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This rare carving of the infant Buddha with well defined features is clearly a provincial rendering that uniquely departs from traditional renderings. He holds a monk’s begging bowl as he points to the heavens and he stands on a lion’s head rather than a lotus, demonstrating that Shakyamuni Buddha is the lion of the Shakya clan. Given its small size, it was probably displayed on a home altar.
This antique Lao Buddha stands in refined dignity displaying inner tranquility and strength, hands in abhaya mudra that connotes reassurance, divine protection, and dispelling fear and signifies Buddha’s spiritual power as he bestows protection from evil and ignorance and conveys “fear not” to devotees. As typical of Lao Buddhas he is covered in gilt visually reflecting his golden skin and a finial or radiance as a flame emerging from his. His wet style Buddha robe that is smooth and graceful in its simplicity and adds elegance to the carving.
This rare elegant gilt covered Jambupati Buddha wears regal Burmese court attire with luxuriant jewelry and huge decorative flanges surrounding his multi layered elaborate faceted crown that is topped by an elongated ushnisha. Seated on a high ornate multi-tiered waisted throne in Earth Witnessing position, he looks directly at onlookers with strength and a sweet smile to emphasize his spiritual and material power.
This serene exquisitely carved Guanyin sits on a plain detached pedestal base in the lotus position in meditation, hands in her lap wearing a traditional undergarment tied at her chest that extends over her legs and is covered by a long-sleeved flowing outer garment that flows over her shoulders, loops at the waist, and drapes down her back. Delicate incised leaves within caved circles enhance the robe at the knees, and other leaf motifs appear on the front, back, and sleeves of the robe. The deeply carved folds on the arms and rounded garment hem echo the curvature of her body. Her gentle, sweet face is soft and smooth with very high eyebrows arched over downcast half-closed eyes and above a narrow and small nose and her red pursed lips are set in a peaceful and calming half smile. Her high pointed crown depicts the Five Tantric Dhyani Buddhas. This is truly a remarkable carving.
This elegant gilt covered Jambupati Buddha is seated in Burmese court attire in the earth witnessing mudra, one hand in his lap and one reaching over to touch the earth. The dazzling gilt covering his body, elaborate faceted crown with huge decorative butterfly flanges, small multi colored cut glass inset “bejeweled pieces” on his kingly garment and waisted multi-tiered throne emphasize his royal and spiritual status. He looks directly at onlookers with confidence and a slight smile to emphasize his spiritual and material power
This superb, colorful and rare carved Buddha is seated in the teaching vitarka-mudra. His delicately carved serene face has a benevolent and compassionate expression with half-closed almond shaped eyes and a brightly painted bud shaped mouth with a slight smile. The slender and elegant body appears to float above gracefully flowing robes in deeply carved swirls reminiscent of clouds. The white skin tones are emphasized by the multi-colored robe with hues of cinnabar, cobalt blue, pastel green, and black. The fine features of the face, excellent rendering of the body, and exquisite execution of the drapery make this a truly impressive and striking image. Given its size and masterful carving and its evident importance, it should hold a place and be revered commensurate with its spirituality and artistry.
This fine extremely rare Ming/Qing carving depicts Shakyamuni Buddha in meditation made from fine dense wood with much of its iridescent pigmentation. He is masterfully carved with a serene, benevolent and pensive expression with downcast eyes below arched eyebrows, and a slightly smiling mouth, tightly coiled curls surrounding his ushnisha, and his pendulous ears frame his rounded face. His plain but elegantly carved monks robe leaves his chest bare and extends over his shoulders and to his back. This is a small yet very powerful image.
Known as the Laughing, Happy, or Fat Buddha, Budai is regarded as a deity of contentment and plenty. Like most Early Chinese Republic porcelains this piece is hand decorated in famille rose enamels with vivid blue, red, and green pigments portrayed as a stout, smiling, bald monk in robes with a large, exposed pot belly surrounded by five children. Since the stomach is considered the seat of the soul in Chinese beliefs, it demonstrates his open heartedness. His wide smile attracts the children surrounding his body indicating his regard for them and his joy when they encircle him and well as the belief he can bequeath families with children.
This wonderful gilt metal antique Tibetan repoussé image portrays Buddha in earth witnessing mudra (hand touching position) under a trefoil arch at the moment of his enlightenment. Mounted on an L-shaped wood stand, it is in excellent condition. This 17th century Tibetan work was decommissioned and subsequently purchased by us from the Los Angeles County Museum of Art.
This beautiful Guanyin is carved in the rural Popular Religion tradition, far from imperial influences: a modest, compassionate and humble deity with a simple “crown” of lotus leaves holding her flat bun and unadorned robe with flowing sleeves extended to the top of her plain pedestal lined with simple leaves. Her face is extremely empathetic with a slight smile. She sits in lalitsana, tenderly grasping her child who seems to mirror the posture of the infant Buddha. Most of the original gilt, lacquer and pigment covering the front and back that symbolize her enlightened status remain. Given its size and elegance it was probably on a home altar of a well to do couple desirous of having a (male) baby.
This finely carved seated Lohan from Fukien Province has a characteristic serene expression of inward concentration and is seated on a backless plinth, hands in meditation and legs in padmasana. His oversized head and pendulous ears symbolize his wisdom as an enlightened being, and his angular face with deeply set heavily lidded eyes, protruding cheekbones, pursed lips, and a strong chin indicate his strength as a Lohan. An elaborate robe with wide sleeves is draped over his shoulders, arms, and legs and his sash is pulled through a wide shoulder ring indicating his status as a Lohan.
Given that this image of the infant Buddha is missing both arms it is remarkable that it is remains a powerful yet charming sculpture. Created by a skilled rural artisan from one dense piece of wood, this rare statue of the the young Buddha is a humble child in a relaxed and confident stance with a youthful torso, a round head, bent legs, wearing a modest waist-cloth and standing on a small plain round base.
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