This exotic 19th century sterling silver ceremonial necklace from the opulent past of Rajasthan was once part of the collection of a high ranking Rajput family, most likely worn by a senior member of the clan on festival days. It is 92 percent sterling with a weight of 255 grams. Central to the imagery is a large disc formed by a crouching lion with an unusual extended hinged tongue that wags from side to side as the necklace wearer moves. Spreading to the left and right below the disc are ante ...click for details
This 19th century Tibetan Buddhist Tantrayna ritual crown was worn by Tibetan lamas during empowerment ceremonies. The five panels that form the crown are painted and gilded with images of Tantric yidams, teachers of the Tantric principles of the path to enlightenment. The yidams are depicted with yogini, their female partners. Five silk ribbons on each side of the crown hang from an embroidered emblem. The piece shows wear but is in good condition with all five paintings distinct. It is display ...click for details
A silver and garnet bracelet from Ceylon (now Sri Lanka) has the Victorian look that was the signature design style of jewelry from the delightful central highlands city of Kandy, the capital of the old Singhalese kingdom. The city was, and remains, the artistic and spiritual center of the country. Silver filigree work surrounds both the gemstone and hinge on this late 19th/early 20th century bracelet. The garnet is good quality—the country was and continues to be known for fine gemstones—and i ...click for details
From the old capital of Kandy in the hill country of Ceylon, now Sri Lanka, this primitive bone carving represents a Singhalese king. Carving on the face and upper body of the figure is quite primitive and contrasts with finer detailing in the swirling patterns on the long skirt, which ends in carved, comb-like teeth. The surface of the large, heavy bone is darkened with age except for one area on the right near the hand, which is white and worn smooth. This suggests it was used as an implemen ...click for details
This handsome 19th century sterling silver cuff bracelet with a symbolic Hindu design from Rajasthan is both a collector's item and an unusual piece of wearable jewelry. The sterling weight is 240 grams. Hindu imagery is repeated in five linear segments arranged around the cuff. Leading the iconic parade is the Hindu Goddess Kali, seen as the head of the sacred cow. Next is an antelope, symbol of nature and king of the animals, followed by a lion, emblem of strength and protection. Most like ...click for details
A fascinating utility object from Nepal, this long, curved slicer is anchored into the jaw of an incised bronze mountain cat. The strong, sinuous silhouette of this unusual late 19th/early 20th century tool places it in the realm of folk art. Its previous owner, a Nepali, told us it was used as a fruit and vegetable slicer--the animal placed on a flat surface, held steady with a palm across its back, and the fruit sliced across the sharp inside edge of the blade. It is an odd implement, unlike a ...click for details
This votive plaque from the 8th century or earlier could have originated in India or could be an early Pyu/Pagan piece from Burma. The position of the Buddha, with legs and feet in bhadrasana position, indicate Indian origin, however, early Burmese Pyu/Pagan period plaques were copied directly from Indian examples. In all the terracotta tablets that we have seen recovered from sites in Burma, the Buddha figure, unlike this one, is seated in padmasana or lotus position with right hand in bhumispa ...click for details
A metal incense burner from Ceylon is cast to represent the Buddhist demon Mara as part bird, part human. Mara is the Buddhist personification of the temptations of the world, and takes different forms in the iconography, sometimes appearing as various creatures and demons, sometimes as a young and handsome human. The story of Mara and his armies attempting to lure Buddha away from the path to enlightenment as he meditated under the Bodhi tree provides many icons in the Buddhist pantheon. We hav ...click for details
This low folding table from Tibet is covered on three sides with intricate gesso in foliage and textile patterns, giving it richness and depth. The wear on the table suggests it was used in a monastery as an altar since the gesso work shows minimal wear but the top obviously was heavily used over a long period of time. Folding tables such as this also traveled with monks and nomadic families although this one does not appear to have spent time lashed on the back of a yak. The sides and front fol ...click for details
This 18th century Tibetan painted table has three collapsible sides that fold under the top, making it portable and practical for a way of life built around long pilgrimages. The spirit of monks and whole families traveling across mountain passes is evoked in the design and still-vivid colors of this table. It may have been the only item of furniture owned by a nomadic family. Or it may have been carried on the back of a yak with monks on their way to visit remote villages. The table top shows s ...click for details
