Pre-Columbian Asian Art and Furniture

Hispaniola, Arawak peoples, Taino native Indians This is a fine hand carved jade ancestor sculpture fashioned as a pendant from the Arawak Peoples of the Greater Antilles Islands, Dominican Republic. It is a good example and is accompanied by a certificate of authenticity as photographed. Taino jades are extremely uncommon due to lack of local island jade cobble resources. Jade was likely traded into this country hundreds of years ago and this work of art is just one of a small collection found in a cave in La Altagracia Province, Dominican Republic in 1958. Taino Jade Anthropic Pendant of a female figure, 20th century or earlier Dimensions: 3.1 inches high, 8 cm Sometimes described as a jade -cemi- this work of art belongs to a broader category of Taino art also called -zemis-. This term refers to the physical incarnation of a Taino god, spirit or ancestor. This figure may represent a Taino in trance and a similar might have adorned Cohoba ceremonies where hallucinogenic substances like cohoba were consumed to induce trances to communicate with the gods. While the precise function of such objects remain somewhat a mystery- they continue to impress us with their bold abstract form and magical associations. This remarkable sculpture figure is carved in a medium green jade with brown inclusions. This example has a large triangular carved head, slanted eyes, hands to its sides prominent nasal, open mouth, and pointed base. As chieftains and important shamans were deified after death this sculpture may represent a cacique chief or high status member of Taino Community. The arrangement of the figure’s limbs is an elaboration of the ritual squatting position that zemis assume in surviving stone amulets. In this case the legs are held up vertically with the feet resting under the waist. Both the face and in particular, the back of the body, are skeletal in appearance with prominent hollow joints. The wide eye-sockets and gaping jaw are deeply carved and both the forehead and the chin project outwards at a sharp angle. The emaciated look on the reverse, is carved in the half round. Both the ribs and the spine are indicated, set between elaborate geometric motifs which may indicate the presence of tattoos. The figure appears to rests on a simply carved pedestal. To western sensibilities there is an obvious contradiction between the figure’s reverse skeletal form, suggestive of mortality. Although Taino left no written documents, Spanish settlers did record native practices and one account refers to special structures in which chieftains stored their Trove of zemi carvings. The Taino believed in existence of afterlife and Shamanic ability to communicate with the dead. This sculpture may well have been present and on display in such a ceremony or perhaps a focus of ancestor worship. Hand carved and scarce work of art from America's Caribbean islands. Provenance: 1958 find, La Altagracia Provonce, Dominican Republic. A "Certificate of Authenticity" accompanies Taino History: The Taino flourished from 1200-1500. When Columbus arrived in America, the first people he encountered were the Taino People- inhabitants of the islands of the northern Caribbean Sea, known as Hispaniola. They were Arawakan-speaking people who at the time of Christopher Columbus’s exploration inhabited Cuba, Jamaica, Hispaniola (Haiti and the Dominican Republic), Puerto Rico, and the Virgin Islands. Once the most numerous indigenous people of the Caribbean, the Taino may have numbered several million at the time of the Spanish conquest in the late 15th century. Their highly developed belief system focused on zemi ancestor or god worship. A zemi was the physical manifestation of a god, spirit or ancestor. The chieftain -caciques- encouraged ancestor worship and were often deified after death. The religious leaders or shamans were thought to be able to communicate with the souls of the dead when intoxicated by the hallucinogenic cohoba. A preoccupation with death is evident in many Taino art-forms and partly explains the prevalence of zoomorphic images. Bats, owls and frogs were all popular motifs and were regarded as harbingers of life after death. The Taino believed that the dead could be reborn in animal form and some believe animals were their earliest ancestors in Taino creation myth. Hence we find their zoomorphic sculptures as combinations of human and animal forms particularly provocative and great conversational art...

Here's a beautifully hand carved effigy artifact from ancient America. This carving appears to be neither human nor supernatural but an idealized surreal other worldly form. Depicting a typical Olmecoid, elongated head and face with almond-shaped eyes and a toothless slightly down turned mouth, this standing figure is carved from jade in elegant simplistic detail. Its harmonious proportions are indicative of the sophistication attained by ancient jade...

