Susan Ollemans Oriental Art

A Terracotta Head of Vishnu, Gupta Period, Northern India, 3 – 543 CE
Height 17cm

The Gupta Empire was an ancient Indian empire existing from the mid-to-late 3rd century CE to 543 CE. At its zenith, from approximately 319 to 467 CE, it covered much of the Indian subcontinent and is considered as the Golden Age of India. Vishnu is known as "The Preserver" within the Trimurti, the Hindu trinity that includes Brahma and Shiva. In Vaishnavism tradition, Vishnu is the supreme- being who creates, protects and transforms the universe.

Similar Examples: The Metropolitan Museum of Art New York
TL Test # N115f85 Oxford Authentication

A Terracotta Head of Vishnu, Gupta Period, Northern India, 3 – 543 CE
Height 17cm

The Gupta Empire was an ancient Indian empire existing from the mid-to-late 3rd century CE to 543 CE. At its zenith, from approximately 319 to 467 CE, it covered much of the Indian subcontinent and is considered as the Golden Age of India. Vishnu is known as "The Preserver" within the Trimurti, the Hindu trinity that includes Brahma and Shiva. In Vaishnavism tradition, Vishnu is the supreme- being who creates, protects and transforms the universe.

Similar Examples: The Metropolitan Museum of Art New York
TL Test # N115f85 Oxford Authentication

A Pair of Bronze Palanquin Finials, Khmer, Angkor Vat period first half of 12th century, Bronze with Gilt Details
Height: 33 cms; Width: 11cm

A five headed naga with a spread hood decorates the tip of each of these finials. Elaborately cast, the naga with menacing fangs and darting tongues, rising from a singular body marked with carefully incised scales and a stylized lotus. Each naga displays a circular design on its chest, a design that resembles a blossom. The finials are finely cast by lost wax process and are hollow to accommodate the wooden poles. When members of the royal family or priesthood traveled in a public festival procession or to a temple like Banteay Chhmar to make offerings or participate in a ceremony, they would be carried in a palanquin, or a covered litter. Portable objects of veneration, such as bronze images or a sacred fire, were also carried on palanquins. The palanquins had wooden poles, hanging seats or raised platforms, and bronze fittings cast in intricate forms and gilt, lending the palanquins a sumptuous quality. Ornate palanquins of this type were an insignia of rank and often presented as gifts from Khmer rulers. The naga is an important symbol in Khmer art, tracing back to autochthonous origins. Depicted as a multi-headed cobra, it is closely associated with water and royalty. The bas reliefs of Angkor frequently depict ornate palanquins, chariots, and howdahs with naga finials.

Similar examples: Bunker Emma C, Latchford Douglas, Adoration and Glory: The Golden Age of Khmer Art, p. 325 plate

A Pair of Bronze Palanquin Finials, Khmer, Angkor Vat period first half of 12th century, Bronze with Gilt Details
Height: 33 cms; Width: 11cm

A five headed naga with a spread hood decorates the tip of each of these finials. Elaborately cast, the naga with menacing fangs and darting tongues, rising from a singular body marked with carefully incised scales and a stylized lotus. Each naga displays a circular design on its chest, a design that resembles a blossom. The finials are finely cast by lost wax process and are hollow to accommodate the wooden poles. When members of the royal family or priesthood traveled in a public festival procession or to a temple like Banteay Chhmar to make offerings or participate in a ceremony, they would be carried in a palanquin, or a covered litter. Portable objects of veneration, such as bronze images or a sacred fire, were also carried on palanquins. The palanquins had wooden poles, hanging seats or raised platforms, and bronze fittings cast in intricate forms and gilt, lending the palanquins a sumptuous quality. Ornate palanquins of this type were an insignia of rank and often presented as gifts from Khmer rulers. The naga is an important symbol in Khmer art, tracing back to autochthonous origins. Depicted as a multi-headed cobra, it is closely associated with water and royalty. The bas reliefs of Angkor frequently depict ornate palanquins, chariots, and howdahs with naga finials.

Similar examples: Bunker Emma C, Latchford Douglas, Adoration and Glory: The Golden Age of Khmer Art, p. 325 plate