Nepalese Bronze Bodhisattva Avalokiteshvara Padmapani
11th to 14th century: circa 1000-1300 AD.
This outstanding bronze statue of the Bodhisattva Avalokiteshvara Padmapani stands 13.5 inches tall not including the two rectangular mounts that extend into it's bronze base.
It stands 15 inches tall including it's bronze lotus base.
It is in excellent condition with much of it's original gilt remaining on the raised areas and his face. The remainder of the original gilt has been lost over the last thousand years or so, exposing a deep copper colored bronze surface.
Among the many forms of Avalokiteshvara, Padmapani is probably the oldest.
Avalokiteshvara is the embodiment of all of the Buddha's infinite compassion.
Padmapani means "lotus in hand". His left hand holds the lotus stalk, while his right hand is lowered in the gesture of granting favors.
This is an early example the use of semi precious stone inlays, a distinctive feature of Tibetan and Nepali sculpture.
His smooth torso and broad shoulders reflect the impact of the Gupta style, which existed in Northern India from the fourth to sixth century. The armlets and crown are traditionally found on 10th to 12th century sculpture.
Additional Nepalese or Nepali scuptural traditions can be seen in the shape of the broad face and full cheekbones which differ from the smaller and fuller facial features found in Indian art. The curves of the eyebrows and eyes and the long line of the nose are also typically Nepalese in style. In addition, the delicately engraved or incised floral pattern of the sarong around his waist is also typically found on early Nepali sculptures .
A larger, but stylistically similar example of an 11th century bronze Bodhisattva Avalokiteshvara Padmapani is held in the Cleveland Museum of Art:
On September 21, 2007 Christies NY sold a 14 inch gilt bronze Avalokitesvara Padmapani for $577,000.00 .
Recently - On March 20, 2012, a 17 7/8 inch tall bronze Padmapani was sold for $2.8 million dollars by Christies Auction House in New York.
THIS IS A MUSEUM QUALITY BRONZE AND IT IS GUARANTEED TO BE AS DESCRIBED, WITH NO EXCEPTIONS.
This is a small, antique Tibetan copper & white metal or silver prayer box and /or portable shrine (Gao) with a small gold colored seated Buddha statue inside.
It dates circa 1890-1930.
It measures 3 1/3 inches tall by 3 inches wide by 1 1/2 inches in depth.
The front cover is covered overall with wonderfully tooled reposse images, including a Tibetan beast or lion surrounded by Buddhist calligraphy, topped by a flame. The rest of the box is copper, under the protective, stitched cover.
It also has stitched covers from the early to middle 20th Century.
It is part of a small collection of antique Asian silver artifacts that were acquired a while ago. Please check our other listings to see additional items from this small but select collection that we are currently offering for sale.
This large bronze figure of Avalokitesvara dates somewhere between the Song Dynasty and the Ming Dynasty in China.
This figure represents one third of a Buddhist Triad, which may have originally been created as an altarpiece in a Buddhist temple.
This bronze figure measures 21 inches tall by 9 inches wide by 8 inches in depth. He/she is depicted wearing a Tang Dynasty upraised hair style and ornate robes and jeweled detailing.
It is in excellent condition with remnants of old gilt and colors remaining in areas. The head is completely covered with a layer of gold and the remainder is covered with a deep brown patina overall.
Traditionally, Avalokitesvara would sit on the left side of Amitabha Buddha in a three figure triad with Mahasthamaprapta sitting on the right side. There are engraved Chinese characterson the reverse side of it's base which translate as left two.
There are additional marks on the Gui held in front of the figure which may represent the date or the original donor of the bronze.
Since the side figures of a triad were smaller than the central figure,the central Buddha must have been fairly large. This fits with the theory of an origin in a temple or possibly a very wealthy home.
In Chinese Buddhism the Bodhisattva Avalokitesvara is also known as Guanyin. Among the Chinese, Avalokitesvara is almost exclusively called Guanshiyin Pusa. Some Daoist scriptures give her the title of Guanyin Dashi, and sometimes informally as Guanyin Fozu.