Unique jade pendant and 18-karat gold jewelry Pre-Columbian, Hispaniola, Arawak Peoples, Taino Native Indians, 1000-1500 AD. A fine authentic old Taino Jade Anthropic pendant of a standing "Hands over Head" Figure that has been expertly fashioned using 18-karat gold into a custom necklace setting. The jade figure measures 2.5 inches in length and the necklace is 20" in length. All our Jade jewelry is artisan inspired & hand crafted from authentic old Jades and 18-karat gold. We will provide you with a custom black gift box and certificate of authenticity. ( please view photo) Photographed in natural day light. This Taino Jade Anthropic Fertility Figure, 1000-1500 AD is carved in a rich dark jade. Taino jades are extremely uncommon due to lack of local island jade cobble resources. Jade was likely traded into this country hundreds of years ago and this work of art is just one of a small collection found in a cave in LaAltagracia Provonce, Dominican Republic in 1958. Sometimes described as a jade -cemi- this work of art belongs to a broader category of Taino art also called -zemis-. This term refers to the physical incarnation of a Taino god, spirit or ancestor. This figure may represent a Taino in trance and might have adorned Cohoba ceremonies where hallucinogenic substances like cohoba were consumed to induce trances to communicate with the gods. It features decorative tattoo on the head top while the figure maintains a meditative pose. While the precise function of such objects remain somewhat a mystery- they continue to impress us with their bold abstract form and magical associations. This remarkable sculpture figure is carved in a dark, rich blue green jade...

Pre-Columbian, Hispaniola, Arawak Peoples, Taino Native Indians, 1000 to 1500 CE. , #5 Taino Jade male dark jade pendant of a seated "in tranced" figure with hands on knees , 1000-...

Pre-Columbian, Hispaniola, Arawak peoples, Taino native Indians, 1000-1500 CE. This is a fine and important hand carved jade ancestor sculpture fashioned as a pendant from the Arawak Peoples of the Greater Antilles Islands, Dominican Republic. It is a rare, choice example and is accompanied by a certificate of authenticity as photographed. Taino jades are extremely uncommon due to lack of local island jade cobble resources. Jade was likely traded into this country hundreds of years ago and this work of art is just one of a small collection found in a cave in LaAltagracia Provonce, Dominican Republic in 1958. Taino Jade Anthropic Pendant of a female figure, 1000-1500 AD "Certificate of Authenticity". Dimensions: 3.1 inches high, 8 cm Sometimes described as a jade -cemi- this work of art belongs to a broader category of Taino art...

