Showing 157–168 of 186 results
Most jauk keras (stong, 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 fine antique Javanese mask is in the mannered decorative style of the Javanese court in Jogjakarta. His age is expressed in the exaggerated facial structure, the decorative wrinkled skin pattern on his face, the toothless expression of his mouth and his extended chin. Considering its age and use, it is in very good condition with paint-flake losses. Possibly owned by a mask dancer before it was personally collected in Jogjakarta in the 1970s, it would be unique addition to any mask collection. It was featured in the original Spiderman 2002 movie along with the Timor Ancestor Mask (1203) and the Dyak Ancestor Mask (1314) in the collection of the Green Goblin and comes with a museum quality metal stand. The three masks look spectacular together.
This traditional Patih (minister) Keras (hard, strong, forceful) Balinese mask is deeply carved, and his huge red lips symbolize a tough, intense, easy to anger but powerful man in a position of prestige. Exaggerated facial elements of large bulging eyes, a powerful stare, huge, bright red lips and a thick animal hair/hide mustache indicate his internal strength as a trusted minister carrying out his king’s wishes. This mask was personally collected in Bali in the 1970s and is in excellent condition with minor scratches and losses consistent with age.
Originally mounted on the wood stick between his legs and now inserted to its acrylic stand, this vintage male doll is an attendant offering a huge peach. His large oval head is almost bald and his black hair remains only in a small patches on the sides of his head. He wears a typical colorful folk-art Chinese dance costume: bright red shoes, yellow pants, a greenish-blue coat with florals, a high sequined yellow belt, and a wide blue sash outlined with silver and gold thread and colored 5-petal silver sequin plum blossoms hanging down to the base evoking a wish for the Five Blessings or Happinesses. It is in very good condition with expected wear and minor paint losses and charming spotting on the face.
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.
Topeng Dalem is a mask of an idealized, refined and upright model of a historical Hindu King and is usually a white mask, the color of purity. The dance presents actions and gestures validating the traits of a good king: grace, poise, dignity and refinement. This piece is well carved, balanced, in fine proportion and the crown, the triangular third eye and the animal hide and hair eyebrows and mustache are well integrated as is the mask’s pleasant smile. It is in very good condition with a wash applied as a patina to make the mask look older. It was personally collected in Bali in the 1970s.
A traditional Balinese mask, this is a refined and idealized model of a Hindu king (dalem) and is usually white, the color of purity. The mask and dance portrays the actions, traits and gestures of a good king having grace, poise, dignity and refinement. Well carved and balanced, it has fine proportions and the crown, animal hide/hair, eyebrows and mustache are well integrated to present a confident king. Personally collected in Bali in the 1970s, it is in very good condition with a wash applied as a patina to make it look older.
Dalem is an idealized and refined mask (topeng, tapel) of a model Hindu King from Bali and is usually white symbolizing purity. The mask and dance present actions, postures and gestures validating the traits of a good king: grace, poise, dignity and refinement. This piece is well carved, balanced and in fine proportion, and the crown and the animal hide and hair eyebrows and mustache are well integrated in portraying the king’s confidence. It is in very good condition with a wash applied as a the mask to make it look older. It was personally collected in Bali in the 1970s.
Click here for the blog Indonesian Dance Masks (Topeng): Spiritually Connecting the Community
This mask is patih keras, a strong king’s prime minister in orange symbolizing a tough, intense and powerful person reinforced by his large bulging eyes, powerful stare, red lips and full black moustache. Personally collected in Bali in the 1970s, this beautifully carved mask is in excellent condition with a wash applied on the back to make it look older.
This fine, deeply carved and painted Balinese mask is the king’s strong prime minister (patih keras), a position of prestige usually filled by warriors of the second Hindu (ksatrya) caste. The large bulging eyes increase the power of his stare and the outsized thick bright red lips symbolize his intensity. This mask was personally collected in Bali in the 1970s and is in excellent condition with minor hair loss on the eyebrows.
This fine vintage historical ethnic Balinese mask is Kebo Taruna. the powerful Balinese minister (patih) feared by Gaja Mada the brilliant Javanese “Elephant General” who brought the Indonesian Hindu Majapahit Empire to its peak and conquered Bali in 1343. His peculiar half-smile, forceful eyes and angular nose are carved to complement his intense expression, make it look more forceful and add energy to the mask. These features describe the minister’s power and confidence. Finely carved and embellished with animal hide and hair for his mustache and eyebrows, this mask is in excellent condition.
Click here for the blog Indonesian Dance Masks (Topeng): Spiritually Connecting the Community
Made in Pagan this miniature hsun ok demonstrates the remarkable sense of design of Burmese wood-carvers. It is crafted in two separate parts and replicates the shape of larger hsun-Ok, which traditionally have covers with spired lids topped by elegant finials that imitate the soaring outline of Burmese stupa finials. This modest piece is composed of circular tiers repeated on the foot and the bottom part of the stupa finial top.
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