The Khmer civilization, today embodied by the temples and ruins of Angkor, flourished from 802-1431 A.D. From the great citadel of Angkor, one of mankind's most astonishing  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, flourished from 802-1431 A.D. From the great citadel of Angkor, one of mankind's most astonishing and enduring architectural achievements, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunnan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain. Architecture reached its peak during the Angkor Wat style, certainly best revealed in the grand Visnuite temple after which this style is named. However, during this period of architectural innovation, sculpture instead aesthetically returned back to an earlier era, specifically the first half of the 10th century. The sculptural archaism of this period may have been influenced by the politics. Thus, the renewed grandeur of Angkor Wat sculpture reflected the power of the king. It is also possible that sculptors looked longingly back at the motifs and styles of previous periods that had fallen into disuse. 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 sculpture depicts the Buddha Vajrasattva, the Buddha of Purification. In this form, the Adi Buddha is the manifestation of the energy of all the Buddhas, thus reflecting the influence of monotheism on this ancient religion. He is depicted seated in the Vajraparyanka posture holding the two attributes characteristic of this form, the vajra, or thunderbolt, in his right hand and the ghanta, or bell, in his left. He wears his hair in a high conical bun, the form of which is highly suggestive of a lotus blossom. A diadem encircles his bun and frames his forehead. Jewerly adorns his ears, arms, and neck, reflecting his royal origins. The sophisticated artistry of the work suggests that it would have been placed in an important temple or palace, where reverant followers whould have once payed their respects to the Buddha. - (FZ.415)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.This masterful pair of bronze finials depicts the mythological composite creature Garuda, the divine bird with a human body that was the mount of Vishnu. Here, Garuda is depicted with one prominent central head and three smaller flanking heads. An impressive feathered crown radiates from the beaked visage. As well, the back and arched shaft are decorated with incised stylized feather patterns. This finial pair would have fit over the tips of a wooden pole. However, whether these works would have been placed over a chariot shaft or decorated the carrying pole of a palanquin is questionable. It may even be possible that this pair served as furniture decorations. Clearly though, the intricacy of the detailed modeling suggest that, whatever their function, this pair served within the realm of the sacred. Remarkably, traces of gilding have survived the ravages of time, revealing that these works, as luxurious as they may be, were once covered in gold. We can picture the King being carried in a veiled palanquin, lofted high upon the shoulders of his servants. The tips of the pole would be decorated with this gorgeous pair of sculptures. Garuda, the mount of Vishnu, would thereby be associated with the palanquin and the King, with the god himself. - (FZ.408b)   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians, their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.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. - (X.0539)   « Less

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most  More »

The Shan people are a distinct ethnic group that today constitute Myanmar’s largest minority group. However, from the 13th until the 16th Century, they dominated most of the country. They are largely Buddhist, and their language and customs are closely related to the Thai and Laotians, their neighbors to the south and east. In the 19th Century, long after their power had eroded, they were distributed among thirty petty states that paid tribute first to the Burman King, then to the British. This arrangement remained more or less in tact until 1922 when the Federated Shan States were joined together. In 1947, a unified Shan States was created under the Burmese Constitution. Although much of their autonomy has been relinquished to the central government, the Shan retain their unique cultural identity and ethnic heritage.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. - (X.0567)   « Less

Nandi the bull-calf is the mount or vehicle of Lord Shiva. As Shiva’s most devoted disciple, his image is often placed directly opposite Shiva’s shrine in Hindu  More »

