{"title":"Featured","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDiscover a collection of important, rare, and absolutely stunning pieces at Göta's World. These handpicked treasures, each selected for their unique beauty and historical significance, are among our favorites. Don’t miss the opportunity to explore and acquire these exceptional artifacts, which promise to be a captivating addition to any collection.\u003c\/p\u003e","products":[{"product_id":"moche-llama-stirrup-spout-bottle","title":"Moche Pottery Figural Llama Stirrup Spout Bottle","description":"\u003ch3\u003e\u003cspan data-mce-fragment=\"1\"\u003ePre-Columbian era, Moche culture, Moche phase II to IV, c. 200-600AD, Northern Peru.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis exceptional stirrup spout bottle, crafted during the height of the Moche civilization, features a reclining llama rendered in a strikingly naturalistic style. The serene expression on the llama’s face, complemented by its upright ears and detailed body, highlights the skilled craftsmanship of Moche artisans. The vessel's surface showcases a smooth patina in a grayish-brown hue, with traces of a yellowish cream pigment, further accentuating its lifelike quality.\u003c\/p\u003e\n\u003cp\u003eLlamas were essential to life in the Andes, serving as pack animals capable of navigating rugged mountain terrain while providing wool for clothing and other necessities. Their significance to the Moche culture is reflected in their frequent depiction in ceramics, symbolizing both practical and spiritual reverence for this vital creature.\u003c\/p\u003e\n\u003cp\u003eThe Moche, flourishing along the northern coast of Peru between 200 and 700 AD, are celebrated for their advancements in pottery, goldwork, and monumental architecture. Their stirrup spout bottles, like this one, are among the most distinctive artifacts of their culture. These vessels served both utilitarian and ceremonial purposes, often depicting animals, deities, and scenes of daily life with remarkable realism. This bottle stands out for its artistic elegance and historical importance. Its excellent preservation, intricate detailing, and cultural symbolism make it a valuable artifact, offering a glimpse into the ingenuity and spiritual world of the Moche civilization. A must-have for collectors and enthusiasts of ancient Andean art.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Age-related minimal wear. Intact. Dirt, dust and encrusted deposits. Ex-museum collection piece with inventory numbers painted on the bottom. Size approx. 17,0cm x 14,5cm x 7,0cm.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eThe Metropolitan Museum of Art, New York, Accession Number: 1983.546.20 (https:\/\/www.metmuseum.org\/art\/collection\/search\/314695)\u003c\/p\u003e\n\u003cp\u003eMoche (Mochica) Culture (North Coastal Peru), sculptural stirrup spout bottle representing llama, Lima: Museo Nacional de Arqueología Antropología e Historia del Perú.\u003c\/p\u003e\n\u003cp\u003eThe Metropolitan Museum of Art, New York, Accession Number: 67.167.14 (https:\/\/www.metmuseum.org\/art\/collection\/search\/309482)\u003c\/p\u003e\n\u003cp\u003eYale University Art Gallery, New Haven, Connecticut, Accession Number: 2013.58.1 (https:\/\/artgallery.yale.edu\/collections\/objects\/181141)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44165069930761,"sku":"1054230","price":1600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_db20e1c1-1cac-4729-8e11-66116b21a468.jpg?v=1676630617"},{"product_id":"inca-beaker","title":"Inca Post-Conquest Wooden Beaker (Qiru)","description":"\u003ch3 class=\"p1\"\u003ePost-Conquest Period, Inca Culture, c. 1550-1640 AD, Andes Region, South America\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely magnificent carved wooden drinking vessel, known as a qiru (or kero), from the post-conquest Inca period. This exquisitely crafted beaker exemplifies the refined artistry of the Andean master carvers, blending traditional Inca aesthetics with post-colonial influences.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis elegantly turned vessel features a squat, conical form that gracefully expands toward a thickened rim, resting upon a discoid foot. The surface is richly adorned with intricate geometric motifs, floral patterns, and a continuous narrative scene portraying the daily life of agricultural farmers. The vibrant polychrome hues of red, yellow, green, and tan stand out against the dark-brown background, creating a visually striking contrast.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eQirus were traditionally crafted in pairs, following the Andean custom that required two individuals to drink together as a sign of unity and reciprocity. These prestigious vessels played a central role in ceremonial toasts and ritual gatherings, often exchanged as symbolic gifts alongside textiles to express generosity and social bonds.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFermented corn beer (chicha) held profound religious significance in the Inca world, serving as a primary ritual libation. Qirus were essential vessels in sacrificial ceremonies, where offerings of chicha or blood were poured onto the earth to honor the gods and ensure agricultural prosperity. The iconography of maize plants emerging from qirus in Andean art emphasizes the vessel’s sacred function as a conduit for spiritual nourishment and fertility rites.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis exceptional Post-Conquest Inca qiru embodies the rich cultural traditions, artistic mastery, and enduring spiritual practices of the Inca civilization, making it a highly desirable artifact for collectors of Pre-Columbian and colonial Andean art.\u003c\/p\u003e\n\u003cp\u003eGood condition. Age-related wear and abrasion. Chip in the foot, otherwise intact. Dirt, dust and soot. Size approx. 16,0cm x 9,7cm x 9,6cm. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44165708972297,"sku":"1016155","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_1da05bba-58aa-4be7-88b8-2dfe39cc8490.jpg?v=1676639402"},{"product_id":"ming-dynasty-terracotta-palanquin","title":"Ming Dynasty Sancai Glazed Pottery Sedan Chair or Palanquin","description":"\u003ch3 class=\"p1\"\u003eMing Dynasty, c. 1550–1644, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis breathtaking mingqi (spirit good) is a pottery model of a sedan chair or palanquin, designed to accompany the deceased in burial as a symbol of aristocratic status and privilege. Crafted from terracotta and adorned with vibrant sancai (three-color) glazes in black, bright ochre, and green, this piece showcases the opulence and artistry of the Ming dynasty.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe palanquin features a meticulously designed everted flange roof crowned with a lotus bud-shaped ornament, symbolizing purity and nobility. Its sides and rear are adorned with intricately hatched screens, while the open-front façade reveals a stepped seat, emphasizing both its ceremonial and utilitarian aspects. Such palanquins were used as luxurious transport for the Chinese elite, a practice reflected in this burial offering meant to serve the deceased in the afterlife. The Ming dynasty (1368–1644) revitalized the ancient tradition of mingqi, which originated in the Han dynasty and evolved through the Tang dynasty. These spirit goods were crafted to reflect the earthly life and status of the deceased, ranging from everyday items to representations of servants, musicians, animals, and transportation like this palanquin. Tombs of the era often featured grand assemblages of glazed and unglazed terracotta figures, showcasing the rank and wealth of the buried individual.