A Tibetan thangka celebrates the revered Buddhist teacher Padmasambhava, a monk who, in the eighth century, traveled from his native India to Tibet. The scholar is recognized for smoothing the adoption of Buddhism within Tibet by integrating some of the deities and beliefs of Tibet’s ancient Bon religion into Tibetan Buddhism. On the back of this thangka (sometimes spelled “thanka”) is the Tibetan script for the mantra “om mani padme hum.” The mantra, which is said to contain all the teachings o ...click for details
Carved bone chessmen patterned after Nepalese and Indian royalty and their subjects make up this mid-20th century bone chess set from Nepal. Both kings wear elaborate costumes. One of them is carved with multiple mustachioed faces; the other is in hunting regalia with his long hair hanging down his back. The buxom queens have heavy brows and wear patterned head scarves. Knights are winged horses, rooks are elephants, bishops are camels, and pawns are long-haired attendants in uniform. These han ...click for details
Eighteen maharajah turban plumes encircle this sterling silver bracelet from 1930s India. The maharajah rulers of Rajasthan adopted the plume-shaped turban ornaments they called "sarpech" from the Mughals. Made of feathers and jewels, worn pointing skyward from their turbans, the plumes became symbolic of the colorful princely rulers. An inventive jewelry maker from India's Jain minority used the distinctive sarpech shape as the design motif for this bracelet. In India, where they ...click for details
This beautifully made sterling silver bracelet is exceptionally comfortable to wear even though it weighs 64 grams. The six braided chains are supple and move well on the wrist. Five shining flower disks are affixed to the chains and add subdued sparkle as the chains flex. A secure prong clasp is set in a handsome tube. The bracelet is 92.5 percent sterling silver and is stamped as such on the inside of the clasp. It was made in the Indian city of Jaisalmer, a remote outpost in the Thar Desert i ...click for details
Lapis and carnelian stones in an ornate setting mounted on a band of light, feathery etching is somehow evocative of Nepal where this bracelet originated. The bracelet is sized relatively large and, while it can be adjusted, may fit and look best when worn over a heavy sweater or jacket cuff. From the late 20th century, the piece is in excellent condition. We do not know the silver content but suspect it is relatively low as is typical for jewelry from Nepal. The inside width of the bracelet mea ...click for details
A beautifully made sterling silver link bracelet is formed of 28 small crests that sparkle on the wrist. An unusual link system gives this piece exceptional flexibility, and the 27-gram silver weight gives it a substantial yet comfortable look and feel. The bracelet was made by the Jain people of India, who are known for their artistic skills, particularly in creating fine jewelry. They are a small minority in India, accounting for about only .4 percent of the population, and follow an ancient r ...click for details
This wool weaving from Nepal represents a phoenix, wings spread soaring toward the sun. Its craggy surface and muted colors evoke the majestic, mysterious Himalayas. The design, at once ethnic and retro, recalls the late 1960s/early 1970s time period when it was made. The piece is in very good condition. Dimensions: height 30" (76 cm), width 40" (102 cm).
A bracelet of braided silver has three silver emblems that are an identifying symbol of Janism, an ancient belief system practiced primarily in India, where small but influential Jain communities are scattered throughout the country. The symbol on this bracelet often is seen outside Jain houses. The Jains, typically well educated and prosperous, are known for business acumen and for their prominence in India's jewelry trade. This bracelet is from Jaisalmer, a remote western Indian city on th ...click for details
A miniature from Mandawa in the Shekhawati Region of Rajasthan is focused on just one subject--a kneeling musician. The single subject and muted colors demonstrate differences between Indian miniature schools of painting that were heavily influenced by Mughal style and those that were not. Here there are no strong Mughal colors, intricate patterns of scrolling and textiles, flowers, birds and people filling the space. By contrast, the soft brown tones and space in this Mandawa piece give it a qu ...click for details
A miniature by Kishangarh painter Yogya Pralash, this work, with the addition of a peacock at the lady's feet, becomes a symbol of grace, joy, beauty and love. The peacock, national bird of India, figures importantly in Indian culture as an emblem to convey those sentiments. The musician's attire echoes the colors of the peacock's plumage and she plays a stringed instrument in a traditional pose found in miniatures from the Indian state of Rajasthan. This late 20th century painting, ...click for details
