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This Roman ceramic flagon is a uniquely shaped vessel used to store and pour potable liquids. A crème slip carinated jug with a high profile and a trefoil pouring spout, it has a strap handle attached from the carinated edge to just below the rim for easy handling. Roman coarse wars like this were use for liquids and to make offerings to household deities.
Hu vessels, first made in the Shang Dynasty is an ancient-pottery wine vessel whose body swells in the middle, flares into a narrow neck and often has a raised circular foot. Very popular during the Han dynasty, it was used as an ancestral tomb burial object (mingqi) to hold liquids and elixirs for the deceased…
This ancient figurine is Harpocrates the Greek god of silence and secrets holding a jar made for a home shrine. He probably represents a royal and temple cult, as he wears a double crown symbolizing both Upper and Lower Egypt and his royal emblem signifies his association with the reigning Egyptian king, who was considered a manifestation of the Egyptian god Horus. Missing part of his right side when excavated, and no with no repairs this is a true slice of history. It pairs well with #1845 Ancient Pottery Figurine of Child Nurturer Goddess.
This Roman Egyptian figurine from Alexandria of a woman holding a young child is a Kourotrophos, a class goddess figures holding infants or children. Referred to as “child nurturers”, these were revered deities, cult figures and mortals who were also fertility symbols and protectors of the young. Made from a bivalve mold, this terracotta figurine was probably placed on a home altar for protection. Mother and child figures like this are universal and appear in cultures throughout the world. It pairs well with #1844 Ancient Harpocrates Figurine.
Made in the Roman North Africa, this ancient carinated ceramic flagon called coarse wear for daily use made of inexpensive durable clay was used to hydrate all kinds of people and on home altars for offerings to family deities. Carinated pottery, where the top and lower sections are angled in opposite directions forming a pointed edge, was common ancient pottery shape, this one with a handle.
Exquisite carved Taoist Queen Mother of the West Jade Maiden attendant who carries a peach of immortality grown in the Queen’s Garden. These fruits blossom every 3,000 years and are served at her famous banquet in the Western Paradise.
This Guanyin image was probably one of a pair of images along with the Taoist Queen Mother of the West (16206A-WACK) placed together on a community, local temple or home altar. Created by the same local artisan, they are provincial rather than imperial style having a humble, unadorned and simple rendering, seated on backless thrones, hands covered by a ritual cloth, uncharacteristic of Guanyin but common for Taoist goddesses. Both wear layered robes and a high pointed crown – the Queen Mother’s centered by a phoenix and Guanyin’s by a flower surrounded by symbolic aureole of radiating light. Both have soft blissful smiles with eyes cast slightly downwards to engage their devotees. Initially covered in bright polychrome colors, there are traces of surviving red, yellow, green, brown and black.
Dhorka brass lost wax method grain and rice measuring bowl. One-of-a-kind intricately decorated with horizontal and triangular striations. Bowls were symbol of Hindu goddess Lakshmi placed on home altars for puja.
This provincial Guanyin made for a home altar sits in anjali mudra. Portrayed as humble, approachable, she wears a 5-lobed diadem, hair in a chignon with braids and modest robe seated on a waisted lotus throne with stacked lotuses.
Hindu prayer bell used in a temple or home altar for daily puja rituals. Topped by a pair of Garudas and sheltered by Nagas who are natural enemies, but when represented together symbolize peace and serenity of the prayer bell sounds.
Each of this whimsical gold and red-burgundy lacquered pair of male fu lions sits erect on a high pedestal heads thrown back with flaring ears, bulging eyes, decorative stylized manes and a small bushy tail. Their spirituality is displayed by the pair silently emitting the blessed mantra “aum”: the open mouthed lion forming an “au,” and the other completing it with a closed mouth to form “mmm.” The workmanship on these pieces is masterful, although rustic and provincial, and they are rare with their Buddhist symbolism and because most pairs of fu lions pairs were lost during China’s modernization.
Whimsical carvings of fu lions were the most popular mythical animals in Chinese homes, especially during the Ming and Qing dynasties, as free standing statues, designs on furniture, architectural elements and functional pieces in private homes or gardens or on a home altar to bring fu and the blessings to the home. This incredibly cute…
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