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sancai glazing technique, characterized by its vivid green, amber, and cream hues, was developed to mimic the appearance of costlier bronze and jade artifacts. The Ming artisans mastered this medium, creating works of both utility and artistry that endure as timeless representations of their cultural and spiritual significance. This rare and captivating palanquin model not only reflects the technical and artistic excellence of the Ming dynasty but also provides a vivid glimpse into the ceremonial practices and societal hierarchy of ancient China.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Age-related wear and abrasion. Fritting and glazing flaws. Size approx. 32,5cm x 14,5cm x 14,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Danish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eModel of sedan chair, Asian Civilisations Museum, National Heritage Board, Singapore, Accession Number: 1993-00112 (https:\/\/www.roots.gov.sg\/en\/collection-landing\/listing\/1063026)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Matter of Tang Tomb Figures; A New Perspective on a Group of Terracotta Animals and Riders, Lucien Van Valen \u0026amp; Isabelle Garachon, The Rijksmuseum Bulletin, Volume 62. pp. 218-239, 2014.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDream of Ideal Life in Ancient China: Ceramic Miniatures of Architectures, Household Goods, People and Animals, Aichi.ken Toji Shiryokan, Seto, 2005, no. 14, p. 34.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAntecedents of Sui-Tang Burial Practices in Shaanxi, Mary Fong, Artibus Asiae 51, no:s. 3–4 (1991), pp. 147–98.\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eMingqi - Items for the next world, Jan-Erik Nilsson, Gotheborg.com (https:\/\/gotheborg.com\/glossary\/mingqi.shtml)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Vibrant Role of Mingqi in Early Chinese Burials, Heilbrunn Timeline of Art History, Heather Colburn Clydesdale, Independent Scholar, The Metropolitan Museum of Art, April 2009. (www.metmuseum.org\/toah\/hd\/mgqi\/hd_mgqi.htm)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44236341575945,"sku":"1085290","price":1550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_3964e78a-3f30-4a8f-8fc2-02ed7217a443.jpg?v=1677754598"},{"product_id":"qing-dynasty-bisquit-porcelain-guardian-lion-incense-holders","title":"Qing Dynasty Biscuit Porcelain Guardian Lion Incense Holder","description":"\u003ch3 class=\"p1\"\u003eQing Dynasty, Kangxi or Yongzheng Period, c. 1700–1735 AD, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and beautifully matched pair of biscuit porcelain incense holders, exquisitely modeled in mirror image. Each piece depicts a recumbent guardian lion resting atop a rectangular pedestal, its bushy tail curled neatly along its haunches. The heads are rendered with remarkable detail — fierce, animated expressions with semi-openwork jaws revealing sharp fangs. The surface is coated in a rich, lustrous chocolate-brown dip glaze, adding depth and warmth to the sculptural form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eChinese guardian lions, also known as shishi (\u003cspan class=\"s1\"\u003e石獅\u003c\/span\u003e) or “foo dogs” in the West, are iconic symbols of protection and power in Chinese art and architecture. Traditionally presented in male and female pairs — the male resting a paw upon a brocade ball (xiù qiú), representing material power, and the female nurturing a cub, symbolizing spiritual harmony — these figures were believed to guard against negative forces and malevolent spirits.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOriginating in Chinese Buddhism, the motif became a widespread architectural and decorative emblem throughout East Asia, adorning palaces, temples, tombs, and homes as tokens of prosperity and divine guardianship. This rare pair, crafted during the refined artistry of the early Qing dynasty, beautifully captures both the vigor and auspicious symbolism of these revered protectors.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact, there is no sign of restoration or repair. Surface wear consistent with age and use. Minimal fractures in glazing. Rough areas on the bottom. Bumpy surface, abrasion and minor pinholes. Size approx. 15,2cm x 9,5cm x 10,5cm \u0026amp; 15,2cm x 9,4cm x 10,5cm. Sell as a pair.\u003c\/p\u003e\n\u003cp\u003eProvenance: Finnish private collection\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44241497817353,"sku":"1060476","price":2200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/c1_7b04b669-7fd2-4353-81ff-daa59344a5de.jpg?v=1677843288"},{"product_id":"khmer","title":"Khmer Angkor Period Stoneware Brown Glazed Vase","description":"\u003ch3 class=\"p1\"\u003eKhmer Empire, Angkor Period, c. 1100 AD, Cambodia\u003c\/h3\u003e\n\u003cp\u003eThis exquisite stoneware vase, dating to the early 11th century during the Khmer Empire's Angkor period, is a testament to the refined artistry of ancient Cambodian ceramics. Crafted in a graceful baluster form, the vase features a tapering body, flattened shoulder, thick neck, and an everted mouth with a pronounced flanged rim. Its surface is adorned with combed wave and star-shaped patterns around the shoulder, complemented by encircling lines on the lower body and foot, adding intricate detail to its design. The deep, dark brown glaze, almost black in its intensity, lends the piece an air of understated elegance and timeless appeal. Such stoneware vessels were not only functional but also reflective of the Khmer Empire's sophisticated aesthetic sensibilities.\u003c\/p\u003e\n\u003cp\u003eThe Khmer Empire, spanning from the 9th to the 15th century, was a dominant force in Southeast Asia, known for its monumental architecture, artistic achievements, and cultural influence. At its height, the empire's expanse surpassed that of the Byzantine Empire. Its enduring legacy is exemplified by the grand temples of Angkor, including Angkor Wat and Bayon, which stand as remarkable symbols of spiritual devotion and imperial power. This vase encapsulates the craftsmanship and cultural heritage of the Khmer Empire, serving as a timeless artifact from one of history's most remarkable civilizations.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Intact, no repairs. Age-related wear and abrasion with a minimal scratches on surface. Rich deposits on interior and exterior. Size approx. 30,0cm x 20,0cm x 20,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eSmithsonian’s National Museum of Asian Art, \u003cmeta charset=\"utf-8\"\u003eCeramics in Mainland Southeast Asia, A\u003c\/span\u003e\u003cspan\u003eccession number: S1996.116 (h\u003c\/span\u003e\u003cspan\u003ettps:\/\/publications.asia.si.edu\/publications\/seaceramics\/object.php?q=S1996.116)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eVase, Art Gallery of NSW, Accession number: 254.1981 (h\u003c\/span\u003e\u003cspan\u003ettps:\/\/www.artgallery.nsw.gov.au\/collection\/works\/254.1981\/#about)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Khmer Empire, Rodrigo Quijada Plubins, World History Encyclopedia, 12 March 2013.