In Chinese Buddhism, the worship of Guanyin as a goddess by the populace is generally not in conflict with the bodhisattva Avalokitesvara's nature. In fact the widespread worship of Guanyin as a "Goddess of Mercy and Compassion" is seen as the boundless salvific nature of bodhisattva Avalokitesvara at work. The Buddhist canon states that bodhisattvas can assume whatsoever gender and form is needed to liberate beings from ignorance
This museum quality gilt bronze figure was purchased from an old collection of Asian antiques originally formed during the early portion of the 20th century.
The authenticity of this bronze is guaranteed without exception.
This Japanese Satsuma pitcher or condiment jar measures about 6 inches tall by 4 inches in diameter at it's widest point.
It dates from the late 19th century-early 20th Century( Meiji Period) (circa 1880-1915).
It is in excellent condition with some minor losses to the gilding on the handle.
It is covered overall with a finely detailed series of patterns, which include a bird and dragon motif with fans.
Based on it's rounded and smoothed edges, it appears that this small vessel never originally had a permanent top or stopper.
It is unmarked as to maker or country of origin . This one fact helps to date it pre 1895 when US import export laws were established. After that date it would have had to have been marked as to country of origin.
This set of 5 matching porcelain dishes with flying cranes pattern dates from the late 19th through the early 20th Century in China.
Each dish measures about 6 1/8 inches in diameter.
The dishes are in generally good condition with minor edge roughness or rim frits as often found with this type of delicate thin porcelain.
The pattern of six flying cranes is transfer printed rather than hand painted: a type of detailing that became popular in the 19th century although it originated slightly earlier than that. In China it was used in the early 20th Century (Republic Period) and it's use ended about WWII.
This fine bronze ewer or kettle (aftaba) dates to the 18th Century in Mughal India.
It is of typical form and good weight. It measures: height: 26cm, width: 24cm.
It has a prominent faceted spout along with its original lid with a bud-like finial, an 'S' shaped handle which has a stylized lion head at one end and a lotus bud finial at the other. It stands on four short feet.
The flattened, globular pear shaped body tapers to a long neck. The body has been cast with raised cloud or foliage borders to the top and bottom, The design work on the body is of better quality than usually seen. The body, lid and spout have been engraved overall with repeated stylized vegetable or poppy motifs. The lid has similar patterns.
Ewers of this type originated in Persia and the Middle East. Typical Islamic ewers comprised a central chamber to which a spout, foot, handle and neck were attached. They permitted water to flow - notations in the Koran described flowing water as 'clean'.
Ewers were introduced to India by Muslim invaders during the late thirteenth and early fourteenth centuries. Later Indian inspired designs became more curvaceous and many were decorated with lush plant and floral motifs.
In India, local Muslims used such vessels for hand washing. They became a practical tool of hospitality, being used to welcome visitors by pouring scented water over the hands and feet and into a basin, and took on a great variety of shapes and types whilst adhering to the basic ewer form.
This example is in excellent condition. There are no repairs, splits or dents. as mentioned, the lid is original – usually the lid is missing or replaced.
A slightly larger (39.4 cm tall) sold at Sotheby's on October 5, 2011 for 6250 British pounds( $9784.00 in US dollars) (lot 265) . It had much less surface detailing. ( http://www.sothebys.com/en/auctions/ecatalogue/2011/arts-of-the-islamic-world/lot.265.html )
Provenance: The southern California art market prior to 1980.
Reference: Zebrowski, M., Gold, Silver & Bronze from Mughal India, Alexandria Press, 1997.
Pair of Imperial Bronze Dragon Seals: Qianlong Marks and Period
This large pair of dragon handled bronze seals date from the period of Qianlong (1735-1795), emperor of the Qing Dynasty (1644-1911) in China.
The rectangular base measures 8 ½ inches by 7 ¼ inches (21.5 cm x 19.5 cm). The dragon handle stands up about 3 inches tall (8 cm.).
