Enamelled Glass Bowl in Mamluk Style - AD.020, Origin: Nancy, France, Circa: 1880 AD, Dimensions: 6.5" (16.5cm) high x 13.5" (34.3cm) wide, Collection: Islamic Art, Style:  More »

Enamelled Glass Bowl in Mamluk Style - AD.020, Origin: Nancy, France, Circa: 1880 AD, Dimensions: 6.5" (16.5cm) high x 13.5" (34.3cm) wide, Collection: Islamic Art, Style: French in Mamluk Style, Medium: Glass.   « Less

Enamelled Glass Mosque Lamp - AD.022, Origin: Creteil/Seine, France, Circa: 1875 AD, Dimensions: 13.2" (33.5cm) high x 13.3" (33.8cm) wide, Collection: Islamic Art, Style:  More »

Enamelled Glass Mosque Lamp - AD.022, Origin: Creteil/Seine, France, Circa: 1875 AD, Dimensions: 13.2" (33.5cm) high x 13.3" (33.8cm) wide, Collection: Islamic Art, Style: French, Medium: Glass.   « Less

Slip-Painted Bowl - ADC.01, Origin: Central Asia, Circa: 10 th Century AD to 11 th Century AD, Dimensions: 3.27 " (8.3cm) high x 8.27" (21.0cm) wide, Collection: Islamic Art,  More »

Slip-Painted Bowl - ADC.01, Origin: Central Asia, Circa: 10 th Century AD to 11 th Century AD, Dimensions: 3.27 " (8.3cm) high x 8.27" (21.0cm) wide, Collection: Islamic Art, Medium: Earthenware.   « Less

This elegant gold drinking cup hints at the beauty and mystery of the Tibetan culture. With a delicate shape reminiscent of the lotus blossom, the cup appears to open up,  More »

This elegant gold drinking cup hints at the beauty and mystery of the Tibetan culture. With a delicate shape reminiscent of the lotus blossom, the cup appears to open up, much like the spirited lotus as it matures. Intricately incised patterns on the surface of the cup further enhance its mystical beauty, the motifs perhaps suggestive of a divine and ordered universe. A radiant light reflects off the cup's detailed surface, illuminating our spirits with the creative force of the universe. - (FJ.5230)   « Less

The triad consists of a meditating Buddha seated on the coils of a serpent flanked to his left by the feminine deity, Prajnaparamita, and to his right by Lokesvara,  More »

The triad consists of a meditating Buddha seated on the coils of a serpent flanked to his left by the feminine deity, Prajnaparamita, and to his right by Lokesvara, “the Lord of the World.” The base is tiered, and the central figure is elevated—a symbol of sovereignty and pre-eminence in the spiritual realm. Wearing a full-length skirt drawn together by an ornate belt, Prajnaparamita grasps lotus flowers in her hands with arms raised forward in the teaching mudra. She is considered the incarnation of the Divine World. The four-armed Lokesvara assumes an analogous pose, wearing a short dhoti held in place by a belt and holding a lotus bud and a vase. The central Buddha figure is adorned with armbands, heavy earrings and jeweled necklaces, and a transparent-like robe is incised along the borders that cover the chest and drape over the left shoulder. All three figures display an introspective dreamy expression implied by the familiar formula of closed eyes and smiling lips.The Cambodian ideal image of the Buddha evolved during the rise of the empire. Indebted to the Gupta canon, the massive, spheroid conception of the head became the standard feature of Khmer Buddhist iconography. The separation of the hairline from the face with a band developed in this period, indicative of the tendency of Khmer sculpture to assume a more hard linear character through clear-cut definition of features. The appearance of the closed eyes and lips distended into a long mysterious smile became the Khmer formula for indicating the self-contained bliss and serenity of the Enlightened One. Khmer heads contain a suggestion of personality or individuality within the mould of iconographical convention perhaps due to the custom of attributing these icons to idealized portraits of the reigning monarch in the guise of a devaraja or god-king. In Khmer sculpture, the prevalence of the iconography of the Buddha seated on the coils of a giant serpent is not entirely a portrayal of the obscure legend of Sakyamuni's encounter with a naga after his enlightenment. It is a reference to the legend that the nagas or serpent deities were the divine progenitors and protectors of the Cambodian throne. Regardless of whether the state religion was Hindu or Buddhist, the conception of the ruler as the earthly embodiment of the prevailing deity of the realm was an established tenet of the Cambodian belief system. - (H.556)   « Less

