Lacquer Metalwork

Antique Japanese Samurai Suit of Armor, Edo period, 18th century. A complete matching set of lacquered iron work; the cuirass with dragonfly decoration and blue lacing, a Kaga schoo...

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...

A pair of antique Edo period (1603–1867) Japanese Samurai Abumis (stirrups for horseback-riding) expertly crafted out of cast iron with brass or bronze inlay in the form of a stylize...

Suit of red lacquer Japanese fighting armour of the late Edo period, (1716-1868). Desirable coral red lacquer is original and unrestored. Composed of a helmet, (Kabuto) breast plate (Do) and shoulder, arm protection (chainmail). Displayed with a later recreation expressive face plate of modern manufacture (nose, mustache). Also displayed with (photos 3 & 4) a period red lacquer partial face plate (Hambo) with replacement throat guards. All of the assembled parts are of same age, quality and color. Old silk and linen sleeve and helmet linings decayed or shredding. The Meiji period wood...

An impressive copper alloy mask of Arhat, the disciple and follower of Buddha (also known as Luohan in Chinese) from Tibetan region circa 19th century. The larger-than-life mask has striking iconic facial features: large, rounded eyes under bushy eyebrows, wide nostrils, full lips and elongated earlobes. The molded mask is lined with a red lacquered line-like textile on the back with seams still visible on the edge. Masks with realistic rendition of Arhats were not as common as the fantastical and fierce deity masks...

An exceptional quality antique Meiji period bronze Japanese Kagami mirror molded with cranes and presented in its original fitted case dating from the 19...

18th century iron abumi of typical form, the stirrup inlaid in silver, an encircled peony flower crest surrounded with a geometric pattern, the interior retains the original wood lining decorated in red lacquer. The sides and underside also inlaid. Signed by the maker. Edo period. This is a beautiful example of Japanese metalwork, sublime in it's design and craftsmanship, perhaps once belonging to a Shogun warrior...

ANDO CLOISONNÉ COMPANY - Extraordinary cloisonné vase with roses and transparent green enamel over raised bamboo decoration - green enamel to the interi...

Three vintage brass gongs, finished in gilt on the outside and black / red lacquer on the inside. Thailand, early 20th Century. Mounted on bespoke metal stands. Dimensions below ...

Japanese Head Bucket (Kubi-Oke), Lacquer, Meiji period. The head bucket was used for storing and transporting severed heads. During the Samurai era cla...

19th century Chinese Archaic style Cloisonné & Lacquer Elephant Motif Censor With Associated later lacquer & bronze pagoda lid, resting on a gilt bronze Cloisonné elephant motif th...

A rare Japanese bark tree large cloisonné box on metal from the Meiji period. Usually bark tree cloisonné was on porcelain (totai Shippo) A very attracti...

A Japanese long spear. Partly lacquered wood with a forged spearhead which is signed. High quality as most of Japanese items. Provenance: early 20th century Swedish collection.

A Pair of Japanese Edo Period (1603–1867) iron, silver inlaid, and red lacquered stirrups (Abumi). Each of typical form, made of iron with silver inlay on the front with floral bloss...