Jajarkot is a small regional center in the rugged central hills of Nepal. This figure may have originated there or in any of a number of nearby villages. While some of these figures were found in village homes many were kept in local temples.
Much rarer than the wooden devotional figures of the middle hills of Nepal are the stone ones. This figure of a man in a praying position is very simple but powerful. It has be ...click for details
This is a very specific variety of Indian textile called a Chamba Rumal. It is a square of unbleached thin hand spun muslin on which silk floss has been embroidered in such a way that the piece is entirely double sided.
A rumal is a kerchief or cover and rumals were used primarily as coverings for gifts or offerings. Chamba refers to the region of the northern Indian state of Himachal Pradesh noted both for these ru ...click for details
This thangka depicts Songtsen Gampo in his palace flanked by his
Chinese wife on his left and his Nepalese wife on the right with a large assortment of offerings laid out in front of him.
Credited with consolidating the Buddhist faith in Tibet and building the Jokhang temple in Lhasa, Tibet's first great religious king, Songtsen Gampo, lived during the seventh century AD (627 - 649). He took two wives both p ...click for details
For a comprehensive description of the iconography and meaning of the bell and vajra we refer you to the excellent "Encyclopedia of Tibetan Symbols and Motifs" by Robert Beer.
The set shown here is of the closed five pronged variety with all the iconography described so exactingly by Mr. Beer. The bell is four inches in diameter and seven inches high; the
vajra measures 4-3/4 inches in length. There is a ti ...click for details
With the Newaris of the Kathmandu Valley in Nepal it was customary for the donors of a statue to a temple to have a small statue of themselves cast to be put beside it. These were called donor figure statues.
In these donor statues the male is always to the left of the female. He kneels while she sits cross-legged. They are always portrayed with their hands held together in the gesture of devotion. This male donor cl ...click for details
The central figure in this thangka bears a striking similarity of one identified as the fourth Panchen Lama, Lobsang Tenpay Nyima (1782-1853) [Rhie and Thurman, “The Sacred Art of Tibet”, page 275-275]. In both thangkas the focus is on the lama wearing the characteristic yellow hat of the Geluk Order dressed in several layers of clothing with his right hand in the teaching gesture (vitarkamudra) and cradling a manuscript in his left hand. He sits on an elaborate throne chair with dragon handle ...click for details
This carved bone image of a fearsome Mahakala originates in Tibet. It is possibly from a necromancer's apron, though it is freestanding and lacks the top holes one would expect. It does have two drilled holes which are drilled so as to come through the mouth.
It measures just over 2-1/2 inches high (6.5 cm.) and forms under a 45 degree angle at the base. It is in excellent condition. Without scientific testing it ...click for details