The ancient civilization of Gandhara was located in the region encompassing modern northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading  More »

The ancient civilization of Gandhara was located in the region encompassing modern northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading paths along the Silk Route, the area was flooded in diverse cultural influences ranging from Greece to China. Gandhara flourished under the Kushan Dynasty and their great king, Kanishka, who is traditionally given credit for spreading the philosophies of Buddhism throughout central Asia and into China. This period is viewed as the most important era in the history of Buddhism. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetics became prominent. Greek influence began permeating into Gandhara. Soon sculptors based the images of the Buddha on Greco- Roman models, depicting Him as a stocky and youthful Apollo, complete with stretched earlobes and loose monastic robes similar to a Roman toga. The extraordinary artistic creations of Gandhara reveal link between the different worlds of the East and West.The historical figure, Buddha Gautama Sakyamuni, is the Buddha of compassion who, having achieved the highest evolutionary perfection, turns suffering into happiness for all living beings. Born around 560 B.C. somewhere between the hills of south Nepal and the Rapti River, his father was a Raja who ruled over the northeastern province of India, the district including the holy Ganges River. The young prince was married to Yashoda when he was about 17 years old and together they had a son named Rahula. At the age of 29, he left his life of luxury, as he felt compelled to purify his body and make it an instrument of the mind by ridding himself of earthly impulses and temptations. This sculptural fragment depicts the head of the Buddha. An inner calm and complacency is visible in his sweet smile. His sharply defined eyebrows arch gently curve downwards becoming his long, narrow nose. His hair is composed of rows of curly waves rendered in low relief. The artists of Gandhara were the first to represent the Buddha in his human form, as opposed to a symbol such as his footprint. This gorgeous head is a reminder of an ancient civilization that, although vanished, helped spread the teachings of enlightenment throughout the heart of Asia. - (LO.1260)   « Less

Origin: Western India Circa: 3500 BC to 2000 BCDimensions: 4" (10.2cm) high x 6.25" (15.9cm) wide Collection: Asian Art Style: Mehrgarh Medium: Terracotta

Origin: Western India Circa: 3500 BC to 2000 BCDimensions: 4" (10.2cm) high x 6.25" (15.9cm) wide Collection: Asian Art Style: Mehrgarh Medium: Terracotta   « Less

This legendary piece shows a king and his consort who reflect god like attributes on their journey from a spiritual war of epic proportions. We may infer from the signals the  More »

This legendary piece shows a king and his consort who reflect god like attributes on their journey from a spiritual war of epic proportions. We may infer from the signals the artist has given us, that this war is an ethereal war against the darkest recesses of the human mind and spirit. A battle to attain supernatural wisdom and harbor enlightenment for the mind and soul of mankind. The royal warriors sit astride a majestic sacred elephant which symbolizes royalty, wealth and great wisdom. Both the heroes and their guardians who guide the elephant carry symbols indicative of benevolence and the gods who engage in angry battle against demons. The smaller seated figure is sitting in the Virasana heroic position, with one leg bent up onto the seat while the other hangs straight back against the thigh. This position represents a god who has revealed himself as a hero in the battle against the demons. The Axe (Parashu) held by one of the guardians heralding the elephant is the weapon that conquers darkness and ignorance, and thus liberates man from all ties of worldly matters. It is a definitive characteristic of the war god Skanda. The Spear our primary hero holds raised in his right hand is also the weapon of the war god Skanda, traditionally symbolizing the invincible weapon of the creator of the universe. The bolt of Lightning, which the primary hero holds in his left hand, is the symbol of invulnerability and invincibility. As a weapon, it drives out and eliminates demons. Skanda is known as the great warrior-general of the Army of Light, leading spiritual aspirants to self-realization and victory over the dark forces, and he is traditionally depicted carrying a spear such as that held aloft by the central figure. Skanda represents man's highest evolutionary attainments and is also referred to as the "way that leads to wisdom". His birth and life are written in an epic poem dating from the 5th century A.D. Skanda is known to have arrived in Ceylon, when the region belonged to Lemuria, a vast continent that stretched from Madagascar to near Australia and included India and Ceylon. This territory was ruled by a titan who became the terror of the Celestials, and took form to live upon the Earth. In answer to their prayers, the god Skanda was incarnated as son of the supreme god Shiva. He led a mighty host to Ceylon. It is said that the sky and earth were confounded, the earth shaken at its foundation; such was the mighty uproar of this battle among the Gods. Skanda destroyed the titan with his lance, a symbol which typifies Skanda's energy of wisdom and which we see reflected in the hands of both the primary hero and that of the second footman. Originally the spear was the weapon of Indra, usually depicted as a sort of double edged dagger (which may also be reflected by the weapon held by our secondary hero). As a sword (“Khadga”) this becomes the symbol of wisdom, the battle against ignorance and the force of destruction and it complements the symbolism of the elephant. It is an object of reverence which brings luck. Indra was the king of all the gods and the god of natural elements. Traditionally depicted as riding upon the royal elephant, Indra fought against the demon of drought, and expelled him with his weapons: thunder and lightning. By bringing the rain, Indra thus saved the earth and all its inhabitants. Indra became the prototype for all lords, thus a king such as the one depicted here, could be called “Indra” or “lord of men”. As an important god in many Hindu mythological tales, he leads the gods who form and maintain Heaven and the elements and constantly wages war against the demons of the netherworlds, or those that oppose morality and dharma. Riding a large, white elephant, he fights in the timeless battle between good and evil. He holds the thunderbolt (and a bow), which signifies his status as the God of War. The legendary Indra lives in a set of heavenly worlds located on and above the clouds around Mt. Meru. These clouds are possibly alluded to by the decoration seen beneath the elephant. Deceased warriors go to his hall after death, as great kings and warriors enrich his court. - (LO.1267)   « Less

