Showing 397–408 of 409 results
Made from wool and natural dyes this small vibrant vintage carpet square can be used for meditation, an accent piece or hung on a wall. The center has 4 stylized bats, the ultimate symbol of good luck, blessings, happiness and riches.
Deeply set cut-out eyes and mouths are traditional for West Timor ancestor masks as are few, none or menacing teeth. They are rare and often have hair on animal hides on the upper lip, brows and head. Often looking threatening with stark features, their black color, teeth and often lack of balance scare off malevolent and evil spirits. Storing them in the rafters above the house hearth accounts for their smokey black color. Timor Ancestor masks have an earthy expressive presence and a raw spirit.
Timor’s religion has been described by Barbier as ritual exchanges between persons and social groups with their ancestors and fertility spirits. Timorese believe they can be upset by wicked forces, sickness, infertility and other forces, but particularly by the failure of the living to make suitable sacrifices to ancestral spirits. The departed protect and bring prosperity to the living as long as they are honored properly, so there is a close reciprocal link between the deceased and the secular world. Ancestors mediate between the living and the unseen world for living relatives. Their masks are used in animist veneration rituals, protective ceremonies and ritual dances or ceremonies tied to fertility, harvest, or funerary rites Besides masks, the living s are obliged to carve ancestor effigies to honor departed souls for them to occupy and rest in during their village visits. Many ceremonies usually occur in a house room known as “the womb” where a pillar supports beams rising up to the roof struts. This functions symbolically as an axis mundi (the center of the world or cosmic axis) that connects heaven and supports a simple altar above the floor to hold religious artifacts, protective fetishes and charms to ward off evil. So masks, effigies and fetish objects are protective and magic objects used throughout Indonesian islands in. Timor masks were rarely seen in the west until the mid-1970s.
Vintage coin silver Star of David, symbol of Ethiopian Orthodox Church, worn by Falasha Ethiopian Jews, descendants of King Solomon and the Queen of Sheba. Cross centered in star. Top circle on bar is Coptic prototype of Egyptian ankh atop a Latin cross.
Vintage bivalve mold figures like this cow were hand luted and hand painted, in the likeness of Hindu religious figures, soldiers, animals are used in rural India where they are seen as wishes for a better life.
Vintage Indian terracotta policeman bivalve mould made, hand luted and painted in rural India terracotta considered spiritual and auspicious as it incorporates five natural elements of air, fire, earth, water and metal.
Earthenware terracotta pottery has played a significant role in the cultural, religious and artistic traditions of India for centuries. Indian terracotta images are considered spiritual, mystical and auspicious as Hindus believe terracotta incorporates the five natural elements of air, fire, earth, water and metal. Made with a bivalve mould that is hand luted and hand…
This colorful terracotta image of Shiva and Parvati is aniconic (symbolic) and figurative. Shiva’s is a symbolic lingham (phallus) and Parvati a deity. Together they represent the union of masculine and feminine, thus all existence
Vintage mask of a king made by Balinese carver on island of Lombok blending Hinduism and animism. Mounted on museum quality stand.
Mask carving is among the oldest of Tibetan art and folk-art forms dating to 6th century Bonpo dances, the religion predating Buddhism, that embraces animism and shamanism dances. Totem animal masks were traditionally used in sacred ceremonial dances: shamanic rituals to thank the gods, expel bad spirits, and ask for blessings; operas in performances without…
Vintage “crowns” called an ile ori the “house of the head,” were cowrie shell shrine made to show gratitude for and recognition of the power of the head and manifest Yoruba ideas of individuality and authority. Not meant to be worn they are often placed on altars for prayer and divination and can be a symbol of a Yoruba deity. This headdress with an impressive design was included in the San Francisco International Airport, “Crowning Achievements” exhibition in April-August, 1994. It comes with a Lucite stand.
The creation of renowned French-American multimedia artist and sculptor Pascal Giacomini, Giaco Guitars™ sculptures are uniquely playable works of art highly prized for both their musical and artistic merits. Technically, they are hybrid oil-can, solid body electric guitars.
This spectacular item, “Vynila, The Queen of Blues,” incorporates one of Giacomini’s original guitar sculptures into a much larger work of 3-dimensional art that celebrates the legacy of blues and rock music in a strikingly imaginative figure.
The sculpture is structured to resemble a regal figure, a queen, adorned in a “gown” crafted from layers of vinyl records. Each record is stacked circularly, forming a layered skirt that represents the depth and timelessness of musical history. Metallic discs above the vinyl skirt add a reflective quality, catching light and bringing an element of modernity and shine to the piece. Draped within the records is a shimmering blue-green fabric that adds a sense of movement and elegance, evoking the emotive power of the blues genre.
The torso of the figure is fashioned from a guitar neck, crowned with a mix of cello halves that form shoulders or wings, adding a symphonic quality to the figure. Hanging embellishments from beaded elements accentuate the sculpture, suggesting jewelry or adornments fit for a musical “queen.”
The headpiece of the sculpture is a Giaco Guitar—the Sunoco Guitar (01/100)—featuring a vintage oil can from the 1940s that ties in a classic blues theme and reinforces the idea of an homage to the past. The overall sculpture is a fusion of musical artifacts transformed into a powerful, iconic figure that celebrates the soulful and timeless essence of blues and rock music, embodying the spirit of a “Queen of Blues.”
Specs for the Sunoco Guitar component of this sculpture include:
Painted wooden sarcophagus masks like this adorned the sarcophaguses of mummified individuals, serving both a protective and spiritual function in Egyptian burial rites. Crafted with beautiful stylized features, it dates from the Late Historical Ptolemaic Period (600-30 BCE).
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