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44338984616201,"sku":"1059337","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_f20efe62-c1a3-484a-9fe6-70a96c7b16b0.jpg?v=1680952363"},{"product_id":"womans-jacket","title":"Kauer Women's Embroidered Baju Jacket","description":"\u003ch3\u003e\u003cspan\u003eKauer people, early 20th century, Lampung, Sumatra, Indonesia.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis breathtaking, handwoven baju (short jacket) exemplifies the exceptional craftsmanship and artistry of the Kauer people of Lampung, Sumatra. The jacket is cropped and loose-fitting, crafted from plain weave cotton in alternating narrow vertical bands of indigo blue, rust, and ochre, with intricate geometric patterns inspired by ancient Dongson imagery. Meticulously hand-sewn and fully lined with cream cotton, it features a center-front opening with no fastenings, showcasing its traditional design. The long, straight sleeves display a wide indigo midsection, while the front is adorned with two indigo panels embroidered with intricate scroll motifs. Adding to its allure, small mirror pieces (cermuk) are stitched into place with red thread, creating a striking contrast. Above the indigo panels, a vibrant red floral cotton yoke is embellished with white shells arranged in a starburst pattern, reflecting the grandeur and attention to detail in Kauer textile traditions.\u003c\/p\u003e\n\u003cp\u003eThe motifs and materials used in this jacket carry deep cultural significance. Ornamentation often symbolizes Lampung's reverence for nature and divine power. Common motifs include the \"pucuk rebung\" (bamboo shoot), along with snakes, elephants, birds, ships, and mythical creatures. These patterns reflect both the natural and spiritual worlds. The use of natural dyes, including indigo (Indigofera tinctoria), turmeric (Curcuma longa), and sepang (Caesalpinia sappan), showcases the ingenuity of Kauer artisans in creating vibrant colors from their environment.\u003c\/p\u003e\n\u003cp\u003eElaborate garments like this baju were traditionally worn by young, unmarried women, paired with a sarong for ceremonies and celebrations. Textile production flourished in Lampung during the late 19th century, fueled by prosperity from the pepper trade. However, the eruption of Krakatoa in 1883 devastated many weaving villages, and by the early 20th century, the production of high-quality textiles had significantly declined due to shifting social and religious practices. This exquisite jacket, with its rich colors, intricate patterns, and use of reflective mirrors and shells, is not only a stunning piece of wearable art but also a testament to the rich cultural heritage and resilience of the Kauer people.\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eExcellent\u003c\/span\u003e condition. Carefully attached with pins into modern frame. Age-related minimal wear. Thread loss, slight tarnishing, small stains and loose threads. Size approx. 54,5cm x 115,0cm (with modern frame).\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJacket, The Metropolitan Museum of Art, Accession Number: 1983.59 (https:\/\/www.metmuseum.org\/art\/collection\/search\/85703)\u003c\/p\u003e\n\u003cp\u003eWomens jacket, Museum of Applied Arts \u0026amp; Sciences, Australia, Accession Number: A7966-22 (https:\/\/ma.as\/195130)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWomans jacket, RISD Museum, Rhode Island, Accession Number: 2003.40.10 (https:\/\/risdmuseum.org\/art-design\/collection\/womans-jacket-20034010)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTextiles of Southeast Asia, Transition, Trade and Transformation, Robyn Maxwell, Australia: Oxford University Press, 1990, p. 113.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eTraditional Indonesian Textiles, John Gillow, Thames \u0026amp; Hudson, 1995.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSouth Sumatran Ship Cloths, Mattiebelle S. Gittinger, The Bulletin of the Needle and Bobbin Club. Vol. 57, 1974, no. 1 \u0026amp; 2\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe ship textiles of South Sumatra: functions and design system, Mattiebelle S. Gittinger, Bijdragen tot de Taal-, Land- en Volkenkunde, 1976, 132 (2\/3): 207–227.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eSumatra, Crossroads of Cultures, Ed by Francine Brinkgreve \u0026amp; Retno Sulistianingsih, KITLV \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cspan\u003ePress, 2009.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSplendid Symbols: Textiles and Tradition in Indonesia, Mattiebelle S. Gittinger, Washington DC: The Textile Museum, 1979, p. 157.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44342779642121,"sku":"1046812","price":2700.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/products\/a1_5c3e7acf-04b0-42ec-8a20-1d75afdafeef.jpg?v=1681145288"},{"product_id":"asmat-warrior-animal-teeth-necklace","title":"Asmat Animal Teeth Necklace","description":"\u003ch3 class=\"p1\"\u003eAsmat people, early to mid-20th century, Upper Brazza River Area, Papua Province, Indonesia\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eExceptional early necklace composed of 41 small animal teeth, expertly woven with hand-knotted plant-fiber cord. Such necklaces signified a hunter’s skill and courage, each pair of teeth added over time from animals taken for food. They functioned as powerful personal markers of status and achievement within Asmat society.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Asmat inhabit the swampy coastal lowlands of present-day Papua Province and comprise twelve closely related sub-groups sharing a strong cultural identity. Villages consist of timber houses (tsyem) and at least one men’s house (jeu), the centre of ritual and communal life. Daily subsistence traditionally relied on sago starch, forest game and riverine resources, with mud, water, and wood forming the foundation of their material culture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRenowned worldwide for their masterful woodcarving, the Asmat are also historically associated with headhunting, once central to warfare, male initiation, and maintaining cosmological balance. These traditions gained international attention after the 1961 disappearance of Michael Rockefeller, who vanished while collecting Asmat art for the Metropolitan Museum of Art. Although never definitively solved, later research—most notably Carl Hoffman’s Savage Harvest—suggests he may have been killed in the region.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraditionally, the Asmat practised animism, believing spirits inhabited trees, rivers, and ancestral domains. Ritual life sought to maintain harmony with these forces; while headhunting and associated practices were suppressed by missionaries in the mid-20th century, their cultural significance remains a central part of Asmat historical identity.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. \u003c\/span\u003eWear commensurate with age and use.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eLovely dark patina. Size approx. \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e50,0cm x 4,0cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: From a Dutch private collection; reportedly originally from the holdings of a now-closed ethnographic museum and foundation in the Netherlands.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Asmat Museum of Culture and Progress, Tobias Schneebaum, Cultural Survival Quarterly Magazine, December 1982.