Origin: Western India Circa: 3500 BC to 2000 BC Dimensions: 6.1" (15.5cm) high x 7.50" (19.1cm) wide Collection: Asian Art Style: Indus Valley Medium: Terracotta

Origin: Western India Circa: 3500 BC to 2000 BC Dimensions: 6.1" (15.5cm) high x 7.50" (19.1cm) wide Collection: Asian Art Style: Indus Valley Medium: Terracotta   « Less

The Indus Valley civilization was rediscovered in 1920-21 when engraved seals were unearthed in the Punjab province of Pakistan at a site called Harappa, a name which is  More »

The Indus Valley civilization was rediscovered in 1920-21 when engraved seals were unearthed in the Punjab province of Pakistan at a site called Harappa, a name which is often used to describe the civilization as a whole. Subsequent excavations at Harappa revealed the size and complexity of this ancient city. Other sites were unearthed as well along the banks of the Indus River, including the equally large city of Mohenjodaro. Through archaeological and historical research, we can now say for certain that a highly developed urban civilization flourished in the Indian subcontinent over five thousand years ago. Though the Indus Valley script remains undeciphered, the numerous seals, statuary, and pottery discovered during excavations, not to mention the urban ruins, have enabled scholars to construct a reasonably plausible account of the Indus Valley civilization.Some kind of centralized state, and certainly fairly extensive town planning, is suggested by the layout of the great cities of Harappa and Mohenjodaro. The same kind of burnt brick appears to have been used in the construction of buildings in cities that were several hundred miles apart. The weights and measures also show a very considerable regularity, suggesting that these disparate cities spread out across a vast desert shared a common culture. The Indus Valley people domesticated animals, and harvested various crops, such as cotton, sesame, peas, barley, and cotton. Indus Valley seals have been excavated in far away cities such as Sumer, suggesting that a wealthy merchant class existed, engaged in extensive trading throughout the subcontinent and the Near East.Other than the archaeological ruins of Harappa and Mohenjodaro, these seals provide the most detailed clues about the character of the Indus Valley people. Bulls and elephants appear on these seals, but the horned bull, most scholars agree, should not be taken to be congruent with Nandi, for the horned bull appears in numerous Central Asian figures as well. The women portrayed on the seals are shown with elaborate coiffures, sporting heavy jewelry, suggesting that the Indus Valley people were an urbane people with cultivated tastes and a refined aesthetic sensibility. A few thousand seals have been discovered in Indus Valley cities, showing some 400 pictographs: too few in number for the language to have been ideographic, and too many for the language to have been phonetic. - (LO.1327)   « Less

The Indus Valley civilization was rediscovered in 1920-21 when engraved seals were unearthed in the Punjab province of Pakistan at a site called Harappa, a name which is  More »

The Indus Valley civilization was rediscovered in 1920-21 when engraved seals were unearthed in the Punjab province of Pakistan at a site called Harappa, a name which is often used to describe the civilization as a whole. Subsequent excavations at Harappa revealed the size and complexity of this ancient city. Other sites were unearthed as well along the banks of the Indus River, including the equally large city of Mohenjodaro. Through archaeological and historical research, we can now say for certain that a highly developed urban civilization flourished in the Indian subcontinent over five thousand years ago. Though the Indus Valley script remains undeciphered, the numerous seals, statuary, and pottery discovered during excavations, not to mention the urban ruins, have enabled scholars to construct a reasonably plausible account of the Indus Valley civilization.Some kind of centralized state, and certainly fairly extensive town planning, is suggested by the layout of the great cities of Harappa and Mohenjodaro. The same kind of burnt brick appears to have been used in the construction of buildings in cities that were several hundred miles apart. The weights and measures also show a very considerable regularity, suggesting that these disparate cities spread out across a vast desert shared a common culture. The Indus Valley people domesticated animals, and harvested various crops, such as cotton, sesame, peas, barley, and cotton. Indus Valley seals have been excavated in far away cities such as Sumer, suggesting that a wealthy merchant class existed, engaged in extensive trading throughout the subcontinent and the Near East.Other than the archaeological ruins of Harappa and Mohenjodaro, these seals provide the most detailed clues about the character of the Indus Valley people. Bulls and elephants appear on these seals, but the horned bull, most scholars agree, should not be taken to be congruent with Nandi, for the horned bull appears in numerous Central Asian figures as well. The women portrayed on the seals are shown with elaborate coiffures, sporting heavy jewelry, suggesting that the Indus Valley people were an urbane people with cultivated tastes and a refined aesthetic sensibility. A few thousand seals have been discovered in Indus Valley cities, showing some 400 pictographs: too few in number for the language to have been ideographic, and too many for the language to have been phonetic. - (LO.1328)   « Less

