Austin - More Asian Art, Objects and Furniture

A small and finely decorated Japanese Satsuma tripod incense burner (koro), signed Kyozan, Meiji period, circa 1900, Japan. The censer, koro, with a compressed body supported by t...

The embodiment of transcendental wisdom, Prajnaparamita is often referred to as the mother of all Buddhas. In this extremely rare tantric form, she is portrayed seated in the half lotus position. Her eleven faces are arranged in two tiers (seven on the first, with an additional four above), all surmounted by a rising conical chignon. Each face has an associated pair of arms which radiate outwards, each hand holding a discreet attribute. Careful attention has been paid to her clothing and jewelry. She wears a heavily pleated sampot with a cross hatch pattern, elegantly turned down at the waist and tied with an ornate belt...

A fine and well carved Chinese spinach jade incense tool vase, Qing Dynasty, Qianlong or Jiaqing Period, 18th/19th century, China. The small jade vase ...

A fine and elegant Japanese Satsuma tripod incense burner, koro, with pierced metal lid, signed Eizan (?) Meiji Period, late 19th century, Japan. The koro, or censer, features a stoneware body of slightly compressed globular form, supported on three short and squat legs. The wide mouth with a recessed metal rim, and topped by an openwork metal lid topped with overlapping chrysanthemum blossoms of silver repousse. The body of the koro finely painted with fan shaped cartouches. The fans in the foreground with sprays of blossoming chrysanthemum. The fans in the background with intricate geometric brocade designs. The shoulder of the incense burner decorated with cartouches formed as stylized chrysanthemum petals, and intricately decorated with geometric and floral brocade designs. The painting finely done in raised gilt and polychrome enamels, including the highly desirable gosu blue...

A heavy and finely cast Japanese bronze mirror with longevity symbols, Edo Period, 18th century, Japan. The small, round mirror with high walls...

A fine Japanese Satsuma stoneware incense burner, koro, Meiji Period, late 19th century, Japan. The koro of square shape with curved sides,...

A large and magnificent cast bronze image of the Medicine Buddha, Bhaisajyaguru, rendered in the Burmese Pagan style, and most likely based on a period example that was either damaged or lost, 19th century, Burma or Thailand. He can be identified as the Medicine Buddha by the hand that rests in his lap, with his middle finger touching the thumb. A medicine pot or fruit stem would originally have been placed in his upturned palm. The face of this Buddha has been sculpted masterfully. He has a beautiful heart shaped face topped by hair neatly arranged in the typical "snail shell curls", and surmounted by a high ushnisha. Long, pendulous earlobes frame his face, a symbol of his princely past. He gazes serenely outwards from heavily lidded, downcast eyes, a content smile upon his full, lush lips. The Buddha is portrayed seated in vajrasana (full lotus position), his elegant hands displayed in varada mudra, the gesture of granting favors and fulfilling wishes. Long, exquisite fingers extended, the thumb and middle finger touching in a gesture of compassion. He is clothed in a simple kasaya wrapped around his body and over one shoulder, leaving the shoulder and part of his chest bare. The diaphanous garment clings to his body, outlining his well proportioned and graceful, almost sensuous, form. The excess material pooled in neat pleats in front of him. A sash thrown over his shoulder. He sits upon a double lotus base upon a raised platform. The platform features two kneeling attendants, usually interpreted as the monks Ananda and Kasyapa. Between them is a circular disc representing the Wheel of Dharma. Contained in the disk is a flower with eight petals, symbolizing the eightfold path, one of the principle teachings of the Buddha. The sides and back of the platform featuring a series of singha, or lions, representative of the Buddha's royal past. An applied lacquer patina covers the entirety of the image. Large deposits of ash (from incense) are present between the curls of the hair, as well as some the other crevices, indicating this image was the subject of worship for many years. Bhaisajyaguru, also called the Medicine Buddha, or Buddha of Healing, is a revered figure in the Buddhist pantheon as a master able to cure suffering, both physical and spiritual, through his teachings. The Pagan Empire ruled most of present day Burma (Myanmar) from 849 to 1297. The capital, Bagan, served as a both the center of government and religion, where Buddhism reigned supreme. Bagan was also at a crossroads of the Buddhist world, with influence from India, Nepal, Tibet, China, and even Indonesia shaping their culture. As such, Pagan Buddha...

A fine pair of late 19th century Chinese Qing dynasty carved Peking glass bowls in a lovely amber hue. The matching Peking glass bowls carved with opposing scenes of birds amongst flowering branches on a rocky outcrop. The amber glass bowls...

A bold and powerful kagura mask of the Shinto deity Sarutahiko Okami by Kiyomi Yokota, Showa or Heisei Era, late 20th century, Japan. The mask depicts t...

A pair of Chinese carved limestone architectural drum form pedestals, Qing Dynasty, mid 19th century, China. Masterfully carved, each pedestal is in two pieces. The top in the form a drum carved with "nails" surrounding the top, with relief carvings to the sides of opposing qilin, taotie masks, and scrolling foliage. The separately carved drums are supported by a lotus pedestal and surrounded by Buddhistic lions, all resting upon a high waisted table...

A whimsical and intriguing headrest carved from a single piece of hardwood in the form of an anteater. The curved back of the animal would have supported the neck and displays a wonderfully warm patina from tribal use. The anteater's over sized head has been carved in a charming manner. Found in Sumatra, but most likely traded from Irian Jaya.