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOceania, Encyclopedia of World Cultures, Peter and Kathleen Van Arsdale, ed. by Terence Hays, G.K. Hall \u0026amp; Company, 1991.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAsmat Art: Seventy years of Asmat woodcarving, Simon Kooijman, Pacific Arts Newsletter No.4, January 1977, pp. 9-11.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArt and Culture of the Asmat, Holmes Museum of Anthropology, Wichita States University, 2021.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHeadhunting Practises of the Asmat of Netherlands New Guinea, Gerard A. Zegwaard, American Anthropologist New Series, Vol.61, No.6, December 1959, pp. 1020-1041.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The Asmat\", In Heilbrunn Timeline of Art History, Emily Caglayan, Ph.D., Department of Art History, The Graduate Center, City University of New York, The Metropolitan Museum of Art, 2000-, October 2004.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eSavage Harvest: A Tale of Cannibals, Colonialism, and Michael Rockefeller's Tragic Quest for Primitive Art, Carl Hoffman, Publisher William Morrow, 2014.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44445285187849,"sku":"1073010","price":485.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_7574679f-a393-4d08-a576-3c5da50973a4.jpg?v=1685781215"},{"product_id":"korwar","title":"Korwar Ancestor Figure","description":"\u003ch3 class=\"descriptionLineWrap\"\u003eKorwar area, late 19th century, Cenderawasih (Geelvink) Bay region, Indonesian province of Papua (Irian Jaya)\u003c\/h3\u003e\n\u003cp\u003eThis extraordinary and exceedingly rare korwar ancestral figure originates from the Korwar region in the Cenderawasih (Geelvink) Bay area of Papua, Indonesia. Carved from a single piece of wood, the statue represents a squatting human figure with a dramatically oversized head, which has been hollowed out to house an actual ancestor skull—a profound and tangible connection to the spirit of the deceased. The figure wears a serrated headdress or tiara, further emphasizing its sacred and ceremonial significance. Korwar figures embody revered ancestor spirits, commanding both veneration and caution. These statues often hold a shield, sometimes positioned to support the figure's chin, adorned with intricate designs such as spirals, scrolls, and s-curves. The exact symbolism of the shield remains ambiguous, though some scholars suggest it may derive from the snake, a motif tied to rejuvenation and regeneration—central concepts in the traditional beliefs of the Cenderawasih Bay peoples.\u003c\/p\u003e\n\u003cp\u003eThe creation of a korwar was a highly selective and sacred act, performed by shamanic practitioners (mon) following the death of a prominent individual, such as a clan leader or an expedition chief. These figures served as spiritual vessels, housing the essence of an ancestor and acting as intermediaries between the living and the divine. Families would consult their korwar for guidance on critical life events such as births, marriages, and deaths. They were also believed to offer protection during headhunting raids, healing for the sick, and invisibility for warriors. Additionally, korwar figures were carried on perilous sea voyages to ensure safe passage and success. Their influence extended beyond the home, with miniature versions worn as amulets and korwar-inspired designs incorporated into canoe ornaments.\u003c\/p\u003e\n\u003cp\u003eHowever, the practice of creating and using korwar figures faced dramatic decline starting in the late 19th century, due to the efforts of Protestant missionaries to suppress traditional beliefs and customs. By the early 1900s, the Dutch colonial government banned the use of ancestor skulls in the sculptures, leading to the cessation of korwar production. Many existing figures were destroyed, though some were preserved and sent to museums in the Netherlands.\u003c\/p\u003e\n\u003cp\u003eThis particular korwar figure, acquired in the early 20th century by a Dutch government official, remains remarkably intact with its original ancestor skull. Its survival is a testament to the profound spiritual and artistic traditions of the Cenderawasih Bay peoples, offering a rare glimpse into their complex and reverent relationship with the ancestral world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Wear commensurate with age and use. Cracks, chips, fractures, and old wormholes. Wonderful, authentic patina throughout. \u003cspan\u003eSize approx. 51,0cm x 21,5cm x 21,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: From a Dutch private collection; reportedly originally from the holdings of a now-closed ethnographic museum and foundation in the Netherlands.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eNB! All of our human osteological specimens are historical ethnographic or ceremonial artefacts (e.g., \u003ci\u003ekapalas\u003c\/i\u003e, \u003ci\u003ekanglings\u003c\/i\u003e). We do not sell, buy, or handle human osteological material of unknown origin or items that do not clearly meet these criteria. This policy adheres to Finnish law regarding the sanctity of graves (Criminal Code of Finland 563\/1998, Chapter 17, Section 12).\u003c\/p\u003e\n\u003cp\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp\u003eRaja Ampat Ritual Art: Spirit Priests and Ancestor Cults in New Guinea’s Far West, Raymond Corbey, Leiden: C. Zwartenkot Art Books, 2017.\u003c\/p\u003e\n\u003cp\u003eKnowing Korwar: Ancestor Figures from Cenderawasih Bay, Bowers Museum, Collection Blog, Thursday, 25 August 2022. (https:\/\/www.bowers.org\/index.php\/collection\/collection-blog\/korwar-figure-from-cenderawasih-bay)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBorneo and Beyond: Tribal Arts of Indonesia, East Malaysia and Madagascar, Michael Heppell \u0026amp; Robyn Maxwell, Published by Bareo Gallery, 1990.\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44452097523977,"sku":"1100534","price":12050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_1654.jpg?v=1686306298"},{"product_id":"korwar-ancestor-figure","title":"Korwar Ancestor Figure","description":"\u003ch3 class=\"p1\"\u003eKorwar area, 19th century, Cenderawasih (Geelvink) Bay region, Indonesian province of Papua (Irian Jaya)\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eExceptional and very rare ancestral korwar figure, carved from a single piece of hardwood and presenting a standing human figure on an oval base. The sculpture features a symbolically oversized head, hollowed to house a real partial ancestor skull. The face is finely balanced, with a strong pointed nose with flaring nostrils, almond-shaped eyes beneath arched brows, and a distinctive prognathic chin with the mouth rendered as two parallel incised lines. The surface shows a beautiful light grey weathered patina, with deep erosion consistent with great age and exposure.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKorwar figures represent revered ancestor spirits—beings approached with both devotion and caution. Many korwar hold a shield beneath the chin, decorated with repeated spiral, scroll, and S-curve motifs. While its precise meaning is uncertain, the shield is often interpreted as a stylized snake, an important symbol of renewal and regeneration in the spiritual traditions of the Cenderawasih Bay peoples.