A dragon’s mouth holds the flame in this 19th century bronze oil lamp from Ceylon. The dragon head and lamp base, cast as a separate unit, screw off the top tiered part of the lamp, which is hollow to hold the oil (see photo enlargement #3). The oil flows down through the dragon head to feed a wick threaded into the mouth. A heavy chain cast in double links is attached to a loop at the top of the lamp, allowing it to be used either as a hanging or a standing piece (see photo enlargement #6). Thi ...click for details
Seven images of Ganesh, the happy rotund god revered by Hindus, Buddhists and Janists, are embossed on the seven sterling silver plates that form this early 20th century necklace. The necklace originated in the north Indian state of Rajasthan, and has a silver content of 92.5 percent and a weight of 85 grams. Fashioned in a clever manner that gives the necklace the necessary flexibility to fit comfortably below the neck, the five-sided silver plates are strung top and bottom with hidden leather ...click for details
A mid-19th century Indian miniature painting from Rajasthan depicts Sawai Man Singh, who was Maharajah of Jaipur more than 200 years ago. The strong influence of Mughal style is evident in the exquisite detail of the gold designs on the sword, floral patterns on the shoes, scarf and hem of the robe and in the pose of the subject in profile. Tiny gold designs cover the gold robe, and fine gold lines radiate from a green nimbus. The rich colors are enhanced by a narrow black border with delicate g ...click for details
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