Origin: Afghanistan / Pakistan Circa: 2500 BC to 1500 BC Dimensions: 3.9" (9.9cm) high x 6.7" (17.0cm) wide Collection: Asian Art Style: Bactrian Medium: Stone

Origin: Afghanistan / Pakistan Circa: 2500 BC to 1500 BC Dimensions: 3.9" (9.9cm) high x 6.7" (17.0cm) wide Collection: Asian Art Style: Bactrian Medium: Stone   « Less

This well-made bronze piece is an Indian representation of an aristocrat or deity, as evidenced by the parasol being held over the head of the horseman. The group is compact  More »

This well-made bronze piece is an Indian representation of an aristocrat or deity, as evidenced by the parasol being held over the head of the horseman. The group is compact and well-proportioned, on a low rectangular base with beaded borders, which suggests a southern Indian origin. The person/god is evidently of high status; even the horse is richly adorned. The person is accompanied by a servant who paces barefoot alongside the horse, perhaps a courtier or a devotee.It is for religious art that Indian metalworkers are best known, and ity is possible to identify the majority of figures portrayed with reference to Hindu or Buddhist mythology. However, secular objects such as this are also known, representing either obscure religious themes or, more likely, everyday or at least mortal scenes that appealed to the sculptor. In this sense it is a striking and appealing piece of Indian art.- (LO.1394)   « Less

Origin: India Circa: 13 th Century AD to 17 th Century AD Dimensions: 10" (25.4cm) high x 8.1" (20.6cm) wide Collection: Asian Style: Incence Burner Medium: Bronze Condition:  More »

Origin: India Circa: 13 th Century AD to 17 th Century AD Dimensions: 10" (25.4cm) high x 8.1" (20.6cm) wide Collection: Asian Style: Incence Burner Medium: Bronze Condition: Extra Fine   « Less

This imposing stone head of Buddha dates from what many refer to as the Golden Age of India. At this date, what is now northern India, Bangladesh and parts of Pakistan were  More »

This imposing stone head of Buddha dates from what many refer to as the Golden Age of India. At this date, what is now northern India, Bangladesh and parts of Pakistan were ruled by the emperors of the Gupta Empire, whose peaceful and prosperous rule saw a flowering of arts and sciences that ranks alongside the civilisations of the Han and Tang Dynasties and the Roman Empire. The achievements of the Gupta Empire are numerous and impressive. Their stable currency of gold dinars, combined with an effective administrative system, helped to fund major developments in architecture, medicine, art, drama, design, mathematics and literature. The western world learnt much of its expertise in pharmacopoeia, cesarean section, bone setting, and skin grafting from Indian medics of this period. The Indian numeral system – which we use today – was taken by the Arabs to Europe where it replaced the Roman system; seemingly western inventions such as the decimal system, algebra, geometry and astronomy – especially the description of heavenly bodies and their orbits, and the assertion that the earth is round rather than flat – were all either invented or refined in the Gupta period. The empire’s shadowy beginnings are generally agreed to have started with the reign of Sri- Gupta in around 250 AD, whose people may have come from the Bengal area. By the 4th century there were various small Gupta kingdoms scattered around the Magadha area. The early rulers of the Gupta Empire – and their followers – were firm believers in Hinduism, but were tolerant of other religions and permitted the construction of temples and shrines to the Buddhist faith. Interestingly, the Hindu cults of Saivism and Vaisnavism shared many characteristics of Buddhism, to the extent that Buddha was eventually accepted as an alter-ego of Vishnu. Gupta Buddhism was based primarily around the Hinayana and Mahayana sects, with increasing emphasis on the latter towards the end of the Gupta dynasty. The iconography of the movement captured the attention of a large retinue of followers, who were particularly taken with the Mahayana Bodhisattvas, namely Manjusri, Avalokitesvara and the goddess Prajnaparamita. Worship of these images and that of the Adi and Amitanbha Buddhas became increasingly popular, and it this is the source of the current piece. The sculpture represents the head of the Buddha, and was originally attached to the torso as well as to a temple wall or similar. The expression is one of serene contemplation, and is elegant and streamlined compared to the rather obese and disproportionate Chinese Buddhas of later periods. It also contrasts with Buddhas made in the Gandhara tradition, as they tend to be more lifelike, while this is expressionistic in its poise and execution. The face has high, arched brows overhanging half-closed, hooded eyes, running down to a slender and tapered nose and a small, pursed mouth. The flow of the facial features is perfectly captured, including the rise and fall of the facial contours of the cheeks and forehead. The ears are long-lobed, pierced and pendulous, while the head – surmounted by the ushnisha (additional brain of elevated consciousness) – is decorated with tight snail-shell curls. This is a serene and beautifully-executed piece of ancient Gupta art, and a worthy addition to any serious collection of the genre. - (LO.1403 (LSO))   « Less