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKorwar were carved by shamanic specialists (mon) following the death and funerary rites of an esteemed individual. Only select persons—clan heads, leaders, or notable figures—were immortalized in this way. These sculptures served as vessels for the ancestor’s spirit and were consulted for guidance during major life events, including births, marriages, and deaths. They were believed to offer supernatural protection, heal illness, and even render warriors invisible. Korwar accompanied dangerous sea voyages, appearing also on canoe prows and sterns, while miniature versions were worn as protective amulets. Within the home, they were kept with reverence and offered tobacco and other desirable items.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrom the late 1880s onward, many korwar were destroyed under the influence of Protestant missionaries, while others were sent to Dutch museums. The integration of actual skulls into the sculptures was prohibited by the Dutch administration in Biak in the early 1900s, and the tradition rapidly declined, with no new korwar carved thereafter.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis example—collected in the early 20th century complete with its ancestor skull—is one of two obtained at that time by a Dutch government official, and stands as a rare surviving testament to one of the most striking spiritual traditions of the Cenderawasih Bay region.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood condition. Wear commensurate with age and use. Cracks, chips, fractures, and old wormholes. Wonderful, authentic patina throughout. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSize approx. 63,0cm x 20,5cm x 20,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: From a Dutch private collection; reportedly originally from the holdings of a now-closed ethnographic museum and foundation in the Netherlands.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eNB! All of our human osteological specimens are historical ethnographic or ceremonial artefacts (e.g., \u003ci\u003ekapalas\u003c\/i\u003e, \u003ci\u003ekanglings\u003c\/i\u003e). We do not sell, buy, or handle human osteological material of unknown origin or items that do not clearly meet these criteria. This policy adheres to Finnish law regarding the sanctity of graves (Criminal Code of Finland 563\/1998, Chapter 17, Section 12).\u003c\/p\u003e\n\u003cp\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp\u003eRaja Ampat Ritual Art: Spirit Priests and Ancestor Cults in New Guinea’s Far West, Raymond Corbey, Leiden: C. Zwartenkot Art Books, 2017.\u003c\/p\u003e\n\u003cp\u003eKnowing Korwar: Ancestor Figures from Cenderawasih Bay, Bowers Museum, Collection Blog, Thursday, 25 August 2022. (https:\/\/www.bowers.org\/index.php\/collection\/collection-blog\/korwar-figure-from-cenderawasih-bay)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBorneo and Beyond: Tribal Arts of Indonesia, East Malaysia and Madagascar, Michael Heppell \u0026amp; Robyn Maxwell, Published by Bareo Gallery, 1990.\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44453153243401,"sku":"1100535","price":16500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_1673.jpg?v=1686307579"},{"product_id":"bamana-boli-power-figure-2","title":"Bamana Power Figure (Boli)","description":"\u003ch3 class=\"p1\"\u003eBamana people, early to mid-20th century, Mali, West Africa\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and rare Bamana boli power figure, constructed from a tortoise shell heavily over-modelled with layers of potent organic and mineral materials—mud, eggs, cloth, goat horn, honey, beer, and human and animal excrement. Over decades of ritual use, its dense, crusted surface has accumulated further sacrificial offerings including blood, millet porridge, and alcohol, each application strengthening the object’s spiritual force.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBoliw (sing. boli) are among the most compelling ritual creations of the Bamana. Their purpose is to concentrate, contain, and regulate nyámà, the invisible vital force believed to permeate the natural world. Their forms vary—from abstract animal shapes to compact humanoid masses—but all serve as highly charged conduits of power.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch figures played a central role within Bamana communities. The most powerful boliw belonged to the great male initiation associations, Komo and Kono, and were handled only by specialists trained to manage their dangerous potency. Others existed at the level of families or individuals, each created following a specific recipe and endowed with specific capacities—protection, judgement, healing, or the maintenance of social order.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTo preserve their force, boliw were regularly “fed” with fresh sacrificial matter, keeping them spiritually “alive.” They served as ritual judges, mediators, and instruments of protection, believed capable of exposing wrongdoing and punishing offenders through the very substances from which they were made.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis superb and powerful example, with its thick encrusted patina and strong sculptural presence, embodies the intense ritual history and spiritual authority that make Bamana boliw among the most revered forms of West African art.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGood condition. \u003c\/span\u003eWear commensurate with age and use. Beautiful old patina with minor chips, holes and fraying. \u003cspan\u003eSize approx. 19,0cm x 12,0cm x 13,5cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Poisonous Child, Sarah C. Brett-Smith, The University of Chicago Press on behalf of the Peabody Museum of Archaeology and Ethnology, Anthropology and Aesthetics No.6, Autumn 1983, pp. 47-64.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHumans and Things: Mande \"Fetishes\" as Subjects, Agnes Kedzierska Manzon, The George Washington University Institute for Ethnographic Research, Anthropological Quarterly, Vol.86, No.4, Fall 2013, pp. 1119-1151.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen is an Object Finished? The Creation of the Invisible among the Bamana of Mali, Sarah C. Brett-Smith, The University of Chicago Press on behalf of the Peabody Museum of Archaeology and Ethnology, Anthropology and Aesthetics No. 39, Spring 2001, pp. 102-136.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44461242908937,"sku":"1087373","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_7f5fa6ac-5499-42e1-980f-e0041070f675.jpg?v=1686824504"},{"product_id":"baule-maternity-figure","title":"Baule Maternity Figure","description":"\u003ch3 class=\"p1\"\u003eBaule people, early to mid-20th century, Côte d’Ivoire\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent and finely carved wooden maternity figure representing a serene, youthful woman seated gracefully upon an Akan-style stool, tenderly holding her child in a nursing position. The figure displays the refined elegance characteristic of Baule sculpture — a long neck, balanced proportions, and harmonious symmetry throughout. The facial features are delicately rendered, with arched brows, a slender nose, a small mouth, and almond-shaped eyes cast in a tranquil downward gaze.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer elaborate, high crested coiffure and intricate scarifications across the face, neck, torso, and abdomen reflect ideals of beauty and cultural identity. The smooth, light brown patina enhances the sculptural softness and warmth of the wood.