Richly carved in the Indian tradition, this powerful little statue captures the inner soul of its subject rather than simply his outer appearance. Seated comfortably on a  More »

Richly carved in the Indian tradition, this powerful little statue captures the inner soul of its subject rather than simply his outer appearance. Seated comfortably on a flower-like throne, dressed simply yet with apparent wealth, this effigy of the legendary Sikh leader regards the world through a glowing eye, his traditional attribute. Though Ranjit Singh lived in the 19th century, he projects the heroic dignity of an ancient king or deity. One need not be a follower of the faith to feel the tremendous energy that radiates from his image. - (PF.1092)   « Less

Since the very dawn of civilization, the bull has held an important place in the rituals of men. Sacred bull images have been found in the palaces and temples of Crete,  More »

Since the very dawn of civilization, the bull has held an important place in the rituals of men. Sacred bull images have been found in the palaces and temples of Crete, Turkey and Persia. The Egyptians worshiped the Apis bull and the animal figured prominently in the cult of the god Mithra. In Hindu belief, the bull Nandi is the sacred vehicle of Shiva, and is sometimes considered the incarnation of the god in his fertility aspects.This splendid statue depicts a magnificent kneeling bull adorned with necklaces and a bell. We would never mistake this for an ordinary animal. Something in his dignified and regal air makes his divine status immediately apparent. This can be traced back to the Indus Valley Civilization, where dairy farming was the most important occupation, thus explaining the appearance of various artefacts indicating a deity much like Shiva.The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of the Garbha Griha (sanctum sanctorum) of every Mandir (Hindu temple) dedicated to Shiva. It also explains why the word "nandi" in the Tamil language is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva. - (PF.1399)   « Less

This beautiful sculpture was made in the ancient kingdom of Majajanapada, better known as Gandhara. Situated on the border between what is now Pakistan and Afghanistan, the  More »

This beautiful sculpture was made in the ancient kingdom of Majajanapada, better known as Gandhara. Situated on the border between what is now Pakistan and Afghanistan, the kingdom contained several notable cities that flourished between the 6th century BC and the 11th century AD. It saw enormous changes with the ebb and flow of contemporary superpowers. It also became a centre of learning (notably with the invention of the Kharosti alphabet) and of religious pilgrimage, as this is where the holy scriptures of Buddha were kept. Prior to this in the 6th century BC Gandhara was absorbed into the Achaemenid (Persian) Empire. The collapse of this dynasty led to a series of power struggles that ended with the crushing of native armies by Alexander the Great in 327 BC. This was followed by the attack by Demetrius of Bactria, and while the area was Graeco-Bactrian for some time, it eventually gained independence under King Menander in the mid 2nd century BC. The final effects of Greek colonialism were eroded by about 50 BC under a fierce campaign headed by the Parthians. While catastrophic to social order at the time, the cultural diversity of the region was greatly enhanced by the appearance of the Greeks, especially in terms of artistic production. Even after the Greeks had gone, their bequest remained in the aesthetic sense that makes Gandharan art unique. The golden period of Gandharan art dates to c. 100-200 AD with the arrival of the Kushans, a Central Asian group under whose governorship the arts and sciences flourished as never before. The cocktail of different cultures saw a completely unique set of architectural and artistic traditions. Their greatest monarch, Kanishka, encouraged the arts, and under his reign totally new conventions were to develop including the earliest depictions of the Buddha in human form. The cultural syncretism between eastern themes and western styles has become known as Graeco-Buddhism, and is one of the most remarkable – and successful – examples of cultural fusion in history. Everything from architecture to sculpture, coinage and even jewellery developed in new and extraordinary ways. Myths and figures from Greek mythology – such as Atlas, or Dionysus – are also found in some friezes and paintings. The Buddhas resemble Greek kings in ersatz togas, sitting in houses influenced by the Corinthian model, while Bodhisattvas and other religious figures are often depicted with startling realism as bare-chested Indian princes. The current sculpture is a case in fact. The startling realism of the facial features accentuates the calm expression, with heavily lidded eyes, linear brows and slightly pursed lips. This is combined with flawless rendering of the simple draperies. Unlike the minor deities, he is unadorned except for his elongated earlobes. The elevated hairstyle – superbly carved into a tied topknot pattern – conceals the ushnisha, the extra brain of elevated consciousness that achieves more exaggerated expression in later sculptures from across Southern Asia. The hand gestures – which are highly formalised in most branches of Buddhism – imply that the Buddha is expressing the “mudra” known as the Absence of Fear (Abhâya mudrâ). He is sitting on a simple cushion atop a low plinth that is carved with five lotus flowers. This is a mature and beautifully executed work of ancient art. - (PF.4359 (LSO))   « Less

