Lacquer Asian Art and Furniture

This beautiful Chinese export black lacquered pair of shelves is decorated with silver and gold leave images of the story of a Chinese warrior battle....

Antique Shanxi province winged elmwood sideboard This elmwood winged sideboard with original brown lacquer and patina has 4 drawers, 4 shelves, and ...

Nihonga style, finely painted spring flowers with a dragonfly detail in mineral pigments on silk. Signed and sealed: "Seichu". Real name: Aoki Keinosuke (1891-1973), born in Kyoto, s...

Antique Shanxi Province Rare Top Hat Court Official Elm Bench The Antique Shanxi Province Rare Top Hat Court Official Elm Bench is a stunning piece of furnit...

We are excited to offer this iconic Italian floor lamp, designed by Angelo Lelii for Arredoluce in the 1950s. Featuring three adjustable lights, the lamp can be configured into a mul...

Japanese Lacquer Hibachi (Brazier), Meiji period (1868 - 1912) Box- shaped Japanese hibachi with mother of pearl inlay, handles on two sides, and a cop...

Showa Period (1926 - 1989) sculpture of a duck resting with its head tucked into its wings. Dry lacquer, or kanshitsu, is a process of layering and manipulating lacquer soaked cloth ...

Grand panel Hanoi lacquer and eggshell by Than Lay (?) Numbered and dated 1964 young musicians. Size: 122 cm x 61 cm.

Material: lacquerware 53,3 cm high 28,5 cm wide and 20,4 cm deep Weight: 1.869 kgs Gilded with 24 krt. gold Shan (Tai Yai) style Bhumisparsha mudra Originating from Burma 18...

Material: lacquerware 85,5 cm high 38 cm wide and 29,5 cm deep Weight: 4.1 kgs Gilded with 24 krt. gold Shan (Tai Yai) style Bhumisparsha mudra Originating from Burma 19th c...

Daikoku ‘s hammer, symbol of power and abundance, capable of granting wishes, made of lacquer and embellished with gold leaf. The decorative motifs on the hammer are floral and geom...

Lacquer and aluminum on wood. Exhibited at Northern Japan Art Exhibition. Signature reads: Yuki.

A Monumental Gilt-Lacquered Bronze Ornamental Buddha Sculpture of Vajravidarana: A Masterpiece of Sino-Tibetan Craftsmanship, Late 19th Century, Qing Dynasty This monumental gilt-lacquered bronze ornamental sculpture of Vajravidarana is an extraordinary and commanding piece of art, showcasing the pinnacle of Sino-Tibetan craftsmanship from the late 19th century. The figure of Vajravidarana, a powerful purification deity in Tibetan Buddhism, is meticulously sculpted to embody both spiritual authority and artistic excellence. Vajravidarana is primarily known for his role in removing spiritual impurities and negativities. Unlike other deities associated with wisdom or compassion, Vajravidarana’s function is centered on purification and healing. He is typically depicted holding a vajra and a bell, symbolizing the cutting away of delusions and the resonance of divine truth. In this striking sculpture, Vajravidarana is shown holding a vishva vajra (the double vajra), a unique and powerful variation of the traditional iconography, which signifies ultimate protection and the dispelling of negative karma. Vajravidarana: The Supreme Purifier and Protector Vajravidarana is revered in Tibetan Buddhism as the deity of spiritual purification, called upon to cleanse practitioners of defilements and negative influences. His vajra represents the indestructibility of truth, while his bell signifies the wisdom that resonates through purification rituals. In this sculpture, the presence of the vishva vajra, or double vajra, enhances his association with supreme protection, ensuring the destruction of all spiritual obstacles and afflictions. The figure’s powerful yet composed expression conveys a sense of unwavering resolve and divine authority. His posture, along with the carefully sculpted details of his robes and ornaments, highlights his function as a guardian against impurity. The inclusion of the vishva vajra rather than the usual single vajra reinforces his role as a supreme protector, capable of dispelling all forms of negativity and restoring balance. Symbolism of the Mantras and Aureole: Unlike deities that embody wisdom through duality, Vajravidarana’s iconography is centered on purification and exorcism. The aureole surrounding him is inscribed with sacred purification mantras rather than depictions of a consort. These mantras emphasize his function as a remover of obstacles and impurities, reinforcing his role in Buddhist healing rituals. The presence of the sacred inscriptions elevates the sculpture’s spiritual significance, making it a focal point for meditation and ritual purification. Practitioners often visualize Vajravidarana radiating purifying light, dissolving afflictions and negative karma. This theme is mirrored in the sculptural repetition of the purification symbols on the aureole, reinforcing the deity’s role as a divine cleanser. Gilt-Lacquered Bronze: The Artistry of Sino-Tibetan Metalwork: The craftsmanship of this monumental figure reflects the expertise of late 19th-century Sino-Tibetan metalwork, where traditional Tibetan themes were infused with Chinese artistic sensibilities. Cast in bronze and finished with a rich gilt lacquer, the statue has an otherworldly glow, giving it an ethereal, almost divine presence. The gilding process—applied with exceptional skill—gives the sculpture a striking luminosity that enhances the fine details of the facial features, flowing robes, jewelry, and other elements of the deity’s attire. The technique employed to create this figure speaks to the high level of craftsmanship that flourished during the late Qing Dynasty and early modern Tibetan art. The ornate details of the robes and the fine texture of the sculpture highlight the exceptional skill of the artisans who brought this work to life. The use of gold and lacquer not only reflects the preciousness of the sculpture but also its spiritual significance as an object meant to inspire reverence and meditation. An Ornamental Sculpture of Monumental Scale: Unlike smaller devotional objects, this sculpture is designed as an ornamental masterpiece, intended to make a grand visual and spiritual statement. Its monumental size allows it to dominate any space, offering a commanding presence that is both physically and symbolically impressive. In Buddhist practice, large sculptures of this nature are often placed in temples or meditation halls, where their imposing size and serene presence would encourage contemplation and devotion. The grand scale of the statue further amplifies the spiritual power it is meant to convey. As a representation of Vajravidarana, it is not only a physical object of beauty but also a conduit for meditation, purification, and enlightenment. The scale of the sculpture also emphasizes the divine stature of the deity, highlighting his importance in the Buddhist tradition as the ultimate force for spiritual cleansing and protection. Provenance: Acquired in China in circa 1900 1905 Private Buddhist Temple, Northeast, USA Private Sale Solomon Treasure...

An extremely fine and important Japanese lacquer cabinet with gilt-copper mounts for the European market Edo period, late 17th century The pictorial style decorated rectangular...

An impressive and large Japanese 'Namban' transition-style lacquer coffer with fine gilt copper mounts on a French Re´gence base, possibly by André-Charles Boulle (1642-1732) Kyoto, 1640-1650, the base 18th century ?The coffer with shaped cartouches on a nashiji ground on the lid, front and sides, with fine decorations in various techniques: takimaki-e (high relief), tsuke-gaki (drawing with narrow lacquer lines and over sprinkling with gold and silver), usuniku-takamei-e (demi relief), kimekomi (pushed inside) and accents of kirigane (small geometrical metal mosaics). Inside the cartouche on the lid a landscape with volcanos...