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMaternity figures such as this were created in honor of fertility and motherhood, often commissioned by husbands and kept within the home as protective and venerated objects. They embody the Baule ideal of feminine grace, fecundity, and spiritual balance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Baule people (also Baoulé), one of the largest ethnic groups of Côte d’Ivoire, trace their origins to a migration from present-day Ghana under Queen Aura Pokou in the 17th century. According to legend, the Queen sacrificed her only son to the river to save her people during their flight — a tragic act from which the name Baule (“the child is dead”) derives.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGood condition. Age-related wear and signs of handling over many years. Fractures and chip. Repaired. Size approx. 28,0cm x 6,1cm x 6,6cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Finnish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMaternity figure, The Israel Museum, Jerusalem, Accession number: B91.0187  (https:\/\/www.imj.org.il\/en\/collections\/312101-0)\u003c\/p\u003e\n\u003cp\u003eFemale figure with child, Sainsbury Centre, University of East Anglia, Accession number: 572 (https:\/\/www.sainsburycentre.ac.uk\/art-and-objects\/572-female-figure-with-child\/)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBaule: African Art, Western Eyes, Susan Mullin Vogel, Publisher Yale University Press, 1997, pp. 260, 261, 262, 291.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBaule Statuary Art: Meaning and Modernization, P. L. Ravenhill, Institute for the Study of Human Issues, Working Paper 5, Philadelphia, 1980\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe Tribal Arts of Africa, Jean-Baptiste Bacquart, Publisher Thames \u0026amp; Hudson, 2002, p. 48, ill. 5\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44482004222217,"sku":"1100545","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_2433.jpg?v=1687865729"},{"product_id":"danish-neolithic-period-earthenware-vessel","title":"Danish Late Mesolithic or Early Neolithic Period Earthenware Vessel","description":"\u003ch3 class=\"p1\"\u003eErtebølle Culture, c. 5400–3950 BC or Funnelbeaker Culture, c. 4100–2800 BC, Denmark\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and extremely rare earthenware vessel from the late Mesolithic or early Neolithic period, this piece is a remarkable bog-found artifact from Denmark. The squat, round-bodied jar features a slightly corseted neck, an elegantly flanged outward-turning rim, and a single strap handle placed low on the body—typical of early ceramic forms in prehistoric Northern Europe.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis vessel may be attributed to the Ertebølle culture (c. 5400–3950 BC), a Mesolithic society that flourished in northern Jutland and along the Danish coasts. The Ertebølle people were semi-sedentary hunter-gatherers, thriving near fjords, rivers, and bays. Renowned for their rich kitchen middens—massive shell heaps composed primarily of oyster shells—they left behind one of the most visible legacies of early human settlement in Scandinavia. Their pottery, typically hand-built by coiling and tempered with sand, crushed stone, and organic material, included simple beakers and lamps, often fired in open hearths or bonfire kilns.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFlint tools from the period reached a high degree of refinement, and the Ertebølle people also made use of wood, antler, and bone for various implements. Their burial customs were equally distinctive, often involving cremation and the ritual placement of grave goods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlternatively, this vessel could originate from the Funnelbeaker culture (c. 4100–2800 BC), which succeeded the Ertebølle and marks the dawn of the Neolithic in Denmark. This period introduced agriculture and animal husbandry, while older Mesolithic practices such as hunting and shell-gathering continued in parallel. Funnelbeaker pottery shows a clear leap forward in craftsmanship—vessels were thinner, more sophisticated in form, and richly decorated through stamping, modeling, and incising.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePeople of the Funnelbeaker culture lived in longhouses, raised pigs, cattle, and sheep, and cultivated grains such as einkorn and barley. They are also known for their monumental megalithic tombs, including dolmens and passage graves, which testify to a growing complexity in ritual and social organization.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis beautifully preserved vessel is a rare and evocative survivor from the dawn of ceramic tradition in Northern Europe—an artifact that bridges the worlds of hunter-gatherers and early farmers.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent condition. Intact. Surface wear and abrasions commensurate with age, nicks and chip, with encrusted patina and rich earthen deposits throughout.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eSize approx. 16,0cm x 13,0cm x 9,7cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003eEx-museum collection from Denmark\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eEurope's First Farmers – T. Douglas Price, University of Wisconsin, Madison, Cambridge University Press, 2000 (http:\/\/assets.cambridge.org\/\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e97805216\/\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003e62031\/ sample\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\/9780521662031ws.pdf)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eInland Ertebølle Culture: the importance of aquatic resources and the freshwater reservoir effect in radiocarbon dates from pottery food crusts, Bente Philippsen \u0026amp; John Meadows, Internet Archaeology (doi:10.11141\/ia.37.9)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eThe introduction of ceramics in the Ertebølle Culture, Karen Poulsen, Danish Journal of Archaeology, 2013 2, 146–163. (https:\/\/doi.org\/10.1080\/21662282.2013.904127)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eOrganic residue analysis of Early Neolithic ‘bog pots’ from Denmark demonstrates the processing of wild and domestic foodstuffs, Harry K. Robson, Hayley Saul, Valerie J. Steele, John Meadows, Poul Otto Nielsen, Anders Fischer, Carl P. Heron \u0026amp; Oliver E. Craig, Journal of Archaeological Science: Reports, Volume 36, 2021. (https:\/\/doi.org\/10.1016\/j.jasrep.2021.102829.)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44512156942601,"sku":"1037623","price":1650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_3580.jpg?v=1689419836"},{"product_id":"pre-khmer","title":"Pre-Khmer Pottery Pouring Vessel (Kendi)","description":"\u003ch3 class=\"p1\"\u003ePre-Khmer Empire, c. 200-700 AD, Cambodia\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eA significant and highly refined Pre-Khmer pouring vessel, or kendi, dating from 200-700 AD, crafted in Cambodia before the rise of the Khmer Empire (802-1431 AD).\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis unglazed vessel embodies a form that became ubiquitous across Southeast Asia, originating from Indian traders who settled in the region—then known as the \"Land of Gold\"—between 100-400 AD. The kendi’s distinctive shape, with its rounded body, straight neck, and angled spout, was specifically designed for graceful pouring, allowing liquid to be poured directly into the drinker’s mouth from a height.