The ancient civilization of Gandhara thrived in the region of northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading paths along the Silk  More »

The ancient civilization of Gandhara thrived in the region of northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading paths along the Silk Route, the area was flooded in cultural influences ranging from Greece to China. Gandhara flourished under the Kushan Dynasty and their great king, Kanishka, who traditionally given credit for further spreading the philosophies of Buddhism throughout central Asia and into China. This period is regarded as the most important era in the history of Buddhism. After the conquests of Alexander the Great, the creation of Graeco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetical tastes became prominent. Greek influence began to permeate into Gandhara. Soon sculptors based the images of the Buddha on Graeco-Roman models, depicting Him as a stocky and youthful Apollo, complete with long-lobed ears and loose monastic robes similar to a Roman toga. The extraordinary artistic creations of Gandhara reveal link between the worlds of the East and West.An extremely important Gandharan statue, this piece depicts the figure of an ascetic complete with a highly expressive physiognomy. Overall, the sculpture employs a statuary type seen in the so-called “Atlas” figures of Gandharan art, semi-divine beings generally with wings which are shown squatting on some lower registers of votive stupas. They have been named “Atlas” figures because they appear to support the superstructure above them. This sculpture is posed in the characteristic Atlas stance with his right leg bent but held vertically while the left one is placed flat on the ground; the arrangement of the hands – the right grasping the right ankle and the left placed near the knee – is also consistent with the Atlas iconography. However, the rendition of the head and the monumental scale of the figure are both unique. Although the arms are quite muscular, the torso is rather thin with the rib structure protruding. The head is that of an older, bearded man. The skin on the neck is taught, seemingly pulled upward, revealing the bony structure of the spinal column, a detail that frequently occurs in representations of ascetics of the fasting Buddha. The identification of this figure as an ascetic is also based on the small loincloth secured by a rope, a characteristic costume seen on images of such holy men. The large scale of the figure, together with its portrait-like physiognomy, suggests that this may be a statue of a particular ascetic, perhaps one of several which appear in Buddhist stories, or might even be intended to be a representation of a particular individual. This figure is, to our knowledge, the largest example of a figure from the “Atlas” family and presents an impressive fusion of the classical tradition of the west within the Gandharan artistic milieu. - (PF.5533)   « Less

The goddess Uma, also known as Parvati, daughter of the mountains, was the consort of Shiva. When she finally attracted Shiva, after a long and physically grueling courtship,  More »

The goddess Uma, also known as Parvati, daughter of the mountains, was the consort of Shiva. When she finally attracted Shiva, after a long and physically grueling courtship, he shared with her the secrets of the world, a conversation that would lead to the dispersal of this elite knowledge amongst the wise. Shiva’s exploits were represented on the relief carvings of Angkor Wat, the center of the Khmer dynasty and the largest religious monument in the world. Thus, Uma was a favored goddess of Khmer artists for her important stature in the Hindu hierarchy. The artistic glory of the Khmer civilization is perfectly preserved in this sculpture of Uma. Stylistically, the idealized forms of the figure are characteristic of Angkor. The smooth polish of the surface, the hourglass-shape of the torso, and the facial structure of this statue are typically Khmer. The floral diadem tied into a knot at the back of her head and the pleated sarong with overhanging fabric carved in the shape of a fishtale are also both indicative of Khmer sculpture of this period. The idealization of the figure is the direct result of her divine nature. Gazing upon this masterpiece, we are in the presence of not only a gorgeous goddess, but also a relic of one of history’s great civilizations. Like all great art, this sculpture memorializes an entire culture and era. The art and architecture of the Khmer is one of the greatest achievements of mankind. Basking in the glory of this sculpture is reveling in the beauty of life and creation itself. It’s no wonder that early legends surrounding Angkor, before it was properly excavated and documented, purported it to be a city created by the gods when they still resided on earth. Somehow, this sculpture of Uma seems like a divine self-portrait. - (PF.5538)   « Less