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These two superb Mongolian Yantra drawings depict a Witch and a Scorpion both with Tibetan characters written near the images. Drawn on an old handmade paper.  Dating from the 19th Century to the early 20th Century.

Yantra diagrams are ritual objects belonging to the classification of Charts. They are often created from carved blocks resulting in ‘block prints.’ Yantras can also be drawn by hand or painted with a brush as are these two fine painted examples. Yantras serve different ritual purposes that generally involve accompanying rituals to attract good fortune or to avert obstacles and misfortune.

The Scorpion Yantra is generally associated with the practices of Guru Dragpo, a wrathful form of Padmasambhava.  A number of other fierce Nyingma deities have the scorpion as a servant or messenger figure.

According to the Tibetan Art Scholar David Templeman writing in my exhibition catalogue: The Art of Compassion: Buddhist Art in The Todd Barlin Collection 2018

Buddhist teaching is not something learned from books, although they certainly play a part in reinforcing what one has already learned. The prime way of learning in Tibeto-Mongol Buddhism is through one’s master’s words. A common sentiment in those lands is that, without a fully qualified master to transmit them, the Buddha’s teachings may well never have existed. In learning the many complex rituals involving sometimes hundreds of deity forms, their names, iconography, secret syllables, and so on, a student must have a teacher who almost always transmits this information orally. As an aid to memory, especially where complex deities are to be learned, small cards representing these myriad forms are shown by the master to the teacher, and the details, often found on the back of each card, are read aloud by the teacher with the intention that the student retains the details in their memory. These small cards are called tsakli or tsakali. When a deity form has been fixed in the mind and one has embarked on the path of Buddhist tantra, at a certain stage one is expected to select a tutelary deity; that is, a deity that is core to one’s heart practice. This deity then becomes the focus of one being, and it is not unusual for both monks and laypeople to spend a great deal of money commissioning a large painting of such deities. These scroll paintings are known as thangkas ”

Provenance: The Todd Barlin Collection of Tibetan and Mongolian Buddhist Art & Asian Art

Exhibited and Published:  The Art of Compassion: Buddhist Art from The Todd Barlin Collection. Sydney Australia 2018. Catalogue written By David Templeman, Page 95

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

These two fine Tibetan Tsakli paintings depicting on left: A Blue Deity Playing a Bone Trumpet & Right: A Fine Dancing Citipati Figure

They are all finely painted with polychrome pigments on thick hand made cotton paper.  Dating from the 19th Century and in very good condition. They are mounted in a single row with museum quality archival card in dark blue, they are ready to put into a frame of your choice.

According to the Tibetan Art Scholar David Templeman writing in my exhibition catalogue: The Art of Compassion: Buddhist Art in The Todd Barlin Collection 2018,

” Buddhist teaching is not something learned from books, although they certainly play a part in reinforcing what one has already learned. The prime way of learning in Tibeto-Mongol Buddhism is through one’s master’s words. A common sentiment in those lands is that, without a fully qualified master to transmit them, the Buddha’s teachings may well never have existed. In learning the many complex rituals involving sometimes hundreds of deity forms, their names, iconography, secret syllables and so on, a student must have a teacher who almost always transmits this information orally. As an aid to memory, especially where complex deities are to be learned, small cards representing these myriad forms are shown by the master to the teacher, and the details, often found on the back of each card, are read aloud by the teacher with the intention that the student retains the details in their memory. These small cards are called tsakli or tsakali. When a deity form has been fixed in the mind and one has embarked on the path of Buddhist tantra, at a certain stage one is expected to select a tutelary deity; that is, a deity that is core to one’s heart practice. This deity then becomes the focus of one being, and it is not unusual for both monks and laypeople to spend a great deal of money commissioning a large painting of such deities. These scroll paintings are known as thangkas ”

Provenance: The Todd Barlin Collection of Tibetan and Mongolian Buddhist Art & Asian Art

Exhibited: The Art of Compassion: Buddhist Art from The Todd Barlin Collection. Sydney Australia 2018. Catalogue written By David Templeman,

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Antique Japanese Tobacco Case with Pipe Holder in Human Form Dating from the 19th Century.

This beautiful old Japanese Tobacco Case is carved from burlwood and keeping to a natural form.

There is a small carved wood Ojime with three holes in it and the wood Pipe Holder is carved in the form of a standing man with his arms in a circle. The pipe is made from bronze & bamboo.

Some of the most beautiful small objects made in Japan were used for Tobacco Smoking.  Their unique beauty, there is such variation from the most simple natural form burl wood containers to the elaborately carved wood examples with finely incised designs.

The Portuguese introduced tobacco in Japan in the second half of the sixteenth century. The Japanese were particularly surprised to see the Portuguese smoking pipes and spitting out smoke and would have exclaimed: “The Southern Barbarians have a fire in their belly!”

Tobacco was quickly adopted by the Japanese people by the end of the sixteenth century, the Kerisu or Smoking Pipes were used as the only way to smoke tobacco in Japan and it would remain that way for the next three centuries, until the Meiji Restoration (1868), when cigarettes arrived in Japan and became very popular.

The smoking implements needed to smoke while outside or traveling were a set consisting of a pouch to hold the tobacco called TONKOTSU  and the Pipe or Kerisu & its holder.  Tobacco pouches were usually beautifully decorated and with delicate metal clasps to close the pouch, they also had a Netsuke on the end of a small chain or string to tuck into the traditional sash called (Obi). Japanese robes did not have pockets & that is why their tobacco smoking sets were tucked into their sash.

In the Edo period in Japan (1603-1868) and before the development of cigarettes in Japan was the heyday of Kiseru Pipes and tobacco smoking paraphernalia.  In the Edo period, there was in the high society a ” Tobacco Ceremony” or ” The Way of Tobacco” (tabako-dō 烟草道), similar to the Japanese “Tea Ceremony”  where rules of politeness and decorum were fixed and there were procedures or good manners to give and receive the Kiseru pipes when smoking with the company.

Provenance: Old Australian Collection. The Todd Barlin Collection of Asian Art & Buddhist Art

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us