1. A remarkably detailed 12th century Bihar, India, grey stone stele of Vishnu. He is here depicted standing with four arms, symbolic of his omnipresence as Protector of the Cosmic Order. Vishnu is a member of the Trimurti or Holy Trinity of the Hindu tradition along with Brahma and Shiva. In each of his hands he holds an attribute: a gada (mace), chakra wheel, conch and an open palm offering a wish granting mudra. Within his surrounding mandorla are further high relief renderings of various celestial beings, attendants and lotus garlands. Ex: Sotheby's NY, 1985.

Measuring 19 ½” high (including custom black steel mount) by 9" wide by 5" deep.

2. A very rare Himalayan stone sculpture of Manjuvajra, the esoteric form of Manjushri, Bodhisattva of Transcendent Wisdom. He is seated in padmasana upon a lotus dais with four heads (expressing the vastness of his wisdom) and ten arms - each holding symbolic attributes, such as the sword that cuts through ignorance and delusion. The hand without attribute is in the Bhumisparsha mudra of calling the earth to witness. Grey schist. Nepalese, 17th century.

Measuring 13” high by 9” wide by 4” deep, including custom steel base.

3. Marvelously eccentric is this rare pair of antique Chinese bamboo root sculpture of 'Ho-ho-erh-hsein' The Twins (symbols of wealth and prosperity) who hold ropes of coins and ride on the backs of 'Chan Chu' three-legged money toads. Their names are Han Shan and Shih Te and their origin legend is traced as far back as the Tang Dynasty (618 - 906). They are also referred to as the twin spirits of harmony and were traditionally evoked when one would seek reconciliation with a friend or family member.

The bamboo from which these were rendered were substantial sections of very old timber bamboo taken near the root where there is maturity and density. Bamboo sculpture like root wood sculpture were considered prize objects of the literati scholar's household. It required tremendous imagination to configure this type of sculpture from the confines of its natural material. Within Chinese culture, to have a pair of treasured objects is valued much greater than the sum of its parts. China, 19th century. 

Measuring approx. 13 ¾” high by 5 ½” wide by 5” deep. 

4. A Ratanakosin (Bangkok style) Thai gilt bronze standing Buddha in royal attire. He stands on a tiered dais of stylized lotus petals with hands held in the abhaya mudra of dispelling fear, his expression resolute yet serene. This icon is attired in finely detailed layers of traditional robes with sanghati cloak and winged epaulets. The crown is tiered and rises to the ushnisha (symbol of enlightenment) with dramatic winged elements to the sides. Circa 1860. 

Measuring 26” high. 

5. An antique pure silver Buddha of Thai origin seated in ‘Padmasana’ lotus pose with the classic symbolic gestures of ‘Sakyamuni’, the historical incarnate Buddha – the right hand in the Mudra of Bhumisparsa, calling the earth to witness, and the left hand in Dhyana Mudra of enlightened liberation.  He rests upon a four tiered lotus dais, with a countenance of benevolent contemplative expression, and a symbolic spired ushnisha that proclaims his enlightened state.  This hand tooled repousse icon has been finely engraved in traditional Thai patterned detail.  Circa 1870. 

Measuring 6” high.

6. A late 17th century Japanese miniature Butsudan or personal shrine for pilgrimage. Within this venerable antique case are two carved gilded Buddhist icons resting upon lotus dais surrounded by circular nimbus. Amida Nyorai - the Buddha of Infinite Light and Kannon Bosatsu - The Goddess of Infinite Compassion, manifesting both wisdom and compassion, the principal teachings of the Buddha. This small case would have been folded into a fukusa by either the priest or pilgrim who carried it to facilitate their practice while traveling. The interior is patinated from centuries of smoke generated by the burning of candles and incense, and the exterior is characteristically worn. Exquisite hand engraved bronze fittings secure the closure of the double doors. 

Measuring 4 ½” high by 4 ¼” wide (doors closed) by 8 ¾” wide (doors opened) by 2” deep.

7. An Edo period set of the Shinto Gods of Prosperity and Good Fortune 'Daikoku and Ebisu'. Such carved wood icons were a big part of the fortune-garnering practices of the Tokugawa period (1603-1867) and were traditionally kept in the kitchen of the household where they acquired a characteristic patina of black smoke from the cooking fires. This pair of 'Kitchen Gods' (as they were known) are carved in an ittobori (flat plane) technique where the artist intentionally chooses to show the glyptic skill of the individual chisel strokes. This bold, spontaneous and rather eccentric rendering of these deities expresses the influence of the Zen aesthetic.  Measuring 14” high (unusually tall for such artifacts).

