Kaal Bhairav is the Lord of Destruction and an incarnation of the Hindu god Shiva. According to one legend Brahma and Vishnu were disputing who had the right to be worshipped  More »

Kaal Bhairav is the Lord of Destruction and an incarnation of the Hindu god Shiva. According to one legend Brahma and Vishnu were disputing who had the right to be worshipped as supreme creator of the universe. When Brahma claimed this title for himself, Shiva became angry and created Bhairav to punish Brahma for his arrogance. Having cut off one of Brahma’s five heads, Bhairav was forced to carry it around as a reminder of his sin. It is visible here in one of his left arms. The other attributes include a skull cap, a sword and a trident.Kaal Bhairav is especially popular in Nepal and his image is placed before temples and paraded through the streets during the festival of Indra Jahra. It is believed that his statue acts as a lie detector and people suspected of committing a crime were often brought before him to elicit a confession. It was thought that if they lied they would immediately bleed to death. In this sculpture Bhairava is depicted crushing the demon Vetala, a symbol of human ignorance, beneath his feet. The large garland draped around his neck and beneath his belly is adorned with skulls, a common attribute that sometimes also appears in his headdress. Writhing snakes, or nagas, adorn his earlobes and add to the ferocity of his appearance. Traces of red powder, which was added to the sculpture by pious devotees remind us of the awe and respect that this deity inspired. - (FF.1112)   « Less

White Tara is associated with longevity of life and healing. The figure originated in Hinduism where she was venerated as a Mother Goddess. By the sixth century A.D. she had  More »

White Tara is associated with longevity of life and healing. The figure originated in Hinduism where she was venerated as a Mother Goddess. By the sixth century A.D. she had been incorporated into Buddhism as a bodhisattva. Seated on a lotus base in the dhyanasana position, Tara holds the stem of a lotus blossom in both hands. The left hand is held in kartari mudra and the right in varada mudra. The head is crowned with a five-point diadem, arranged in front of a high chignon decorated with a gold finial. The jewellery is elaborate and includes two circular earrings with leaf-shaped attachments, two strings of beads on the torso and another set along the top of the dhoti. A celestial scarf runs from the back of the lotus blossoms, around the arms and finishes in an elegant flourish on either side. The most charming feature of this piece is the bodhisattva's facial expression. The head is bent slightly to the viewer’s left and the eyes are downcast in a gesture of meditation. - (OF.018)   « Less

Tara is a female Bodhisattva who was believed to have been formed from the tears shed by Avalokitesvara. She is arguably the most popular goddess in the Buddhist pantheon.  More »

Tara is a female Bodhisattva who was believed to have been formed from the tears shed by Avalokitesvara. She is arguably the most popular goddess in the Buddhist pantheon. There are twenty-one forms of Tara but it is the Green Tara and White Tara that are the most popular. She is especially popular in Tibet, Nepal and Mongolia. She is the goddess of universal compassion. Tara represents virtuous and enlightened action. It is said that her compassion for living beings is stronger than a mother’s love for her children. She also brings about longevity, protects earthly travel, and guards her followers on their spiritual journey to enlightenment.On this stele, Tara stands in a hip-shot posture with her right hand held in a boon-bestowing charity gesture, her left hand holds a lotus blossom. Her body is voluptuous. She wears a long dhoti, she is adorned in jewellery including a crown, earrings, necklace and armbands. - (OF.257)   « Less

Kaal Bhairav is an incarnation of the Hindu god Shiva. According to one legend Brahma and Vishnu were disputing who had the right to be worshipped as supreme creator of the  More »

Kaal Bhairav is an incarnation of the Hindu god Shiva. According to one legend Brahma and Vishnu were disputing who had the right to be worshipped as supreme creator of the universe. When Brahma claimed this title for himself, Shiva became angry and created Bhairav to punish Brahma for his arrogance. Having cut off one of Brahma’s five heads, Bhairav was forced to carry it around as a reminder of his sin. It is visible here in one of his left arms. The other attributes include a skull cap, a sword and a trident.Kaal Bhairav is especially popular in Nepal and his image is placed before temples and paraded through the streets during the festival of Indra Jahra. It is believed that his statue acts as a lie detector and people suspected of committing a crime were often brought before him to elicit a confession. It was thought that if they lied they would immediately bleed to death. In this sculpture Bhairava is depicted crushing the demon Vetala, a symbol of human ignorance, beneath his feet. The large garland draped around his neck and beneath his belly is adorned with skulls, a common attribute that sometimes also appears in his headdress. Writhing snakes, or nagas, adorn his earlobes and add to the ferocity of his appearance. Traces of red powder, which was added to the sculpture by pious devotees remind us of the awe and respect that this deity inspired. - (FF.002)   « Less

Olmec Hunchback Figure - DK.010, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 3.5" (8.9cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta,  More »

Olmec Hunchback Figure - DK.010, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 3.5" (8.9cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta, Condition: Very Fine.   « Less

Guanacaste-Nicoya Jade Celt - DK.026, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 7.5" (19.1cm) high, Collection: Pre-Columbian, Style: Guanacaste-Nicoya,  More »

Guanacaste-Nicoya Jade Celt - DK.026, Origin: Costa Rica, Circa: 100 AD to 500 AD, Dimensions: 7.5" (19.1cm) high, Collection: Pre-Columbian, Style: Guanacaste-Nicoya, Medium: Jade, Condition: Very Fine.   « Less

