This antique bronze figure of Mahakala measures 10 inches wide by 12 inches tall by 3 inches in depth (at it's widest points)
It dates from 17th to 18th century Nepal or Tibet (circa 1600's-1700's)
It is in very good condition with remnants of gilt along with green verdigris (oxidation). Note: the bronze is slightly loose on its base. This does not affect it when placed against a wall.
This ancient marble carving of a reclining lion measures 6 1/2 inches wide by 5 inches in depth by 4 1/2 inches high.
It dates to either the Tang Dynasty in China (618 AD 907 AD) or slightly earlier in one of the Roman provinces ( possibly 300-400 AD). It is in excellent condition and quite rare.
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 museum quality silvered bronze Nepalese or Sino-Tibetan figure of Tara (also known as Kuan Yin or Guanyin) dates to the 14th to 15th century or earlier.
It stands 10 1/2 inches tall by 3 inches in diameter.
It has exquisite details and very subtle modeling.
It is in excellent condition and retains much of it's original silver finish.
A similar example can be seen in "Oriental Art: India, Nepal & Tibet" by Michael Ridley, 1970, Plate 37 (listed as 14th Century or earlier).
This Japanese Carved Wooden Mask measures 10 inches tall by 7 3/4 inches wide (ear to ear) by 4 inches in depth. It is also about 1 1/2 inches in thickness at center narrowing down to about 3/4 inch thick at edges.
It is carved from a tightly grained wood similar to those found in 19th century Japanese furniture.
It has a nice patina and retains traces of original pale maroon color in some areas.
It is in excellent condition and has wonderful parallel grooves over entire interior: most likely carving marks, but very finely detailed. They do not show up well in photos.
This seated bronze Buddha in Sukhothai style most likely dates from the 16th to 18th century in Thailand. It may actually be earlier. but we prefer to be conservative in estimations .
It measures 16 inches tall by about 11 inches wide by 7 inches in depth.
It is in very good condition with areas of green patination and overall oxidation in various shades of pale to rusty brown. It has a few areas of casting loss, particularly on one end of the base (see the photo close ups). It also has a few areas where the bronze has either thinned out or pitted (again, primarily on the reverse of the base,)
The history of Thai sculpture dates from sometime during the thirteenth century, when a distinct national school emerged and broke away from Cambodian and Mon influences in terms of the stylistic development of Buddha images. Specific schools and sub-styles are defined on the basis of relatively slight variations in the prescribed dress, the treatment of the hair and so on.
This Buddha is seated on an undecorated pedestal in the cross-legged yogic posture of satvaparyankasana, the right leg placed over the left. His right hand is lowered, long fingers pointing downward in the earth touching gesture. The latter symbolizes Shakyamuni's triumph over the forces of the demon Mara, who attempted to distract him from his quest for enlightenment, a ubiquitous theme in Thai Buddhist art. The Buddha's monastic robe is worn leaving his right shoulder bare, and a long thin section of cloth representing his narrowly folded shawl falls downs from his left shoulder to below his navel terminating in two points.
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.
This antique hardstone carving of a reclining ox dates from the Song Dynasty (960-1279 AD) or the early portion of the Ming Dynasty (1368-1644 AD).
It measures about 2 3/4 x 1 1/2 X 1 1/4 inches or 58mm x 31mm x 30 mm.
It is carved from white variegated stone with a small area of pale gray in the center.
It is in excellent condition with a substantial amount of reddish brown oxidation on it's base.
We are describing this as hard stone because it does not pass the scratch test for jade. The possibility exists, however, that it is actually altered jade which has been softened over time and proximity to the elements.
This antique Burmese Shan bronze figure of a crowned Jambhupati Buddha measures approximately 22 inches tall by 8 inches wide by 7 inches in depth.
It is in excellent condition except for a few areas where the casting has either thinned out or was thin to begin with. Even so, this is a heavy, well detailed bronze with a nice patina.
This bronze Buddha was purchased many years ago and is part of our personal collection of ancient Asian artifacts acquired between 25-40 years ago..
We estimate it to date to the 18th -19th century, but it may actually be somewhat earlier. This is a museum quality bronze and the next owner will not be disappointed.
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 antique bronze figure of the Monkey God Hanuman measures 5 x 4 x 1 1/2 inches (13 x 10 x 3 cm).
It is in excellent condition.
This ancient bronze figure was most likely crafted in Northern India, Tibet or Nepal.
We are dating it to the 17th - 18th century, although it may actually be much earlier, based on it's stylistic similarities with small Pala period bronze figures.
This Japanese painted bronze figure of Daikoku measures approximately 13.5 inches tall by 6 inches wide by 5 inches in depth.
It is a substantial bronze figure, weighing around 13+ pounds or about 6 kilos.
It is signed or marked on both the figure and the separate base of rice bales (see two of the enlargement pictures).
It dates from the late Meiji to Taisho Period (circa 1890-1912).
It is in excellent condition with most of it's original colored and patinated surfaces intact. An exception to this is the loss of a small triangular shaped piece which was apparently once attached at the figure's midsection (see photo enlargement of loss). This most likely was originally a separate attachment (see the drill hole?) in the shape of a small pouch (or treasure sack) which Daikoku traditionally carried.
