Asian Antique Statues & Figures

This collection brings together devotional and decorative figures from India, China, Thailand and Burma (Myanmar) — a study in faith, artistry and cultural continuity. Each piece, whether centuries old or crafted in the same enduring tradition, reflects the quiet reverence of household worship across Asia.

Many of these statues are from home temples, courtyards and local shrines — for daily puja, family blessing and spiritual reflection. Cast in bronze, carved from teak or gilded in lacquer and gold, they embody generations of devotion made tangible through craftsmanship.

India: Icons of the Home Shrine

In India, home worship has long centred on small metal or stone images of beloved deities — Ganesha, Shiva (including Khandoba & Virabhadra), Lakshmi and Annapurna. Many household bronzes were cast in auspicious Panchaloha (five-metal) alloys using the cire perdue lost-wax method, then garlanded and anointed so that a warm devotional patina built naturally over time.

Reflecting our stock, we highlight living tribal and folk traditions: Khandoba riders and Panjurli boars from Maharashtra and Karnataka; Bhuta spirit figures from the coastal south; votive Ganesh miniatures from the Deccan; Nandi bull toys and rustic processional horses from Andhra and Rajasthan. These intimate-scale works — sometimes ritual, sometimes protective, sometimes simply celebratory — show how divine presence accompanies everyday life.

China & Thailand: Serenity, Lineage & Living Faith

Across East Asia, spiritual sculpture favoured a contemplative register. In China, carved wooden Guanyin and ancestor figures graced family altars as acts of remembrance and virtue. Alongside Buddhist icons sit Taoist/Daoist subjects such as Erlang Shen, while Tibetan Buddhist images (Amitāyus, Shakyamuni, Tara) appear in gilt or polychromed metal for domestic devotion. The effect is serenity with lineage — compassion, filial respect and protection gathered on a single altar.

Thai household Buddha figures in gilt bronze align closely with Rattanakosin aesthetics — refined silhouettes, calm features and elegant flame-like ushnīṣa. Occasional earlier Ayutthaya forms appear too. Traditionally, gilding was laid over a dark lacquer base to enrich tone and depth — details still cherished by collectors and craftspeople alike.

Burma (Myanmar): Lacquer, Glass & Gentle Light

Our Burmese pieces centre on Mandalay and Shan styles. Following Isaacs & Burton’s Visions from the Golden Land, these figures often combine a teak core with thitsee (natural Burmese lacquer), moulded thayo details, gold leaf and glass inlay. The result — particularly in seated or standing Buddhas and monk figures — is a quiet shimmer that embodies Theravāda ideals of compassion and restraint.

Some examples use dry-lacquer construction — layer upon layer of lacquered cloth forming a lightweight, resilient shell — while others display crowned or robed Buddhas reflecting royal patronage. Whether Mandalay refinement or Shan simplicity, these sculptures were created for private devotion rather than temple sanctums, each radiating the calm luminosity unique to Burmese lacquer art.

Regional Folk Traditions

Alongside canonical icons are figures born of village ritual and folk belief: Bastar dhokra goddesses cast in bell-metal; carved teak horses from Gujarat and Kutch; rustic ram and elephant effigies symbolising fertility, guardianship and fortune. Their surfaces — chisel-marked, time-smoothed, sometimes with remnants of pigment — are testaments to hands that shaped devotion into form.

Antique Pieces & Faithful Reproductions

Every antique here carries traces of use: softened features, vermilion residue, a devotional sheen. Our faithful reproductions are handmade by artisans who continue traditional casting and carving disciplines, preserving correct proportion, iconography and ritual finish. Each piece — ancient or new — honours its lineage with integrity.

Styling Sacred & Cultural Figures

Displayed with sensitivity, these statues bring depth and calm to modern interiors. A bronze Buddha or brass Ganesha above eye level creates balance and focus; a lacquered Burmese figure glows softly against plaster or wood. Groupings of three — deity, attendant, and animal — echo traditional altar compositions, blending spirituality with sculptural beauty. More than decoration, they invite reflection — an atmosphere of peace drawn from centuries of devotion.