Showing 49–60 of 270 results
This simple elegant Ethiopian Cross neck pendant is a plain Latin Cross, the universal symbol of Christianity, surmounted by a raised rounded cross in the center. With a distinct and massive feel, its soft edges and matted surface from years of wear impart a feeling of grace and warmth. Made using the lost-wax process, each is a one-of-a-kind work of art.
This elegant antique Ethiopian Coptic cross was fashioned as a Cross Pattée with flaring arms that narrow towards the center and expand to its end. Often crosses made prior to the 20th century in small villages by skilled local metal smiths were simpler, yet they are strikingly beautiful and powerful. This weighty piece was made using the lost-wax process to create a one-of-a-kind pendant, embellished with six round protruding bosses and etched dots added after the lost wax process. The chain necklace is not included.
This magnificent Ethiopian-Cross is a Fleury or floriated trefoil cross with the end of each arm splayed out into three pointed lobes with ends in decorative clusters of three bosses representing the Trinity. The body is embellished with parallel rows of small granulates resulting in a wonderfully textured surface. The bosses and granulates were added after the lost wax process, making this a remarkable and unique one-of-a-kind work or art.
The chain necklace is not included.
This antique Ethiopian Cross combines several cultural traditions: an Egyptian round ankh surmounted on rounded cross pattée with flaring arms that narrow towards the center. This striking pendant is heavy and large with a massive presence softened by its smooth surface and simple elegance. Prior to the 20th-century, pendant crosses were often made in small villages by skilled local metal smiths that were simpler, yet strikingly beautiful and powerful.
This simple but elegant Coptic Cross displays a commonly used tradition of including a circle surmounted on a Latin cross based on the Egyptian ankh set on a variation of a Cross Pattée with flaring arms. This unassuming yet striking pendant is heavy and large with a massive presence that is softened by its smooth surface and simple elegance.
This simple elegant Ethiopian Cross pendant is a plain Latin Cross, the universal symbol of Christianity, surmounted by a raised rounded cross in the center. Although it is heavy with a distinct and massive feel, its soft edges and matted surface from years of wear impart a feeling of grace and warmth. Crosses made prior to the 20th century in small villages by skilled local metal smiths were simpler, yet they are strikingly beautiful and powerful. Made using the lost-wax process, each is a one-of-a-kind work of art. The necklace chain is not included.
Click here for the Blog The Evolution and Brilliance of Ethiopian Crosses
This delicately carved seated female attendant probably accompanied a religious image on a home altar. She holds an offering plate with three offerings of dumplings or pieces of fruit, possibly a peach trio, Chinese longevity symbols. A three-item offering is a pun for a group of three ancient coins known as tael a symbol of wealth and a wish for high status.
This charming female figure with a sweet smiling face is a female Taoist priest wearing plain priest’s robe and an unusual headdress centered with a phoenix, the Chinese “king of birds” holding a ceremonial Hu tablet often carried by Taoists priests to indicate their power and status and their presence before a Taoist deity. Although there are few carved images of female Taoist priests, from its inception Taoism was very compatible with feminine characteristics and ordained them as priests.
This beautifully carved God of Wealth (Caishen) is portrayed as are all Taoist deities as an authoritative figure, right hand firmly placed on his knee and left hand holding a tael. His outer robe has decorative borders down the front and carved coins at the shoulders, stomach, and an undergarment is gathered with a floral designed tasseled cord. His well-defined face with incised wrinkles and long beard has a benevolent expression with rounded cheeks and an open mouth, topped by an elaborate official’s hat with ribbon-like extensions. Very fittingly, it is painted with red and gold both associated with wealth.
This outstanding Guanyin carving is extremely rare and displays a wonderful earthy blend of Mahayana and Tantric (Tibetan) Buddhism and spiritual and folk traditions that resonated with provincial populations. She sits on a lotus above a hexagonal throne right raised in abhaya mudra, lobed crown centered with the Amitabha Buddha inside an aureole. The four agonized creatures struggling to hold the calm Guanyin on their shoulders is a unique Tantric visual representation of the triumph of Buddhism over ignorance. With its admonitions about greed, aversion and ignorance it is a great metaphor for our times.
In this provincial carving made for personal use, Guanyin the Bodhisattva of Compassion who hears the cries of all beings, sits in meditation with flowing robes, half closed eyes, a round face and a slight smile, the embodiment of loving-kindness. Her 5-lobed crown is centered with radiating lines symbolizing the aureole of the Amitabha Buddha of Infinite Light.
This lacquer woodcarving is a Guanyin manifestation called “white hooded,” “white clad” or “white robed” Guanyin derived from the many paintings where she is clad in white. Although wood carvings usually portray her clothed in red, this finely carved version is covered in a lacquer coat that darkens naturally over time and darkens even more when honored on a home altar with daily prayers and offerings of smoky candles and burning incense.
End of content
End of content