Pre-Columbian, Hispaniola, Arawak Peoples, Taino Native Indians, 1000-1500 CE. This is a fine and important hand carved/pecked stone game ball (batey) from the Arawak Peoples of the Greater Antilles Islands. It is a choice and large example. It is finely incised on all planes with multiple stylized geometric motifs representing tattooing or scarification and faces, adding to the impressive aesthetic presence of this piece. Batey (game) Batéy was the name given to a special plaza around which the Caribbean Taino built their settlements. It was usually a rectangular area surrounded by stones with carved symbols. The batey was the area in which batey events (e.g. ceremonies, the ball game, etc.) took place. This form might have served as a marker or trophy symbol in a Taino inter- village ball game and ceremony. The exact purpose of ball games remain a mystery but they may have served to settle political disputes. While the precise function of such objects remain somewhat a mystery- they continue to impress us with their bold abstract form and magical associations. This remarkable sculpture is carved in a light colored iron rich hard stone like limestone. On the surfaces are finely incised stylized geometric motifs representing tattooing or scarification, adding to the impressive aesthetic presence of this piece. A carving of this complexity, quality and size must have belonged to a chieftain or ranking member of the royal household. Although Taino left no written documents, Spanish settlers did record native practices and one account refers to special structures in which chieftains stored their Trove of zemi and other important carvings. The Taino believed in existence of afterlife and Shamanic ability to communicate with the dead. This sculpture may well have been present and on display in such a ceremony or perhaps a focus of ancestor worship. This remarkably evocative work allows us to peak into ancient splendors of their remarkable civilization. Dimensions: 8.5 inches diameter Hand-carved/pecked. Venerated. An important and scarce work of art from America's Caribbean islands. Provenance: Old Puerto Rico collection collected 1950s-1960s, Frank Vasquez Taino History: The Taino flourished from 1200-1500. When Columbus arrived in America, the first people he encountered were the Taino People- inhabitants of the islands of the northern Caribbean Sea, known as Hispaniola. They were Arawakan-speaking people who at the time of Christopher Columbus’s exploration inhabited Cuba, Jamaica, Hispaniola (Haiti and the Dominican Republic), Puerto Rico, and the Virgin Islands. Once the most numerous indigenous people of the Caribbean, the Taino may have numbered several million at the time of the Spanish conquest in the late 15th century. Their highly developed belief system focused on zemi ancestor or god worship. A zemi was the physical manifestation of a god, spirit or ancestor. The chieftain -caciques- encouraged ancestor worship and were often deified after death. The religious leaders or shamans were thought to be able to communicate with the souls of the dead when intoxicated by the hallucinogenic cohoba. A preoccupation with death is evident in many Taino art-forms and partly explains the prevalence of zoomorphic images. Bats, owls and frogs were all popular motifs and were regarded as harbingers of life after death. The Taino believed that the dead could be reborn in animal form and some believe animals were their earliest ancestors in Taino creation myth. Hence we find their zoomorphic sculptures as combinations of human and animal forms particularly provocative and great conversational art...

Pre-Columbian, Hispaniola, Arawak Peoples, Taino Native Indians, 1000 to 1500 CE. This is a fine and important hand carved/pecked ancestor sculpture from the Arawak Peoples of the Greater Antilles Islands. It is a choice example. Sometimes described as a -cemi- this work of art belongs to a broader category of Taino art...

Pre-Columbian style , Hispaniola, Arawak Peoples, Taino Native Indians This is a finely carved Taino Cacique Chief's hand carved hard wood seat -Duho- a superb ancestor style ceremonial sculpture from the Arawak Peoples of the Greater Antilles Islands. It comes from a Florida collection. This Duho or seat made from a single piece of wood, representing an anthropomorphic figure with sculptured head and finely engraved with a large Cacique face and linear motifs on the main flat top, and in ancient times similar would have been used by the principal practitioner of the cohoba ritual. In ancient times, Duhos were used by the Cacique while observing the ball games commonly played by the Taino's. circa 1200-1550 A.D. While the precise ancient function of such objects remains somewhat a mystery- they continue to impress us with their bold abstract form and magical associations. In the seminal book Taino, Pre-Columbian Art & Culture from the Caribbean published by the El Museo del Barrio, ancient duho are discussed at length as private power-objects used in egalitarian tribes and used in public ritual to legitimize the hierarchical social structure of complex chiefdoms. Please also refer to the excellent publication March 1994 seminal article Tribal Arts: The Sculptural Ancestry of the Taino- masterpieces from the Pre-Columbian West Indies. (photos). This remarkable sculpture includes a Zemi figure face which was meticulously incised with round deep-socketed eyes, prominent nasal cavities, drilled ear lobes possibly for feather fetishes...

Pre-Columbian, Hispaniola, Arawak Peoples, Taino Native Indians, 1000-1500 CE. This is a fine and important ancestor sculpture from the Arawak Peoples of the Greater Antilles Islands. It is as nice as one will ever find. Sometimes described as a -three-pointer stone or - trigonolitos- this work of art belongs to a broader category of Taino art...

Here's a beautifully hand-carved effigy artifact from the ancient America. Depicting a typical Olmecoid, elongated head and face with slanted, almond-shaped eyes and a toothless slightly down turned mouth, this seated figure is carved from jade in elegant simplistic detail. Its harmonious proportions are indicative of the sophistication attained by ancient jade...