Of special curatorial interest to collectors and museums is that these authentic Mingei works of art have been inscribed by the artist with their full provenance. Carved on the back of the rock formation upon which Ebisu is seated can be found a dedication. The following of which is what we were able to translate:

Bunsei (era) Ushi (ox year) a fortunate day – 1829 would be the Ox Year in Bunsei
Umejima Village, Manzawa in Koma Ward, Koshu – contemporary Yamanashi Prefecture
Getsu/tsuki Shoeimon Hizo – for the collection of Mr. Getsu Shoeimon
On the occasion of a pilgrimage around Mito in Hitachi Province
Saku "Sojika" – made by Sojika (name of the artist who carved these sculptures)

8. A pair of attractive antique Chinese stone sculpture depicting the Taoist immortal Lan Caihe holding baskets of flower blossoms while riding astride celestial elephants. The elephants are a symbol of strength and wisdom and the immortals exemplify the Taoist philosophy of living at peace with oneself without concern for the shifts and changes of temporal existence. These sculptures are highly stylized and configured to serve as heavy stone bookends in keeping with the scholars’ tradition embraced by Taoism. Circa 1900. 

Measuring 7 ½” high. 

9. An antique Chinese iconic sculpture of a Taoist Immortal with a gentle benevolent countenance. She stands wearing diaphanous robes, holding the 'Sword of Wisdom' that cuts through ignorance and removes obstacles to everlasting happiness. The sword hilt is carved with a 'Tao Tie' (guardian mask) and a tassel to ward off evil. In her left hand one sees a gift being offered on a rising plume of celestial vapors from which emerges a pair of double swords, representing dissemination of wisdom to humanity. China, circa 1890.

Measuring 11 ½” high, including original reticulated rosewood pedestal.

10. Fierce and feisty are these handsome pair of guardian temple lions in Shiwan Ware or "Canton stoneware" from the Guangzhou region of Canton. Jade green glazed, they are an auspicious presence, ever watchful to protect the household. Most unusual for this kiln (we have seen no similar examples in over 50 years as purveyors of antique Asian artifacts), they were likely a commissioned work that remarkably have remained in excellent condition. Circa 1900-1920.

Shiwan ware (Chinese: 石灣窯; pinyin: Shíwān yáo) is Chinese pottery from kilns located in the Shiwanzhen Subdistrict of the provincial city of Foshan, near Guangzhou, Guangdong. It forms part of a larger group of wares from the coastal region known collectively as "Canton stonewares". The hilly, wooded, area provided slopes for dragon kilns to run up, and fuel for them, and was near major ports. The area has been producing pottery since the Neolithic, and over 100 kiln-sites have now been excavated, but large-scale production of a variety of wares began under the late Ming dynasty, and continues to the present. The Nanfen Kiln has been in operation for some 500 years, and is now a popular tourist attraction.  Shiwan wares have been in a variety of styles, many for utilitarian purposes. Mostly they are (in Western terms) stoneware. Three types of wares especially associated with Shiwan are roof tiles and architectural ornaments.

Measuring 15 ½” high.

11. Ever watchful, a Shoki Ningyo stands alert as guardian of the household. Shoki was a historical figure in Tang Dynasty (618-907) China. The narrative is that despite having excelled to the very top of the national exams, he was denied his advancement because his burly appearance was unattractive to the court. This dishonor subsequently drove him to commit ritual seppuku. When the Emperor learned of this scornful affront by the court, in remorse he ordered that the valiant man be buried with highest honors reserved only for members of the Imperial Family. In gratitude Shoki's spirit vowed to protect all future rulers from evil. Culturally Shoki became deified with supernatural powers to protect and heal.

In the art tradition of antique Japanese Ningyo, his portrayal may be recognized in full formal robes of imperial rank while carrying a sword and showing a massive burly beard and a dark brown complexion (much like that of the indigenous Ainu of northern Japan). Ningyo were works of art that although we may translate the word as doll, these works were never intended as toys but rather as iconic emblems of Japanese cultural tradition. Ningyo of Shoki were prominently displayed to protect the family and to remind young men of the tenets of 'Bushido', that they too might learn to be courageous. 

Measuring 19 ¾” high by 11” wide by 9 ¼” deep, including custom display cabinet.