Chupicuaro Sculpture of a Standing Woman - SK.033 (LSO), Origin: Western Mexico, Circa: 300 BC to 100 AD, Dimensions: 13" (33.0cm) high x 5.75 " (14.6cm) wide, Collection:  More »

Chupicuaro Sculpture of a Standing Woman - SK.033 (LSO), Origin: Western Mexico, Circa: 300 BC to 100 AD, Dimensions: 13" (33.0cm) high x 5.75 " (14.6cm) wide, Collection: Pre-Columbian, Style: Chupicuaro, Medium: Terracotta.   « Less

Mezcala Stone Idol - CK.0050, Origin: Guerrero, Mexico, Circa: 300 BC to 300 AD, Dimensions: 17" (43.2cm) high x 4.5" (11.4cm) wide, Collection: Pre-Columbian, Style:  More »

Mezcala Stone Idol - CK.0050, Origin: Guerrero, Mexico, Circa: 300 BC to 300 AD, Dimensions: 17" (43.2cm) high x 4.5" (11.4cm) wide, Collection: Pre-Columbian, Style: Mezcala, Medium: Stone. Recovered from dedicatory caches in Guerrero, this sculpture of a human figure is a mysterious artistic product of Mezcala culture's obsessive votive Celt cult. Mezcala was a stone-centered culture that is considered as pre-Olmec. The sculptors of this period carved their votive offerings out of hard stones such as andesite and serpentine. This sculpture of a human figure is smoothly carved out of beautiful dark-green stone. The figure is carved with a bold simplicity which distinctly defines the face, eyes, and hands. Although ancient, its minimal quality evokes a sense of modern minimal abstraction which heightens the sculpture's artistic quality. Mezcala sculptors were driven by the impact of sheer physical necessity and produced the stone carvings for their obsessive rituals in mass quantity. Though produced in great quantity, the sculptors carved the hard, unyielding stone with absolute sureness and special sculptural sensitivity. Each mark, each indentation is a precious outcome of earnest carving that describe the features of the figure. Remarkable in its unusually large size, physical presence, and abstract features, the sculpture appeals to our senses even today.   « Less

Gold Pectoral of Two Crouching Jaguars - FJ.5060, Origin: Costa Rica, Circa: 700 AD to 1550 AD, Dimensions: 2.625" (6.7cm) depth, Collection: Pre-Columbian, Style:  More »

Gold Pectoral of Two Crouching Jaguars - FJ.5060, Origin: Costa Rica, Circa: 700 AD to 1550 AD, Dimensions: 2.625" (6.7cm) depth, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. This elaborate gold pectoral is a striking example of the superb Costa Rican artistry that developed prior to its European discovery. Early sixteenth century conquistadors marveled at the quantity and quality of the Costa Rican gold and stood in awe of the local artists' mastery of this most desirable of materials. No doubt this jaguar pectoral was chronicled by one of the Spanish explorers, his writing filled with superlative as he described the jewelry's wealth in both detail and inherent symbolism. The crouching twin jaguars, ancient symbol of the stealthiness of the night are linked by gold bars, the upper connection patterned with splendidly balanced geometric subtle ring creating an auditory announcement of the wearer's presence. This mysterious and energizing pectoral was probably part of an elaborate and highly symbolic adornment, worn by a local ruler to affirm his sacred and spiritual attributes. Today, we feel the energy and sense the symbolism of this evocative ornament, its magic and beauty a testimony to the ancient artist and culture that created it.   « Less

Gold Pectoral Featuring Twin Saurian Deities - FJ.6207, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 4.75" (12.1cm) high x 5.75" (14.6cm)  More »

Gold Pectoral Featuring Twin Saurian Deities - FJ.6207, Origin: Costa Rican/Panamanian Border Area, Circa: 500 AD to 1550 AD, Dimensions: 4.75" (12.1cm) high x 5.75" (14.6cm) wide, Collection: Pre-Columbian, Style: Pre-Columbian, Medium: Gold. To encounter something so rare and rarely seen as this phenomenal pectoral is an experience equal to a great adventure. It is as if we have taken a journey deep into the rain forest and suddenly discovered an ancient temple obscured by jungle growth. After clearing away the hanging vines we encounter these two mythical beasts guarding the entrances. The immediate effect is one of extraordinary power beyond the normal world. Indeed, it required a very expert goldsmith to create mythical figures with such remarkable detail. The heads are like a crocodile with rows of menacing teeth exposed, and eyes squinting as if they are seeing through us. Three coiled bands on each of their snouts beautifully represent through abstraction the look and feel of crocodile skin. Delicate spirals weave from the upper portion of their heads. A marvelous effect of webbed feet or hands is created with finely twisted multi-bands wrapped around the supporting structure. The imposing crescent shape, like the roof of a shrine, is typical of Diquis artists. It is a marvelous blend of curves and angles, ending in two mythical snake heads. One pair of rectangular plaques hang from the figures 'elbows,' and pair of bells form the tails turn the entire object into a type of musical instrument. In fact, the purpose of the danglers was probably to make the wearer seem alive with tingling sound as he moved. It is very likely this pectoral was made for an important chief or even shaman, who adorned himself with such fabulous items to give the impression; his glory was beyond this world. When seeing and holding this unbelievable beautiful pectoral it is easy to believe it contains magical powers that transcend the real world.....trudy .   « Less