Showing 253–264 of 314 results
Ink is produced in hard sticks in China and is ground up on an inkstone with the addition of water. Along with paper, ink stones, and brushes, ink is regarded as one of the Four Treasures of Literary Study which were part of scholar’s accouterments (Welch, p. 264). Red ink is used for Chinese chops…
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…
Antique hand-crafted kitchen-accessories and tools and other objects such as coconut cutters are examples of the artistic skills of Thai carvers to transform functional and utilitarian objects into attractive decorative pieces. Coconuts are ubiquitous in Thailand, used for all aspects of Thai life: coconut milk and meat are staples in traditional Thai dishes and are…
Irvin identifies Guanyin and the Queen-Mother of the West as two of three of the Great Chinese Goddesses, all who were imperially sanctioned and revered by all sectors of society with small local shrines, large temples and monasteries dedicated to them. They are syncretic deities embraced by Popular Folk Religion, Taoism and Buddhism, share the…
This fine rare Ming/Qing carving depicts Shakyamuni Buddha in meditation is made from fine dense wood with much of its iridescent pigmentation. He is masterfully carved with a serene, benevolent and pensive expression wearing plain but elegantly carved monks robes. This spiritual piece is a small yet very powerful image.
The Mid Autumn Moon Festival, also called the Mooncake Festival, is the 2nd most important holiday after the Chinese New Year, celebrated when the full moon is at its brightest point on the 15th day of the 8th month of the lunar calendar. It is a time for multi-generational gatherings when families dine together in harmony,…
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 at her cave at Putuo in meditation (dhyana), legs in padmasana under her robes, flanked by twisted columns one topped by a vial placed on…
Irvin identifies the Queen-Mother of the West as one of the three Great Chinese Goddesses who all were imperially sanctioned revered by all sectors of society. All are syncretic deities embraced by Popular Folk Religion, Taoism and Buddhism, share the feminine principles of compassion and are protectors who grant health, long life and safety in…
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 both for domestic Chinese use and for export to Tibet. Made from wool and natural dyes, this fringed small square has a cotton foundation and…
The Chinese Republic (1912-1949) was established after the downfall of Qing Dynasty and imperial kilns were taken over by private porcelain production complexes that preserved the late Qing quality and integrated Western influences while creating stylistic advances, a colorful aesthetic, and unique shapes and styles. Republic Period and later 20th-century porcelains are recognized for their…
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.
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