Showing 109–120 of 137 results
Large provincial Guanyin is natural and modest rather than idealized in relaxed lalitsana pose. Remarkable oversized crown centered with rustic Amitabha on a lotus with pointed aureole. This personalized depiction is a charming, innocent portrayal of a spiritual subject.
The Mid Autumn Moon Festival, also called the Mooncake Festival, is the 2nd most important holiday after the Chinese New Year, celebrated when the full moon is at its brightest point on the 15th day of the 8th month of the lunar calendar. It is a time for multi-generational gatherings when families dine together in harmony,…
This Queen Mother of the West, the highest ranking female Taoist deity was probably displayed as a pair along a statue of Guanyin, the most significant Buddhism female (Guanyin on a Lotus Pedestal (16206B) highlighting the importance and similarity of these revered female images Like the Guanyin, the Queen Mother’s delicately carved face has half closed eyes, serene composure mouth with a hint of a smile, which is more Buddhist than Taoist. Her headdress, centered by her iconic phoenix, rests under a hood extending to her shoulders and back. She wears a high collared three-layered Taoist robe, her hands covered by a ritual cloth.
Produced in Thai kilns in the 14th to 15th centuries, Sawankhalok glazed stoneware lidded bowls were distributed through southeast Asia along with a variety of larger and smaller items. Lidded bowls like this were used to store many things, especially spices, powders and cosmetics, betel nut chewing materials, and medicine. This bowl rests on a thick foot, has a lid with a brown lotus bud handle and covered with decorative panels of underglaze brown crosshatch and vegetal scrolls.
This large rare vibrant carving is the Taoist Deity of fertility Niangniang (“The Maiden Who Brings Children”) is often confused with Songzi Guanyin. Represented as an empress like figure, she glances serenely at 3 diminutive children, 2 males and a female extending their arms for protection. Stunning and peaceful, it is covered with gold highlights with intricate details.
This traditional African hammered iron gong is elegantly shaped like a flaring bell. Heat riveted, a forging process joining two metal pieces together, it was made by Congolese tribal people. Made with 5 parallel lines of 5 decorative round bulges on both sides, it was often held using a raffia handle and beaten using sticks covered with rubber at its end. Originally a ritual instrument, they were also beaten to call members of special restricted societies to meetings and were a symbol of wealth, prestige, and influence.
This exceptional naga was one of two that comprised a gong stand. Gongs were used in Burma for both ceremonial and musical purposes in religious, state, or secular settings. A protection figure, this naga is a superb carving elaborately decorated with gold lacquer and pigmentation. He opens his mouth wide bearing mother-of-pearl teeth and a curled blood red mouth and tongue to drive away malevolent spirits, also reinforced by the large glaring eyes circled in red. On first glance it is menacing, but its history as a protector of Buddha Shakyamuni make it prized as a fanciful, gleeful guardian. His scales are arched relief designs of mixed lacquer and ash and they are highlighted with inset cut mirrors and green sequin-like glass “jewels.” It is mounted on a museum quality stand and is in excellent condition for its age and use despite missing an ear.
This rare magnificent image of Buddha Shakyamuni is represented in meditation position called Ch’ien Pai Yi Hua-shen (the Hundred Billion Human Manifestations) in Chinese, the position the Buddha assume while seeking enlightenment under the Bodhi tree. Thumbs touching at forming a triangle symbolizing the Three Jewels of Buddhism.
Framed Acrylic on Archival Board
This radiant painting displays Lark Pilinsky’s fascination with spring, the season of rebirth and regeneration made by applying paint from the tube and scratching it across the canvas.
Small Framed Acrylic Painting on Wood Panel
This small spirited painting is from Lark Pilinsky’s California Shores series which celebrates the power and energy of nature in the convergence of sky, ocean, land and sun.
Collage of Acrylic with Mixed Media of Found Objects
This vibrant collage was inspired by a European concert Lark Pilinsky attended with her husband, where the violin player smashed his instrument on the stage, possibly imitating Pete Townsend, lead Guitarist for The Who. This work draws directly from her love of these elevated musical experiences.
This charming oil lamp is decorated with auspicious symbols: Fish symbolize harmony, marital happiness and double fish mean “may there be abundance.” The oil cup is a lotus seed with a lotus leaf, symbols of a harmonious and fruitful marriage and also mean “the continuous birth of sons.”
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