Nandi the bull-calf is the mount or vehicle of Lord Shiva. As Shiva’s most devoted disciple, his image is often placed directly opposite Shiva’s shrine in Hindu temples. Regularly honoured by worshippers with offerings of flowers and incense, sculptures of Nandi are often touched in the hope that devotees will be able to imitate the strength of his devotion to Shiva. It is not known when these two deities first came to be associated but there is a long history of devotion to bulls in Asia. The early civilisation of the Indus Valley in particular (c. 3000-2000 BC) clearly held the bull in high veneration- producing images in stone and terracotta. In Sanskrit Nandi means ‘joyfulness’ or ‘He who gives joy.’ This refers to the emotions experienced by the devotee in the presence of Shiva.This basalt carving depicts a recumbent bull and may have been placed at the entrance to one of Shiva’s temples. The legs are all folded beneath the body and the animal has a wonderfully benign and peaceful expression. The ears are long but the horns are barely out. This is in accordance with Nandi iconography which refers to him as a calf. The tail is folded back against the body and the whole figure rests on an oval plinth with a lightly incised lotus leaf design. The animal is heavily adorned with a quadrangular jewel-encrusted rug across its back, a string of heavy bells around the neck and circular beads strung around its emerging horns. The degree of naturalism is truly outstanding. This is an exceptional opportunity for all serious collectors of Hindu art. (AM) - (X.0593)   « Less

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural  More »

The ancient region of northeastern Afghanistan and northwestern Pakistan was situated at a confluence of trading paths along the Silk Route, an area was flooded in cultural influences ranging from Greece to China. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetical tastes became prominent. Greek influence began to permeate into the arts and culture. Eventually, the Bactrian Kingdom was absorbed by the nomadic Kushan tribes, who settled in the region and went on to establish their own dynasty. The area flourished under the Kushan and their greatest king, Kanishka, who traditionally given credit for further 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.The body of this vessel is globular in form. The vessel slopes inwards and the shoulder and rises to the tapering neck. Such a container may have once held water or wine, or even grain. The exterior is decorated with a lively painted scene. The style of the painting is consistent with other Kushan works. A frieze of native flora and fauna has been depicted. Birds fly above while wild boars frolic amongst the towering flowers. The decoration may be simple embellishment, or the animals and plants may symbolically rrefer to a particular myth or proverb. This terracotta vessel is a lovely example of the art of the Kushans, who ruled over one of the most important stages in the early spread of Buddhism throughout the Far East. - (LO.602)   « Less

Origin: Central Asia circa: 4000 BC to 2500 BC Dimensions: 6.25 " (15.9cm) high x 12" (30.5cm) wide Collection: Asian Style: Indus Valley Medium: Stone

Origin: Central Asia circa: 4000 BC to 2500 BC Dimensions: 6.25 " (15.9cm) high x 12" (30.5cm) wide Collection: Asian Style: Indus Valley Medium: Stone   « Less

Religions are often associated with magnificent and opulent vestments- men of pomp and grandeur, jade and amethyst. In poly and monotheistic cultures alike, the high ranking  More »

Religions are often associated with magnificent and opulent vestments- men of pomp and grandeur, jade and amethyst. In poly and monotheistic cultures alike, the high ranking members of the church have adorned themselves and their sanctuaries. Buddhism too, despite its strict mandates of poverty, has had its share of lavish ornament shed upon its statues and its buildings. But the Buddha, even in his most opulent and grand of forms, has always managed to retain the composure of a humble and gentle spiritual councilor. The intricate layout of his hair beneath his crown, and most of all his stretched ears, place this particular Buddha’s origin within the civilization of the Khmer. His brow gentle, his hands raised in a perpetual state of yielding meditation; this figure gives us a sense of completeness and understanding. His carefully wrought face is truly stunning in its detail. His thick lips, long, delicate eye-lids, and crescent shaped cheek-bones all ensure us that the artist’s conception of the Buddha was unique and personal. In this sculpture we find the simplicity and complete content of an abstemious individual, almost paradoxically immortalized in sumptuous bronze. The magnificence of his metal and the skill of his craft cannot, however, detract from his calm and pensive demeanor. For those who pursue both peace and incredible beauty in a single work of art, this Buddha is a rare treasure. - (FF.555)   « Less

This marble statue of the Buddha demonstrates the high degree of artistic refinement achieved through the artistic expression of religious and philosophical beliefs. In most  More »

