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One of the most popular Mahayana Pure Land Buddhism depictions of Guanyin, especially during the Ming and Qing dynasties, is Nanhai Guanyin shown here symbolically on a stylized rocky outcrop…
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.
Manillas were commonly used by the Yoruba in the Coastal regions of Nigeria and along the Niger River. This thin simple round C-shaped manilla is decorated with incised linear designs on the outer round surface: it is centered on the top with parallel zig zag lines between a set of four parallel indentations which frame it. Each end also has zig zag indented striations. Simple, yet elegant, the bracelet is in very good condition, with normal wear, and pitting that verify its age and use. It comes with a wood metal stand.
Utilitarian kitchenware was an integral part of a communal feast called a potlatch, a traditional feast central to many cultures of indigenous peoples of the Canadian Pacific Northwest Coast including the Haida who have existed for over 17,000 years. This antique thin, large and elegant, and boldly decorated Haida spoon is well designed with motifs like the whale’s tail, the eye, and a feather that imparts great visual and symbolic strength. The style and coloring of Northwest Coast Canadian art is so bold and unique, their pieces are readily recognized.
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 rug was made in China for Vajrayana/Tibetan Buddhists who were taught this form of Buddhism by Tibetan monks invited there to teach Tibetan Buddhism. Rugs like this were made…
Most jauk keras (strong, scary) masks of a giant are often red or orange to reinforce a volatile dance with jerky movements. This jauk manis (good, sweet) mask dance is a more controlled, regulated and enacted with more calm and human movements. Personally collected in Bali in the 1970s, it is in excellent condition with expected minor scratches and paint losses.
This mid 20th century Buddha Shakyamuni in Earth Witnessing position is carved in rural Lao style. Covered with gilt, the small rustic and simply carved image follows Lao artistic canons for depicting a Buddha: a curved hairline and high arched eyebrows that meet at the bridge of the nose, distinct hair curls, long ears, and a flame-shaped radiance emerging from his ushnisha. Its very large base is as tall and wide as the image, reflecting Laotian beliefs that a high pedestal reflects a deep respect for the Buddha. A base has been added for display purposes. Authentic old Lao images, even small personal ones like this, are difficult to find.
This mask (Topeng Begul) reflects two themes in Javanese mask theater: it is comical, foolish and ludicrous with a silly bulbous clown nose and also a demon with animal teeth, fangs, bulging eyes and a stark black and white design. “Jatiguwi” is written on the inside of the mask identified by the Javanese merchant who sold it in the 1970s as the clown’s name that we were not able to confirm.
Masterfully carved, this Nanhai Guanyin sits in lalitsana holding a scroll representing the Lotus Sutra. This finely sensitive provincial carving portrays her as a modest mature compassionate goddess in serene repose, with a delicate face half-closed almond eyes, pursed lips, and full cheeks. Mounted on a frosted acrylic base, it is a wonderful carving to enhance any meditative space.
This cabinet painted in auspicious red and gilt with block feet and a scalloped apron is especially charming with front door panels decorated with raised rectangular registers bordered in black and gilt and a bottom drawer with original metal pulls decorated with painted florals. The ornate side panel has two small and one large deeply carved registers: the bottom two registers have floral images: one has a peony, and the other is a couple under a willow tree.
Chinese Republic ceramic parrots are commonly depiction as this one perched on an open rocky base. Porcelain parrots were produced for the domestic and export markets and sometimes sold in pairs leading some to believe they, like pairs of fish, symbolized the love and fidelity of married couples. This one has vivid polychrome colors, large eyes and stylized wings. This piece is in excellent condition.
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