The top portions of the seals are covered with chiseled and engraved patterns of dragons and swirling lines representing the ocean or the sky. Standing on top of all this is the dragon handle.
The bottom of the seals are covered in archaic old Chinese pictogram script (see closeup photos). They also include traditional Chinese characters in one corner which are easily interpreted as Qianlong Reign Marks.
Some folks thought these might be paperweights because of their rather large size, compared to most seals of either bronze or jade. A recent article in the Jakarta Post referred to a very similar bronze seal as a “casted paperweight from the Qianlong Period”. See link below:
( http://www.thejakartapost.com/news/2011/04/04/scholar-objects-undervalued-small-treasures.html )
These bronzes may have served double duty, with an original purpose yet to be determined by deciphering the archaic script and the possibility of also having been used as massive scroll weights.
The Emperor Qianlong had a serious interest in painting and was known to dabble in it himself on occasion. Some scrolls are exceptionally long and might have required a substantial scroll weight to keep them open for viewing (or possible two or more to hold the whole long thing open in the privacy of one's palace).
On April 4, 2010 , one identical bronze seal/scroll weight was sold at auction in China for the amount of RMB 651,200. (about $108,000.00 US ). The auction estimate had originally been 600,000-800,000 RMB (about $100,000-$130,000) for one single bronze seal.
The pair of bronze seals or scroll weights or “paperweights” are both in excellent condition. The buyer will not be disappointed.
They were purchased about 30 years ago in Southern California.
NOTE: Although the photos below make the the bronzes appear to be of different sizes , only the photos are of different sizes, not the bronzes themselves.
ADDITIONAL NOTE: THERE ARE A FEW VERY TINY SPOTS OF VERDIGRIS ON ONE OF THE SEALS . THIS IS NOT UNUSUAL FOR A BRONZE ITEM THAT IS OVER 200 YEARS OLD. IT IS REALLY NOT WORTH MENTIONING BUT WE ALWAYS LIKE TO HAVE FULL DISCLOSURE SO THERE ARE NO SURPRISES FOR THE BUYER.
This original bronze figure of a seated and robed official holding a jui (symbol of power) measures 8 1/2 inches tall by 5 inches wide by 3 1/2 inches.
It is covered overall with a very subtle and dark patina. It has a softness of detail that only comes from hundreds of years of handling. It also has a few cracks and slight losses to it's surface that do not detract from it's overall appearance.
It dates to a period ranging from the 15th through the 17th centuries in China.
The buyer will not be disappointed, as it is nicer than the photos would indicate. This bronze figure is guaranteed to be an original ( of the period. It is NOT a copy or reproduction of any kind.
This is an original antique Chinese carved lacquer cup.
It measures 2.75 inches in diameter and about 4.2 inches wide (including the Fu Lion handles on either side of the cup.)
It stands about 2 inches tall (measured from top to bottom.)
It has two robed figures seated on clouds set out against a repeating pattern.
This cup dates to the Qing Dynasty (1644-1911) or, quite possibly, even a bit earlier.
It is in excellent condition except for a tiny loss of lacquer on the interior lip of the cup (see closeup photo).
This cup was part of a small collection of Chinese carved lacquer purchased about 25 years ago from a private collection established in the early 20th century.
This is one of two similar cups that were part of the original collection. The cups were not a matching pair, but are of a very similar style. We will be offering the other cup later on.
This forest green glazed Kochi ware vase with handles measures 12 cm tall by 12 cm in diameter by 19 cm wide (handle to handle). It most likely dates to the beginning of the 20th century. The glaze pools dark green in the crevices.
There are NO marks or signatures on this vase.
It is in excellent condition. No chips, cracks, hairlines, repairs, etc. It does have a few very light surface scratches to the glaze. There are four round felt pads on the bottom of the vase (see enlargement photos).
The glaze is even and complete. Any white spots or lines are from the flash and are NOT on the vase itself.
