19th Century Tibetan Flint Striker

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such strikers would hang from one's belt and often doubled as a small pouch for flint and tinder. The finest strikers were finished with precious metals and decorated with repoussé and inlaid stones. This leather flint pouch is decorated with silver and gold plated metalwork and three large beads of turquoise and red coral. The mechag hangs from a simple leather strap and three decorative leather beads hang below. The pouch contains two Tibetan prayer flags...

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such st...

In 19th century Tibet, many men would have carried a flint striker along with several other tools that could help ensure survival in the often-harsh climate of the Tibetan Plateau. K...

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such st...

In 19th-century Tibet, many men carried a fire striker to help ensure survival in the often-harsh climate of the Tibetan Plateau. Known as mechag, such strikers would hang from one's...

This ancient stone guardian lion shizi was carved by hand out of a single block of limestone. The artisan beckoned the guardian out from the stone, manipulating the unyielding materi...

A stunningly graceful life-sized arm and hand of the Buddha, Tibet, late 18th or early 19th century. The hand is beautifully cast, with long, elega...

An impressive larger than life-size cast and gilt bronze left hand and arm of a bodhisattva, late 19th century or earlier, Tibet. The over-sized arm and hand of graceful proportions. The arm tapering down to a slender wrist embellished with a simple bracelet hiding the join between the hand and arm. The hand and arm richly gilt. The join to the elbow visible and exposed. The hand heavily cast, with nice detail to the fingernails and cuticles. The palm with simple incised lines. The hand, with the pointer and pinky fingers raised, and the middle and ring finger folded down touching the thumb, performs the gesture known as karana mudra, the gesture of dispelling evil. (Here in Texas we refer to this gesture as "Hook'em Horns!") Karana mudra is often associated with Avalokiteshvara, the bodhisattva of compassion, known in Tibet as Chenrezig, and in China as Guanyin. The hand and arm would originally have been part of a much larger sculpture. Unfortunately many Tibetan Buddhist sculptures...

Extraordinary pair of fine glazed porcelain Foo dogs came to us out of an estate here in Savannah, Georgia, belonging to an old general that long ago brought them from Thailand. Used...

A large and magnificent near life-sized Chinese carved and lacquered wood figure of a Buddha, Qing Dynasty, 19th century or earlier, southern China. The figure likely represents one of the Five Tathagatas, also known as Dhyani Buddhas or Wisdom Buddhas. More specifically, either Amitabha or Amoghasiddhi. Amitabha is the Buddha of infinite light, and represents the wisdom of observation and recognition. Amoghasiddhi is the Buddha of accomplishment, and represents the wisdom of perfected practices. The size and scale of the Buddha indicates it was made for temple worship. The large Buddha is portrayed seated in vajrasana, or full lotus position, with the soles of both feet facing up. His elegant hands, with impossibly long and slender fingers, perform shuni mudra, the gesture of bestowing patience. His right arm is bent at the elbow, the right hand raised to heart level. The left arm resting gently in his lap, the left hand at navel level. The Buddha is dressed in voluminous robes that wrap around his shoulders and body, and tied at the waist. The heavy fabric draping and pooling elegantly all around his robust body. His broad chest and right arm exposed. The Buddha's face is both solemn and beatific - his expression seeming to change depending on the angle of view. The most notable feature of his face is the large urna to the center of his forehead, set between a pair of painted, high arching brows over heavily lidded almond shaped eyes. A strong nose is set above a small mouth pursed in an ever so slight smile. Long pendulous earlobes touch his shoulders. The Buddha's hair arranged in the typical fashion, with "spikes" representing tight curls. A prominent ushnisha rises from the crown of his head, covered by more hair, and topped with a rounded protuberance. The Buddha is constructed from several blocks of wood, joined, carved and lacquered a deep red-brown with gold flecks...

A wonderful Chinese bamboo figural carving featuring the Taoist immortal twins of eternal youth, known as the HeHe ErXian, Qing dynasty, 19th century. F...

18th/19th century Buddha Statue carved of Alabaster. Burmese Shan Buddha Statue 1800ca, collected in Myanmar Shan State 1998. Legs crossed, the left hand in the lap, and the right ha...