This marble statue of the Buddha demonstrates the high degree of artistic refinement achieved through the artistic expression of religious and philosophical beliefs. In most Asian countries this becomes a canonical form, which distinguishes the Buddha from all other figures. Cross-legged in yogic posture, the Buddha touches the earth with the tips of his fingers, palm faced downward and arm fully extended-a symbolic gesture summoning the earth goddess to witness his right to sit beneath the tree of wisdom called the Bhumisparsha Mudra. It is the moment of enlightenment, the attainment of Buddha hood in which the transcendence is achieved. The sensation of tranquility and detachment experienced in this stage is evident in the facial features which are further enhanced by the smoothness and clarity of the medium. The Buddha's robe covers the left shoulder in the traditional monastic manner, is pleated at the edges and fans out over the base. All the parts of his body are perfectly proportioned, symmetrical, smooth and fully rounded: the shoulders are broad, and the hips narrow; his arms reach down to the knees and the lobes of his ears are distended. The general appearance associated with the Buddha characterizes him partly as a noble human being and ideal ruler and partly as superhuman. The elegance and spirituality of the Buddha form is well conceived in this Burmese marble representation.   « Less

This exceptionally rare ceramic was produced during the Khmer period in Cambodia. Known mainly for the staggering city of Angkor, the Khmer empire covered much of SE Asia  More »

This exceptionally rare ceramic was produced during the Khmer period in Cambodia. Known mainly for the staggering city of Angkor, the Khmer empire covered much of SE Asia between the 9th and 15th centuries AD, and was a trading hub for much of the surrounding are. The finds made from this dynamic period of Asian history have been highly informative as to the cultural and religious characteristics of Khmer society, and this is an astonishing example of their sculptural traditions. Whilst the bronze and stone sculptures of this civilisation have been well-studied, ceramic wares have only recently begun to attract attention. Large kilns have been discovered in the Mount Kulen and Roluos areas, where the necessary raw materials – clay, sand, rock and water – are in plentiful supply. The majority of surviving works, such as storage vessels, are utilitarian in function. Although zoomorphic vessels in the form of turtles, frogs and elephants are known, this piece was clearly not designed to hold liquid. It must therefore have had a ceremonial or ritualistic function of some importance.The earliest known representations of the sphinx, a mythological creature with the body of a lion and the head of a man, come from Egypt during the Old Kingdom period. The idea also occurs in ancient Greece where wings were often added to the lion’s body. The motif was equally popular in South-East Asia, although scholars have debated whether it arose here independently or was transmitted via the Hellenistic kingdoms of Central Asia. A variety of names are used to describe this beast but the most popular one is the Indian term, ‘purushamriga.’ It was believed to have apotropaic powers and was placed in temples and palaces to ward off evil spirits. Unlike other areas of the world where sphinxes were produced, Southern Asian sphinxes are still used in the modern day.The sphinx is modelled in an alert, tense pose, with head raised and back legs bunched as if in preparation. The body is highly muscular and powerful, decorated with flanges of ceramic – themselves decorated with floral patterns – that delineate the limbs and haunches. The tail is plain with an ornate tip, and curls backwards along its spine, forming an ‘S’ shape when viewed in profile. The detailing is extremely well done, from the superficial decoration to the forming of the grinning face to the toes with their individual claws. The face displays a slightly supercilious expression, with high, arched eyebrows, piercing eyes and a smile that slightly bunches the cheeks. The headwear is exceptionally elaborate, with a raised rim, circular motifs around the perimeter and a three-tier “tower” in the centre; it also wears leaf-shaped earrings that protrude from under the headwear. The circular motifs are also impressed into the necklace, along with larger scrollwork patterns and foliate designs. The broad forehead and the shape of the diadem recall the style of bronze Khmer statues that are more widely known.Although there has been some restoration, especially to the front legs, the piece is in exceptional condition considering the fragility of its material. The delicate blue/green glaze appears in a myriad of different shades. The tail is accentuated by a brown glaze that is typical of Khmer ceramics in this period. The facial expression is difficult to read but appears to be benevolent. This is a unique opportunity to acquire an extremely rare masterpiece which offers a major insight into Khmer civilisation. - (LO.1273 (LSO))   « Less