Tara is the feminine counterpart of the bodhisattva ("Buddha-to-be") Avalokitesvara (meaning one who hears the cries of the world). According to popular belief, Tara came  More »

Tara is the feminine counterpart of the bodhisattva ("Buddha-to-be") Avalokitesvara (meaning one who hears the cries of the world). According to popular belief, Tara came into existence from a tear of Avalokitesvara, which fell to the ground and formed a lake. Out of its waters rose up a lotus, which, on opening, revealed the goddess. Like Avalokitesvara, she is a compassionate, succoring deity who helps men "cross to the other shore." She is the protectress of navigation and earthly travel, as well as of spiritual travel along the path to Enlightenment. In Tibet she is believed to be incarnate in every pious woman, and the two wives-a Chinese princess and a Nepali princess-of the first Buddhist king of Tibet, Srong-brtsan-sgam-po, were identified with the two major forms of Tara. The White Tara (Sanskrit: Sitatara; Tibetan: Sgrol-dkar) was incarnated as the Chinese princess. She symbolizes purity and is often represented standing at the right hand of her consort, Avalokitesvara, or seated with legs crossed, holding a full-blown lotus. She is generally shown with a third eye. Tara is also sometimes shown with eyes on the soles of her feet and the palms of her hands (then she is called "Tara of the Seven Eyes," a form of the goddess popular in Mongolia). The Green Tara (Sanskrit: Syamatara; Tibetan: Sgrol-ljang) was believed to be incarnated as the Nepali princess. She is considered by some to be the original Tara and is the female consort or sexual partner of Avalokitesvara. She is generally shown seated on a lotus throne with right leg hanging down, wearing the ornaments of a bodhisattva and holding the closed blue lotus (utpala). The white and green Taras, with their contrasting symbols of the full-blown and closed lotus, are said to symbolize between them the unending compassion of the deity who labors both day and night to relieve suffering. Under the influence of Tibetan Lamaism the different forms of Tara multiplied to a traditional 108. Tibetan temple banners frequently show 21 different Taras, colored white, red, and yellow, grouped around a central green Tara. The figure of the "self-born" Buddha, Amitabha, is often shown in her headdress, as she, like Avalokitesvara, is considered to be an emanation of Amitabha. In her ferocious, blue form, invoked to destroy enemies, she is known as Ugra-Tara, or Ekajata; as a red goddess of love, Kurukulla; and as a protectress against snake bite, Janguli. The yellow Bhrkuti is an angry Tara, with frowning brows. There is also a Hindu Tara. Along with Kali She is one of 10 Mahavidyas or Mothers. - (DG.056)   « Less

Jean Perzel" Plafonnier - French, 1935; Drop: 16 in., Diam: 16in., Two concentrical Glass cylinders on a brushed steel base.

Jean Perzel" Plafonnier - French, 1935; Drop: 16 in., Diam: 16in., Two concentrical Glass cylinders on a brushed steel base.   « Less

Ganesh is one of the most widely revered deities in the Hindu pantheon. First emerging as a distinct deity in India during the Gupta Period, his image began to proliferate  More »

