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This rare Ming Amitabha carving is depicted a noble, compassionated standing figure with hands in welcoming mudra as he receives devotees into his Western Paradise encouraging viewers to contemplate pursue their aspirations for rebirth there.
This rare Ming/Qing wood Buddha as an infant is probably more striking than the original piece. A piece for lovers of wood, its erosion shows the random miracle of chance. Highlighted on a frosted acrylic base.
Rare wood carved Ming Vairocana Buddha, the central figure of the Five Wisdom Buddhas. He sits in unction associated with Northern esoteric Buddhist Vajrayana/Tantric/ sects. This pose reflects the concept of consecration, symbolizes wisdom, perfection and connection to the divine.
This painting presents a lively cosmic vision with a radiant eye at its center, from which divine energies seem to descend and bless a sacred human encounter. The work exudes a sense of mystery and reverence, suggesting communion between the celestial and the earthly.
In Sagittarius, the magic of the Winter Solstice is captured in the contrast between darkness and light, with deep-hued colors that capture the natural beauty and chill of the winter season.
Acrylic on Canvas
The balance, harmony and muted colors of this large ethereal painting were designed to bestow calm and inner peace upon the artist as well as the viewer.
Acrylic and Oil on Canvas
This radiant painting reflects Lark’s belief that the sumptuous beauty and healing power of the seas can bring internal and external peace as well as harmony to the world.
This Guanyin image was probably one of a pair of images along with the Taoist Queen Mother of the West (16206A-WACK) placed together on a community, local temple or home altar. Created by the same local artisan, they are provincial rather than imperial style having a humble, unadorned and simple rendering, seated on backless thrones, hands covered by a ritual cloth, uncharacteristic of Guanyin but common for Taoist goddesses. Both wear layered robes and a high pointed crown – the Queen Mother’s centered by a phoenix and Guanyin’s by a flower surrounded by symbolic aureole of radiating light. Both have soft blissful smiles with eyes cast slightly downwards to engage their devotees. Initially covered in bright polychrome colors, there are traces of surviving red, yellow, green, brown and black.
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.
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