that the village children carry out in these images, and drawing water in others, were typical children's activities.

Hensley served the U.S. Army as a professional reconnaissance photographer. He and other American photographers Robert Keagle and Frank Bond had access to darkroom facilities, and often accompanied one another on photo excursions among civilians, so that each man's archive contains shots of the same scenes and people. For this reason, it is likely that wherever they went, "everyday" scenes took on an extraordinary quality for the people depicted. The archive, according to Hensley, was created and shipped to the U.S. for his wife to use in teaching world history courses in Missouri during World War II.

The photographs depict a Hindu cremation site, or burning ghat, in the city of Calcutta in 1944. The first photo shows the men of the family, including the deceased's sons, seated in front of the corpse, which lies shrouded and bedecked with flowers on a bier. The child sitting on one of the men's laps at the head is the youngest son, a child of no more than 4-6 years old. The photographer, U.S. airman Robert Keagle, stated that it was the duty of the youngest to light his father's funeral pyre. In the first photo the boy is wearing a shirt and some form of waist covering. In the second photo, the boy's head has been freshly shaven and he wears a white loin cloth. The photographer's annotation states that the turbanned man assisting the young child is his grandfather. The photographs are two in a series of over a half-dozen photographs taken on the same occasion by three different servicemen. This fact requires the viewer to imagine what is outside the camera's viewfinder; at least three foreign servicemen in uniform are snapping pictures of the same solemn scene, which appears to proceed as if no outsiders were present. Further, the photographer's annotation states, “Family assembles for photo with deceased relative before cremation at burning ghat.” The presence of the foreigners may have added a very untraditional element to the ritual occasion. We do not know whether the family received a print of the photos. These U.S. servicemen were stationed in South and Southeast Asia during World War II, were reconnaissance photographers for the military who often accompanied one another on photo excursions among civilians, and had access to darkroom facilities. Keagle stated that the prints were shipped home to the United States as personal possessions of the photographer.

The finely detailed miniature painting in an album created for the Emperor Jahangir (reigned 1605–1627) of the Mughal Empire in India shows a ceremony initiated by Jahangir's father, Akbar the Great (reigned 1556-1605), Jahangir's father. Twice each year on the first day of the solar and lunar years, at an hour calculated by the court astrologers, the emperor himself or one of his sons would be weighed in a great balance against gold, silver, or other metals to be given away to the poor as charity. In addition to the precious metal, trays of textiles were laid out on a cloth to be given as gifts. The ceremony was witnessed by attendants of the court and other dignitaries, while religious officials held the ropes of the scale and recited blessings and prayers for the son.

The boy on the scale in this painting is Khurram, who became Shah Jahan (reigned 1628-57), builder of the Taj Mahal. The emperor may have chosen to weigh Khurram to commemorate a milestone in his life, important in a time of high infant mortality, or it might have indicated his status as heir apparent. The ceremony took place in a pavilion, or gardened canopied space. The wealth of the Mughals was displayed in the form of precious items from China and rich Persian carpets, couches, and clothing. This may have been a part of the ceremony or an artifice of the painter. The association of charitable giving with children and birth is a custom that goes back to the sunnah, or practice of Prophet Muhammad, when charity was given at the aqiqa, or feast in celebration of childbirth. The child's hair was cut and an equivalent in charity was given away. The practice of bestowing textiles, or robes of honor, was also one associated with Islam for centuries, in which it was customary for heads of households or officials to present those under their authority with suits of clothing at holidays.