Japanese Awaji ware was influenced by or copied after, Chinese Cochin ware: a 16th century pottery originally produced in Southern China or Vietnam. It consisted primarily of green glazed wares with low relief decoration* (*Ceramic Art of Japan, Seattle Art Museum, Page 164)(CAJ).
Another theory about the origin of Cochi or Cochin ware is that it was carried from China to South East Asia (modern Day Vietnam and Thailand) during the Song or Yuan Dynasty . In 1206 the Mongolian tribes met and agreed to unite under Genghis Khan. In 1215 Genghis Khan captured Beijing. In 1279 Kublai Khan, his grandson, completed the Quest of China, ending the Song Dynasty. The Yuan dynasty that they created lasted from 1279 to 1368 (1368- 1644 A.D. Ming dynasty). Faced with Mongol rule artists, potters, merchants and exporters left China and set up their operations in Vietnam and Thailand. The Sung kiln and glaze technologies were transferred to Vietnam. Bat Trang (in Vietnam) prospered and continued to do so as the Ming dynasty maintained a closed-door policy until 1567. It was not until 1684 that the Chinese competed effectively with Vietnamese ceramics exporters. By this time Vietnamese pottery had achieved such popularity in Japan that even the Japanese potters produced ceramics in the Vietnamese style, which they called Cochi or Kochi ware. During the late Edo Period there was a fashion among Kyoto potters (including Eiraku Hozen, Ogata Kenzan, and Aoki Mokubei) to emulate the Chinese wares of the 16th century, especially the export blue and white, gosu-akae, and Kochi ware** (**CAJ-pg 158).
This outstanding quality Ding Yao covered ceramic box, although Song Dynasty in appearance, may actually date from the Ming or Ching Dynasty.
It measures 8 inches in diameter by about 3 inches in height.
The domed cover is incised with repeating leaf patterns around a central leaf set within a circle.
It is in excellent condition with a circular kiln fracture around the outside of the bottom rim (see enlargement photo). This is original to the piece and is not considered damage.
This standing nephrite jade carving of a bearded and robed figure with long horns or a headdress of some sort measures about 10 1/2 inches tall by 3 inches wide by 1 1/2 inches in depth.
It is carved from a large piece of nephrite ranging from pale to deep green with a strip of oxidized white to yellow jade down the middle. In addition, there is a crackled stripe of oxidation running down through the center of the face through the figure to the bottom of the robe.
There are also engraved rectangular patterns and additional patterns on the robe.
Although the serious possibility exists that this is an old nephrite carving dating to the Shang period, we are dating this one very conservatively to about circa 1900-1920. If it turns out to be much older, we are certain the buyer will not be too upset.
It is interesting to note, however, that the oxidation and subsequent crackling of the stone that runs right down through the face probably occurred after the jade was carved. The question arises: if this is a copy made in the last 100 years or so, why didn't they turn it around before they carved the face, as the center of the back side is pristine where the face could have been positioned, no crackling or deterioration? It would have been the better choice to use as the front and would have made a more attractive and potentially more saleable copy. If however, the deterioration of the stone actually happened over an extended period of time after it was carved, that would make more sense as an explanation as to why the current positioning of the stone in relation to it's natural flaws or irregularities.
This pair of Chinese Seated Lions date from the 17th -19th Century or possibly a bit earlier.
These pottery or earthenware lions each measure about 9.5 - 10 inches tall by 6 inches wide by about 4 inches in depth.
They are in very good condition with only a small loss to one of the tails.
This jade carving of a Chinese lion, Chimera or Fu dog sits at an alert posture on all four paws.
It has a split or bifurcated tail and stylized wings.
It measures 2 1/2 inches by 1 7/8 inches by 1 1/4 inch (57 mm x 49 mm x 31 mm).
It is carved from a piece of off white to celadon colored jade with natural striations running through it. There is a natural brown irregularity which runs from it's foot to it's ear on one side along with a small area of brown suffusion on it's flank.
(This is the fancy way of saying it has few areas of rust. Not a bad thing for a genuine antique jade carving.)
