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In Babayan’s native Armenia, autumn is celebrated as a golden time of reflection, with shinning sun, fresh air and multi-colored leaves. The painting expresses the season’s tension between decay and beauty with delicate, swirling strokes that evoke both transformation and stillness.
This lyrical and radiant painting captures the energetic dance of summer and nature in full bloom. With swirling marks, dynamic color and movement, Anush memorably celebrates her favorite season.
Most small utilitarian pottery jars like this were made in ceramics centers in Africa-Proconsularis, the Roman North Africa territories and were either a perfume, oil, ointment or cosmetic jars. Wheel made it is simple with grooved furrows etched on the surface.
Used for rituals and ceremonies, lead green glazed earthenware wing cups were popular burial objects. The tomb’s humidity caused the lead to oxidize to a lustrous, prized iridescent, silver-green.
This diminutive mingqi pig is totally charming and fanciful with an iridescent glaze and would be especially appealing as a send off for the deceased to the nether world or in a contemporary setting. Pigs were especially prized and images were often included as items the deceased would need to live comfortably in the after life.
This highly decorated ancient lekanis from Apulia in Magna Graecia, the Roman name for the South Italy coastal area, with close-fitting top held cosmetics. Considered fine ware, fathers filled them with jewelry for their daughters’ wedding gifts.
Greek style Oenochoe wine jugs were made in Roman North Africa and exported throughout the empire. Potters wheel made unadorned coarse wears like this small vessel with everted rim were made for daily use and for offerings to deities.
This miniature 4th century B.C.E elegantly xenon ware pottery vessel with flared rim, handle, with painted orange geometric designs from Apulia, in Southeastern Italy, may have been made for children or as a votive vessel.
In Angels of Love, three angels rise organically above what can be interpreted as the Tree of Life. Symbolically for the artist, love nourishes both the internal and external roots of the universal Tree of Life in all of us.
This ancestor figure is depicted as a loved family member, very individualized with a pudgy joyful smiling face He is a self-assured and shows his strength and status indicated by his demeanor, composure, portly size, placement on a horseshoe chair with a large platform. Finely carved and mounted on a lucite stand it is a wonderful decorative accessory for a home or business.
This exceptional Qing carving portrays a seated official ancestor wearing traditional official’s attire, a red and black official’s hat and black boots. His inset glass eyes and high cheekbones frame a large curved nose, a strong projecting chin and forehead wrinkles indicating a man of importance with the wisdom of age who demands respect. The top two robe layers have wide borders with marvelous raised lacquer decorations that include beautiful cloud forms, flying phoenixes with spread wings and floral sprays.
Attendant figures are usually presented on an altar in pairs flanking revered figure they honor. This lovely carving is an enlightened being indicated by her pendulous ears, an elevated flowing ribbon, and blissful smile. She traditionally carries offerings which might be food, fruit, medicine, or other unique items. Her extremely pleasing face highlights her modesty as…
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