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis large, finely crafted vessel, made of red pottery, features a wide, globular body, a narrow, round, flat-bottomed foot, and a short, tapering neck leading to a wide, everted mouth with a slightly raised rim. A single spout gracefully emerges from the shoulder. Delicate painted rosettes adorn the rim, neck, and shoulder, accompanied by parallel red and white lines, highlighting the artisan’s skill and decorative refinement.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Khmer Empire, one of Southeast Asia's most powerful civilizations, would later rise to prominence, leaving behind monumental architectural achievements such as Angkor Wat and Bayon. However, long before this, the Mekong Delta region was already home to sophisticated ceramic traditions, as seen in excavations from sites like Angkor Borei, the inland capital of Funan, and the port city of Oc Eo.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis early Pre-Khmer kendi is a testament to the region’s artistic and cultural connections, bridging Indian influences with emerging Southeast Asian traditions, and stands as a remarkable example of early Cambodian craftsmanship.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. Intact. Age-related wear and abrasion with a minimal scratches on surface. Small chip in the foot ring. \u003cmeta charset=\"utf-8\"\u003eThe body has an attractive and subtle pattern from root marks and soil encrustations from centuries\u003c\/span\u003e\u003cspan\u003e of burial. Size approx. 23,0cm x 19,0cm x 21,0cm.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eProvenance: Finnish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eKendi, \u003cmeta charset=\"utf-8\"\u003eMinneapolis Institute of Art, A\u003c\/span\u003e\u003cspan\u003eccession number: \u003cmeta charset=\"utf-8\"\u003e2001.31.5 (\u003c\/span\u003e\u003cspan\u003ehttps:\/\/collections.artsmia.org\/art\/45818\/kendi-cambodia)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eKendi, Roots, Asian Civilisations Museum, A\u003c\/span\u003e\u003cspan\u003eccession number: 2011-02071 (https:\/\/www.roots.gov.sg\/en\/collection%20landing\/listing\/1120096)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eKhmer Ceramics: Beauty and Meaning, Dawn Rooney, River Books Press Dist A C, 2010, pp. 178-179.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eKendi in the Cultural Context of Southeast Asia, A Commentary, Dawn F. Rooney. (http:\/\/rooneyarchive.net\/articles\/kendi\/kendi_album\/kendi.htm)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eThe Khmer Empire, Rodrigo Quijada Plubins, World History Encyclopedia, 12 March 2013.\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e(https:\/\/www.worldhistory.org\/Khmer_Empire\/)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Kendi: The Long Journey of a Little Water Vessel, Margaret White, Passage, May\/June 2018.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44543482134793,"sku":"1046698","price":2850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/a1_28c931c9-5959-4ff0-aa52-c2211a212b89.jpg?v=1691141737"},{"product_id":"chinese-neolithic-period-pottery-vessel-2","title":"Chinese Neolithic Period Pottery Vessel","description":"\u003ch3 class=\"p1\"\u003eLate Yangshao to Early Majiayao Culture, c. 4000 - 2000 BC, China\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eA magnificent and exceptionally rare hand-built Neolithic pottery jar, distinguished by its sizeable, thin-walled construction and strikingly elegant form. The vessel features a large bulbous body, flaring neck, and three applied strap handles, evenly spaced around the midsection—an unusual and highly desirable characteristic. The buffware body is richly decorated with applied black pigment, forming bold zigzags, bow-like motifs, linear designs, and drooping rungs between the handles and shoulders—a hallmark of early Chinese artistic expression.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eVessels of this type were likely used for storing large volumes of rice, brewing beer, or even as burial urns, offering a fascinating glimpse into the ritualistic and domestic life of Neolithic China.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Neolithic period in China (c. 8000–1700 BC) marked a major shift to agricultural settlements, with the Yangshao culture (c. 5000–3000 BC) flourishing along the Yellow River basin, laying the foundation for early Chinese civilization. The Majiayao culture (c. 3100–2000 BC) produced some of the finest painted pottery of the prehistoric era, influencing later artistic traditions.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis museum-quality piece is a superb addition to any collection of ancient Chinese artifacts, offering a visually striking and historically significant example of early pottery craftsmanship.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Intact. \u003c\/span\u003eWear commensurate with age and use. \u003cspan\u003eNo cracks, fractures or chips. Fading to areas of pigmentation. Size approx. 33,5cm x 28,0cm x 28,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Finnish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eForm Follows Function: The Story of Chinese Neolithic Pottery, Edie Hu, Sothebys, May 18, 2022. (www.sothebys.com\/en\/articles\/form-follows-function-the-story-of-chinese-neolithic-pottery)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Pottery Age: An Appreciation of Neolithic Ceramics from China Circa 7000 BC - Circa 1000 BC, Ronald W. Longsdorf, CA Book Publishing, Hong Kong, 2020.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eOld but Never Forgotten: Chinese Neolithic Pottery, Grace Funk, Bowers Museum, 21 July 2022. (https:\/\/www.bowers.org\/index.php\/collection\/collection-blog\/neolithic-chinese-vessel)\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDepartment of Asian Art. Neolithic Period in China, In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 -. Oct. 2004 (http:\/\/www.metmuseum.org\/toah\/hd\/cneo\/hd_cneo.htm)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe British Museum Book of Chinese Art, Rawson, Jessica, et al., London: British Museum Press, 1992.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Chinese pottery\", Encyclopedia Britannica, Jerome Silbergeld,  George Savage,  and Michael Sullivan, 6 Feb. 2014. (https:\/\/www.britannica.com\/art\/Chinese-pottery)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44548117823753,"sku":"1099998","price":1850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4014.jpg?v=1691402363"},{"product_id":"tang-dynasty-extremely-rare-sancai-pottery-money-chest","title":"Tang Dynasty Extremely Rare Sancai Glazed Pottery Money Chest Gui","description":"\u003ch3 class=\"p1\"\u003eTang Dynasty, 618–907 AD, Xi'an (Chang'an), Shaanxi Province, China\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent and exceedingly rare earthenware money chest exemplifies the mastery of Tang dynasty artisans. Fashioned in imitation of a metal or wood prototype, the rectangular chest rests on four bracket feet, each adorned with cream and amber-glazed bosses resembling decorative metal studs. The sides, glazed in vibrant green, rise to crescent-shaped tops secured with further stud-like adornments, evoking the intricate craftsmanship of functional chests. The elaborately decorated top features a repeating triangle pattern in green and cream glaze, adding an elegant geometric touch. Amber-glazed lion-mask or palmette motifs embellish the sides, with a loop for a padlock at the center. Though its small ‘hinged’ removable lid is now missing, the piece retains its remarkable grandeur.