East Asian Metalwork

Antique Bronze bell or Cymbal, hand hammered - Tibet - half XIX century - can be hung from the ceiling, hanging and hitting it. CYMBAL is a percussion instrument. Now it is used in m...

Meiji period (1868-1912) bronze, with removable top, stylized geometric shape and silver inlay. Signature reads: Miharu Kadayashi.

Exceptional reproduction of a he type liquor Jug in bronze of the Shang Dynasty (17th-11th century BC). This bronze jug trypod represent a owl's head. We...

Chinese Export Silver Centerpiece with dragon decoration. The centerpiece bowl has two repousse dragons with attached dragon handles. The bowl rests on...

This stunning Meiji period silver censer is a work of exquisite detail. Crafted by renowned silversmith Masatoshi of Tokyo, the censer, or incense burner...

A sculpted Japanese bronze of a Bactrian camel.

Chinese export repousse beaker, circ 1890. Wieght 3.3 oz., 4 3/8" tall

Set of three Japanese bronze vases. Measures: high 27 cm diameter 9 cm high 27 cm diameter 7 cm high 21 cm diameter 7 cm.  

Chinese floral Islamic style cloisonné enamel and ormolu vase Chinese, early 20th century Dimensions: Height 13cm, diameter 13cm This beautiful bowl...

This vintage cast iron mortar from China's Shanxi province is patterned in low relief with a simple floral design. Originally used in a traditional ap...

An archaic bronze vessel in flattened flask form with ring handles and mottled red and green patination.

A fine quality set of two Meiji period Japanese cockerel and chicken.

Of typical form with a shibuichi ground worked in shakudo, silver and gold with a central continuous frieze showing a 3-toed dragon amongst roiling clouds and spume-flecked waves, the shoulders with fields of shakudo bosses between triple vertical lines, the knop formed by paired dragons...

Chinese Export silver repousse sauce boat with dragon handles. Marked for Luen Wo.. Very fine decoration. 7 1/4" long, 4 " tall, 3 1/2", 7 oz weight.

A pair of Chinese Mongolian style solid silver roosters engraved and inlaid with mother of pearl and turquoise. China, circa 1850.

We are delighted to offer for sale this exquisite circa 1920 Chinese Export floor standing bell on wrought iron stand A very well made and decorative...

Chinese Ormolu and Cloisonné enamel vase for the Islamic Market Chinese, early 20th century Dimensions: Height 19cm, diameter 23cm Crafted in China...

Antique Chinese ormolu and cloisonné enamel vase for the Islamic Market Chinese, early 20th century Dimensions: Height 10cm...

Japanese Meiji period fine pair of scroll weights decorated with shakudo and silver samurai figures. The weights fill solid and heavy. One of the weights has Japanese writing ( see i...

Antique Chinese ormolu bowl produced for export to Islamic Market Chinese, early 20th century Measures: Height 13cm, width 31cm, depth 22cm This ch...

Japanese bronze Koro (Incense Burner) in the form of a Badger, Edo Period (circa 1800) bronze incense burner with removable top. Badger face and t...

Beautifully crafted vintage Japanese urn shaped vase, featuring elephant head double handles in bronze and enamel. Colorful enamel adorns the vase...

Beautiful necklace of cultured pearls, extra quality (Akoya Japan) and amethysts. 11 mm diameter Secure clasp and 18k golden silver hinges. Long: 50 cm.  

Beautiful necklace of cultured pearls, extra quality (Akoya Japan) and amethysts. Measure: 11 mm diameter Secure clasp and 18k golden silver hinges. Long: 50 cm.  

Antique late-19th century Chinese very unusual solid silver eperne, the central trumpet shaped vase and twin baskets are highly decorated with pierced bamboo leaves, cherry blossom a...

Chinese Export silver tankard with detailed repousse dragons and dragon handle. The tankard is 5 3/4" tall, 3 1/4' in diameter, 4 1/8" at the handle....

Chinese silver censer, circa 1910. Drum-form agate body set in silver gilt mounts with scrollwork and lunettes. Leaf-capped side bracket handles. Upward tapering support and stepped ...

In the shape of kaede leaves. Used on top of a large festival cart carried through the streets.

A pair of Meiji period solid silver bowls by Eigyoku, each of lobed oval form on four scroll feet, deeply embossed with continuous chrysanthemum hea...

A Chinese paktong basin, engraved with scenes of many children at play and before pagodas, within borders of shou characters, bats and flowerheads, the flattened rim with vases of flowers and lingzhi, swords, lotus pods...

Of typical form with a shibuichi ground worked in shakudo, silver and gold with a central continuous frieze showing a 3-toed dragon amongst roiling clouds and spume-flecked waves, the shoulders with fields of shakudo bosses between triple vertical lines, the knop formed by paired dragons...

Beautiful necklace of cultured pearls, extra quality (Akoya Japan) and amethysts. 11 mm diameter Secure clasp and 18k golden silver hinges. Long: 50 cm.  

Pair of Bronze Chinese Wine Pitchers, with Leopard Handles

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...