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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 remarkable figurine is Guanyin on her mythical mount, the Hǒu, guardian master of the universe and model for righteousness and morality who symbolizes bringing forth peace and prosperity.The round orb in its mouth representing a pearl can be rubbed for good luck. It is one of our most unique and favorite Buddhist statues, mounted on a frosted Acrylic stand.
This earthenware brick tile bordered with a deep scalloped frame depicts a vase with a bouquet of propitious flowers: a chrysanthemum and a peony wrapped with an elegant ribbon. Tiles like this were made to decorate the large numbers of buildings created during the prosperous Song dynasty and to adorn tombs. This elegant brick is in good condition for its age with expected chips and cracks, some restoration of background and a re-glued frame break on each side. It has earth adherents from its burial in a tomb.
This finely hand-painted rectangular porcelain cobalt blue and white box with underglaze designs was used to store ink cakes as part of an assortment of prized items on a Chinese scholar’s desk. The cover is painted with bindweed designs, wave-like curved lines usually indicating water, and a fanciful bat’s face inside a continuous geometric meander or fret pattern. The box sides are covered with bindweed, spirals, and circles, and although circles and round shapes are usually associated with or represent heaven, these seem strictly decorative. There are traces of red, brown, and black ink inside and on the edges of the unglazed portions and rough and stained areas on the unglazed portions of the box and wear consistent with and demonstrating its age and use.
This Nanhai Guanyin (Guanyin of the South Sea) sits in her cave on Putuo island in the South China Sea with most of her traditional features. She is portrayed as White Hooded or Clad Guanyin with her hair in a bun covered with a short hood seated in royal ease (lalitsana) with her right hand…
Early Christianity oil lamps were also seen as a symbol of light and a manifestations of the presence of the divine.
This Roman ceramic flagon is a uniquely shaped vessel used to store and pour potable liquids. A crème slip carinated jug with a high profile and a trefoil pouring spout, it has a strap handle attached from the carinated edge to just below the rim for easy handling. Roman coarse wars like this were use for liquids and to make offerings to household deities.
The shape of this elegant carinated ancient earthenware pouring vessel used to hold and dispense potable liquids: water, wine and other drinks. They were used to hydrate everyone including laborers, field workers, ship-rowers, army personnel and people in their homes and were placed wherever they were needed.
This antique coconut grater is a very practical multi-use creation designed to cut, grate, shave, husk, and shred coconuts and large fruits and vegetables. Some were carved as crouching rabbits and others like this were realistic renderings of small mammals. Its decorative appeal includes lovely 6-petal flowers above its four legs and elegantly curved and metal piece extending ” W:from its mouth. With its warm and rustic feel, it would be a unique decorative addition to any kitchen and an interesting conversational piece.
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.
Hindu prayer bell used in a temple or home altar for daily puja rituals. Topped by a pair of Garudas and sheltered by Nagas who are natural enemies, but when represented together symbolize peace and serenity of the prayer bell sounds.
Each of this whimsical gold and red-burgundy lacquered pair of male fu lions sits erect on a high pedestal heads thrown back with flaring ears, bulging eyes, decorative stylized manes and a small bushy tail. Their spirituality is displayed by the pair silently emitting the blessed mantra “aum”: the open mouthed lion forming an “au,” and the other completing it with a closed mouth to form “mmm.” The workmanship on these pieces is masterful, although rustic and provincial, and they are rare with their Buddhist symbolism and because most pairs of fu lions pairs were lost during China’s modernization.
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