Since the 17th century, Daikoku has been known as the Japanese god of wealth, the household and of farmers, although in earlier centuries he was considered a fierce protector deity (Mahakala).
In Japan, artwork of this deity usually shows him wearing a hood and standing on two bales of rice, carrying a sack of treasure and holding a magic mallet. Daikoku is often clad in robes, with a smile on his face.
In some traditions, Daikoku is also considered to be a provider of food, and images of him can still be found in monastery kitchens and in the kitchens of private homes. He is recognized by his wide face, smile, and a flat black hat.
He is often portrayed holding a golden mallet (called a Uchide Nokozuchi), also known as a magic money mallet, and is seen positioned on bales of rice, occasionally with mice nearby (mice signifying plentiful food).
Originally a Hindu deity called Mahakala, he was introduced to Japan in the ninth century, and merged with the Shinto deity of good harvests, Oo-kuninushi-no-Mikoto (or Okuninushi-no-Kami, translated as "Prince Plenty"). The lucky mallet in his right hand is called the uchide nokozuchi. This mallet is said to have magical properties that can produce anything desired when struck. Some stories say that coins fall out when he shakes his mallet. Others say that believers are granted their heart's desire by tapping a symbolic mallet on the ground three times and making a wish.
The symbol of the precious Buddhist Jewel, sometimes found on Daikoku's mallet or belt, represents the themes of wealth and unfolding possibility. It is said to give its holder the ability to see all things (like a crystal ball).
The precious jewel is one of the seven symbols of royal power in Buddhism. Daikokyu, himself is considered to be one of the seven household gods of Japan.
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 antique Chinese nephrite jade carving of a naturalistic motif, possibly a squash or gourd.
It measures 2 inches long by 1 1/8 inches tall by about 1/2 inch in depth.
It dates to the Qing Dynasty (1644-1911)in China and is carved from a pale green celadon jade.
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 pair of 18th-19th century wooden carvings of Chinese eunuchs or officials. Each one measures 8.5 inches tall, 3 inches wide and 2.5 inches deep (at the base). They are in good condition with most of the original painted detailing remaining on their faces and some painted details remaining in other areas, such as the hat, sash, and ceremonial jade disk held by one of them. One figure holds what appears to be a representation of an old ceremonial jade. These appear to have been tomb figures that lost much of their original colors.
This original Ming Dynasty ceramic or stoneware tile with a figure of a seated Buddha measures about 6 3/4 x 9 1/2 x 2 1/2 inches.
It is in very good condition with minor losses to the glaze in a few areas along with a few small rim chips.
Stylistically, it has more in common with Song Dynasty ceramics, but most likely it dates to the Ming Dynasty.
This architectural tile appears to have been designed to be mounted in the wall of a shrine or temple and has a pattern of large shaped dovetails on the reverse for that purpose (see enlargement photo).
This museum quality piece consists of very dense stoneware covered with colored glazes in turquoise, aubergine and yellow.
This Buddha tile dates from the Ming Dynasty or earlier.
A Few Facts:
The Shanyin Hall at the White Dagoba Temple was built or restored by the Qianlong emperor in 1751, 30 years after a large earthquake damaged the same area in Beijing.
Shanyin Hall currently has 445 Buddha tiles of similar style, but of later manufacture (probably circa 1976 -when it was last restored after the Tangshan earthquake.) (See the last photograph).
It may have have had tiles similar to the one we are offering prior to it's previous restorations in 1751 or 1976.
It is quite possible that this turquoise Buddha tile may be a remnant of one of those earlier changes or restorations.
We currently have in our collection a tile similar to the current tiles that are currently mounted in Shanyin Hall in Beijing. Our tile is marked with Wanli reign Marks (1573- 1619). This is not the tile we are offering with this lot. The one we are offering actually appears to be earlier than this Wanli tile, but it is unmarked.
We can't document it yet, but it is a serious possibility that this old Buddha tile dates to before 1619.
Our research shows that the original tiles were probably held in place with lime mortar-not the best thing to use in an earthquake zone.
This tile we offer here may have been salvaged from an old temple restoration or from a temple no longer in existence. This same area has seen earthquakes in 1679, again in 1730 and again in 1976-to name a few.
All of this is a combination of verifiable facts and speculation, but speculation based on observable and documented facts.
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This antique jade carving of a reclining ox or water buffalo measures 4 inches wide by 2.5 inches tall by about 2.5 inches in depth.
This classic jade is carved in the style of the Song Dynasty (980 AD -1279 AD), but it is more likely that it was carved during the Ming Dynasty (1368 AD - 1644 AD) or the Qing Dynasty (1644 AD-1911 AD).
It is in excellent condition with subtle details and carving.
This carving may have begun it's existence as a somewhat lighter-off white color, but time and oxidation have worked to give it a lovely pale yellow or honey color with subtle inclusions and minor color changes.
This is a museum quality nephrite jade carving which is evidenced by the subtle modeling of it's overall design. This one is a gem.
The next owner will not be disappointed!