Ganesh is one of the most widely revered deities in the Hindu pantheon. First emerging as a distinct deity in India during the Gupta Period, his image began to proliferate from the sixth century AD. There are several traditions regarding his parentage and the events that caused him to acquire the head of an elephant. One of the most widely accepted theories is that he was the son of Shiva and Parvati and was born with fully human features. On one occasion, angered by Ganesh’s closeness to Parvati, Shiva beheaded him in a fit of rage. He then replaced his original head with that of an elephant. Ganesh is venerated as a ‘remover of obstacles’ and a bestower of wealth, wisdom and success.This exceptional marble sculpture represents the god sitting in the posture of grace (lalitasana), his right foot extending over the double lotus pedestal. A superbly carved rat or mouse sits on the base just to the right of the foot. Ganesh is frequently portrayed riding on a rat or attended by a mouse. The tradition began in India in the seventh century and according to some scholars reinforces his role as a ‘remover of obstacles.’ Rodents were associated with destruction, particularly damage to crops. Ganesh tames these instincts and ensures the success of man’s endeavours. He is frequently invoked at the start of any religious or secular undertaking, such as the beginning of a journey or the construction of a house.Serpents were another common feature in Ganesh iconography. In this example a snake is wrapped diagonally around the torso, with his head rearing up just beneath the elephant’s trunk. Ganesh has four arms, the standard number in this period, one of which holds rosary beads, thought to represent the eternal quest for wisdom. The tight-fitting headdress is very detailed, with a wide band of leaf-shaped motifs, terminating in a ribbed top and a circular fastening. The wide ‘wing-shaped’ ears represent the deity’s openness to petitions from his followers and the rotund belly is another common attribute. It is thought that there are more shrines in India dedicated to Ganesh than any other deity. Amongst the many representations of Ganesh available on the market, this sculpture stands out for its early date and the exquisite quality of the carving. (AM) - (OF.269)   « Less

Origin: India Circa: 800 AD to 1200 AD Dimensions: 29" (73.7cm) high x 20" (50.8cm) wide Collection: Asian Art Style: Pala Medium: Stone

Origin: India Circa: 800 AD to 1200 AD Dimensions: 29" (73.7cm) high x 20" (50.8cm) wide Collection: Asian Art Style: Pala Medium: Stone   « Less

Origin: India Circa: 1100 AD to 1500 AD Dimensions: 18" (45.7cm) high x 6.5" (16.5cm) wide Collection: Asian Art Medium: Bronze

Origin: India Circa: 1100 AD to 1500 AD Dimensions: 18" (45.7cm) high x 6.5" (16.5cm) wide Collection: Asian Art Medium: Bronze   « Less

Origin: India Circa: 12 th Century AD to 16 th Century AD Dimensions: 31.25" (79.4cm) high x 12.5 " (31.8cm) wide Collection: Asian Art Medium: Stone

Origin: India Circa: 12 th Century AD to 16 th Century AD Dimensions: 31.25" (79.4cm) high x 12.5 " (31.8cm) wide Collection: Asian Art Medium: Stone   « Less

Origin: India Circa: 1200 AD to 1600 AD Dimensions: 31" (78.7cm) high x 12" (30.5cm) wide Collection: Asian Art Medium: Stone

Origin: India Circa: 1200 AD to 1600 AD Dimensions: 31" (78.7cm) high x 12" (30.5cm) wide Collection: Asian Art Medium: Stone   « Less

The finely articulated metal work exhibited in this piece draws the viewer in, the man’s eyes are wide and alert yet, the softness of his mouth and mustache give him a  More »

The finely articulated metal work exhibited in this piece draws the viewer in, the man’s eyes are wide and alert yet, the softness of his mouth and mustache give him a peaceful expression. These characteristics are similar to those found in some of the finer Gandharan pieces. He posses an urna on his forehead illustrating his spiritual center as well as his social status as a priest or leader. This piece would make a rich addition to any collection. - (PF.2888)   « Less

Green Glazed Amphora - ADC.18, Origin: Syria, Circa: 2 nd Century BC to 2 nd Century AD, Dimensions: 14.25" (36.2cm) high, Collection: Pre-Islamic Art, Style: Parthian,  More »

Green Glazed Amphora - ADC.18, Origin: Syria, Circa: 2 nd Century BC to 2 nd Century AD, Dimensions: 14.25" (36.2cm) high, Collection: Pre-Islamic Art, Style: Parthian, Medium: Earthenware.   « Less

Origin: Afghanistan Circa: 100 AD to 500 AD Dimensions: 5" (12.7cm) high x 2.75" (7.0cm) wide Collection: Asian Medium: Bronze

Origin: Afghanistan Circa: 100 AD to 500 AD Dimensions: 5" (12.7cm) high x 2.75" (7.0cm) wide Collection: Asian Medium: Bronze   « Less