Showing 1–12 of 61 results
This finely shaped red clay earthenware piece is less typical than other Roman bowls. Its thin walls are taller and lighter, and a red band circles it and angles inward a bit on the inside.
This two thousand year old heavy wine vessel called a Hu is covered in a dark-green lead glaze used often during the Han dynasty for burial items called mingqia variety of which were placed in tombs to provide comfort to the deceased in their afterlife. With a characteristic elegant hu shape, it rests on a wide foot and rises to a minimally decorated globular body with low relief horizontal bars, a wide tapering neck and is topped by a wide flaring bowl-like mouth. Its underside, like most, was left unglazed.
This thin-walled ancient Roman vessel is a beautiful work of art. Its has a delicate piriform (pear-shaped) body and fine relief designs of a rosette, lion and palm leaves surround it.
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, as he is the lion of the Shakya clan. Given its small size, it was probably displayed on a home altar.
Japanese cast iron tetsubin teapots like this have traditionally been used to boil water for the Japanese Tea Ceremony. With its large handle, rounded shape, pitted surface and rare ornamental temple-shaped knob it would enhance any kitchen and be a wonderful gift of any tea lover.
Japanese cast iron Tetsubin tea kettles have been prized for their health benefits and zen simplicity since they were introduced 400 years ago. This elegant antique kettle has a scalloped top, curved handle and contrasting textures and simple designs on its lid with a lotus shaped knob. This kettle would enhance any kitchen décor and be a wonderful gift for any tea lover.
This charming fanciful vintage underglaze blue and white porcelain pillow has added hand-painted green and red florals, fruits and vases in relief within framed geometric borders of blue cobalt oxide pigment. The top curves in the center to cradle the neck for comfort and flares outward. The front and back sides have charming painted relief images of vases on the front and fruit on the back. The top and bottom have seals applied to Chinese antiques indicating they were approved for export. There is a slight chip on the front, otherwise it is in excellent condition.
This charming female figure with a sweet smiling face is a female Taoist priest wearing plain priest’s robe and an unusual headdress centered with a phoenix, the Chinese “king of birds” holding a ceremonial Hu tablet often carried by Taoists priests to indicate their power and status and their presence before a Taoist deity. Although there are few carved images of female Taoist priests, from its inception Taoism was very compatible with feminine characteristics and ordained them as priests.
This five-sided Shiwan stoneware pillow with slanted top, open bottom, vibrant glazed surface, and etched coin and diamond design was used for smoking opium as the cool shell cradled the users’ heads and necks and offset the warmth of smoking and the hollow inside stored valuables. We have another which can be paired with it. If a candle is placed inside it emits an amazing shadowy form of a coin, which appealed to those in an opium state.
This beautifully carved God of Wealth (Caishen) is portrayed as are all Taoist deities as an authoritative figure, right hand firmly placed on his knee and left hand holding a tael. His outer robe has decorative borders down the front and carved coins at the shoulders, stomach, and an undergarment is gathered with a floral designed tasseled cord. His well-defined face with incised wrinkles and long beard has a benevolent expression with rounded cheeks and an open mouth, topped by an elaborate official’s hat with ribbon-like extensions. Very fittingly, it is painted with red and gold both associated with wealth.
In this provincial carving made for personal use, Guanyin the Bodhisattva of Compassion who hears the cries of all beings, sits in meditation with flowing robes, half closed eyes, a round face and a slight smile, the embodiment of loving-kindness. Her 5-lobed crown is centered with radiating lines symbolizing the aureole of the Amitabha Buddha of Infinite Light.
This dark wood carving is a Guanyin manifestation called “white hooded,” “white clad” or “white robed” Guanyin derived from the many paintings where she is clad in white. Although wood carvings usually portray her clothed in red, this finely carved version of her is covered in a thick lacquer coat that darkens naturally over time and darkens even more when honored on a home altar with daily prayers and offerings that include smoky candles and burning incense.
End of content
End of content