We are dating this one to the late Ming through early Qing Dynasty, but it may actually be earlier.
This late 18th century to early 19th century whale oil lamp measures approximately 11 inches tall by 4.5 -5 inches in diameter at it's widest points.
It was crafted in pewter and is Swiss or Austro Hungarian in origin, as it was acquired with a set of very similar figural Swiss candlestands with readable Hallmarks dating to about the same time period. Even so, this oil lamp is not marked or the marks have worn off over the centuries.
It consists of a standing figure in 17th-18th Century costume, holding up a four spigot oil font. The figure wears a cap with a crossed hammer insignia on it (partially obscured by wear)
It is signed with a date and initials on the base (18 GPP 27) which translates as GPP 1827.
This large Chinese Cloisonne covered box measures 15 inches in diameter. It actually measures 17.5 inches wide, when you include the bronze handles on either side. It also measures 8 inches tall.
It is in excellent condition with the exception of a small circular restored spot on the bottom of the exterior. It appears to have been repaired in the late 19th century, based on the odd shade of green enamel that was used in the repair.
The cloisonne scene on the lid consists of a phoenix (fenghuang) looking down on a mountain range across the waters and under a red sun (a possible reference to Japan).
The chrysanthemums in the foreground may refer to Japanese royalty. This could have been designed as a gift for Japanese royalty.
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This bronze figure of Jambhala (also known as Vaisravana) measures about 11.5 inches tall by 9 inches wide by 5 inches in depth (including the bronze lotus mount and lion that it sits on).
He is commonly considered to be the god of wealth and protector of the north, riding on a lion.
A mongoose sits on a lotus under his left foot.
His right hand holds a citron or lemon (a symbol of fertility).
The character of Jambhala or Vaisavana is founded upon the Hindu deity Kubera, but although the Buddhist and Hindu deities share some characteristics, each of them has different functions and associated myths.
Although brought into East Asia as a Buddhist deity, Vaisravana has become a character in folk religion and has acquired an identity that is independent of the Buddhist tradition .
Vaisravana is the guardian of the northern direction, and his home is in the northern quadrant of the topmost tier of the lower half of Mount Sumeru. He is the leader of all the yaksas who dwell on the Sumeru's slopes.
He is often portrayed with a yellow face.
He is also sometimes displayed with a mongoose, often shown ejecting jewels from its mouth.
The mongoose is the enemy of the snake, a symbol of greed or hatred; the ejection of jewels represents generosity.
In Tibet, Vaisravana is considered a worldly dharmapala or protector of the Dharma, a member of the retinue of Ratnasambhava.
He is also known as the King of the North. As guardian of the north, he is often depicted on temple murals outside the main door.
He is also thought of as a god of wealth. As such, he is sometimes portrayed carrying a citron(a type of lemon), the fruit of the jambhara tree, a pun on another name of his, Jambhala . The fruit helps distinguish him iconically from depictions of Kuvera.
He is sometimes represented as corpulent and covered with jewels.
His mount is a snow lion.
This intricate bronze has much of it's original over painting remaining on the faces of both Jambala and his mount. There is a large amount of gilding applied to jeweled portions and accent details. This was a style of decoration that was popular during the later portion of the Ming Dynasty (1368-1644) and also occasionally during the early portion of the Qing Dynasty( 1644-1912).
We estimate this antique bronze to date to the 17th or 18th century, but it may be a bit earlier than that.
This antique bronze is in excellent condition, with one exception. It sits on three mount pins that extend into the sealed lotus base. One of these pins has broken off and is apparently roaming around within the base itself. Sitting on two pins rather than three has had no adverse effect on it's stability whatsoever.
This original 19th century wooden carving of a Chinese Emperor with gilded and polychrome details measures 11 inches tall, 5 3/4 inches wide and 4 1/2 inches deep. It is in outstanding condition with ornate detailing and symbols in high relief on it's golden robe.
The one exception to it's unusually good condition is the loss of one hand. The hair in it's beard is REAL.