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSancai (three-color) glazed wares were a hallmark of Tang funerary art, admired for their vibrant hues of green, amber, and cream. Models of money chests like this one were symbolic treasures, often placed in tombs as \u003ci\u003emingqi\u003c\/i\u003e (spirit goods) to ensure the deceased's prosperity in the afterlife. While such chests are incredibly rare, they reflect the Tang dynasty's cosmopolitan spirit, technological innovation, and devotion to cultural and artistic excellence. The Tang dynasty, celebrated as a golden age of Chinese civilization, brought forth unparalleled achievements in art, trade, and governance, with objects like this chest serving as enduring legacies of its sophisticated material culture.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood condition. Original glazing are still \u003cmeta charset=\"utf-8\"\u003evibrant and luminous. Age-related wear and abrasion. Chip on one of the top corners. Missing lid. Glazing flaws and fritting. Rich encrusted earthen deposits. Size approx. 15,5cm x 10,9cm x 13,0cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Swedish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCasket (gui) and Lock, Saint Luis Art Museum, accession number: 931:1940a,b (https:\/\/www.slam.org\/collection\/objects\/18439\/)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,6 cm), sold at Sotheby's, New York, 22 September 2021, Important Chinese Art, lot 166. (https:\/\/www.sothebys.com\/en\/buy\/auction\/2021\/important-chinese-art-5\/an-extremely-rare-blue-and-sancai-glazed-pottery)\u003c\/p\u003e\n\u003cp\u003eCompare to a similar sancai-glazed pottery money chest (15,0 cm), sold at Christie’s Hong Kong, 28 May 2021, Important Chinese Ceramics and Works of Art, lot 2926. (https:\/\/www.christies.com\/en\/lot\/lot-6318542)\u003c\/p\u003e\n\u003cp\u003eCompare to a slightly larger sancai pottery money chest (23,3 cm), sold at Christie’s New York, 21 September 2000, lot 267 (fig. 1).\u003c\/p\u003e\n\u003cp\u003eClosely related example in the Shaanxi History Museum, Xi'an, accession number: 511.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eGilded Dragons: Buried Treasures from China’s Golden Ages, The British Museum, ed. Carol Michaelson, 1999.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eImmortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue, Jill J. Deupi, Ive Covaci \u0026amp; Leopold Swergold, Immortality of the Spirit - Ephemera. 1, Fairfield University, 2012. (https:\/\/digitalcommons.fairfield.edu\/immortality_ephemera\/1)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArts of the Tang Court, Patricia Eichenbaum Karetzky, Hong Kong; New York: Oxford University Press, 1996.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Art of the Yellow Springs: Understanding Chinese Tombs, Wu Hung, London: Reaktion Books, 2011.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44556940673289,"sku":"1100616","price":14500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4458.jpg?v=1692021505"},{"product_id":"bura-funerary-terracotta-urn","title":"Bura Funerary Terracotta Urn","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Bura Asinda-Sikka culture, c. 200-1200AD, Niger or Burkina Faso, West Africa.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMesmerizing ancient oval shaped terracotta funerary urn with flaring lip. The Bura culture refers to a set of archaeological sites in the lower Niger River valley of Niger and Burkina Faso. The archeological site of Bura is located in the Tillabéry Region, of the Tera Department in southwest Niger. The first-millennium Bura-Asinda culture in the West African Sahel has been radio-carbon dated as starting in the 3rd century AD and lasting until 13th century. The site of the necropolis of Bura-Asinda-Sikka was discovered accidentally in 1975 in the north-west of Niamey, Niger's capital, \u003cmeta charset=\"utf-8\"\u003eand excavated as late as in the early 1980's.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eVery little is precisely understood about this mysterious civilization and its culture. \u003cmeta charset=\"utf-8\"\u003eThe Bura culture is known for its very distinctive \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003etubular and oval-shaped anthropomorfic terracotta urns and round or semi-ovoid pots, often surmounted \u003cmeta charset=\"utf-8\"\u003eby standing figures, mounted horsemen, or heads. The heads, often completely flat, are distinguished by a great deal of simplicity and in most cases decorated with longitudinal bulges in relief. However, some of these urns were decorated only with anthropomorfic features depicting eyes, coiffures, nose etc. There are also representations of phalluses and breasts on the urns. \u003cmeta charset=\"utf-8\"\u003eThe Bura appear to have been sedentary agriculturists who buried their dead in tall, oval-shaped urns. The urns were found laid on the ground upside down and close together, contained human bones, but above all entire skulls, with clothes, \u003cmeta charset=\"utf-8\"\u003eiron arrowheads, or offerings of cooked food for dead.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCharming terracotta funerary vessel from Bura Asinda-Sikka necropolis are in good condition. Age-related wear, minor chip in thre rim and abrasion. Traces of red pigment. Rich deposits on interior and exterior. Size approx. \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e13,5cm x 8,5cm x 8,5cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003eProvenance: Dutch private collection.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBura Funerary Urns: Niger Terracottas: An Interpretive Limbo?, Michelle Gilbert, African Arts, The MIT Press, Vol. 53, No.1, Spring 2020, pp. 66-75.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eEarth and Ore: 2500 Years of African Art in Terra-cotta and Metal, Karl-Ferdinand Schädler, Panterra, January 1, 1997.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eUn \"Village des Morts\" à Bura en Republique du Niger', Boube Gado, in J. Devisse (ed.), Vallées du Niger, Paris: Réunion des Musées Nationaux, 1993, pp. 365-74.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOne Hundred Years of Archaeology in Niger, Anne C. Haour, Journal of World Prehistory, Vol.17. No.2, June 2003, pp. 181-234.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44561820975369,"sku":"1100618","price":495.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_4497.jpg?v=1692191302"},{"product_id":"aztec-pottery-stamp","title":"Aztec Ceramic Stamp","description":"\u003ch3 data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePre-Columbian era, Aztecs, c. 1300-1521AD, Mexico.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis rare and important Pre-Columbian Aztec ceramic stamp, dating to c. 1300–1521 AD, exemplifies the craftsmanship and cultural significance of the Aztec civilization in central Mexico. The stamp, hand-built with a conical handle and a rectangular body, features a finely incised design of three abstract figures, reflecting the rich symbolic and artistic traditions of the Aztecs. The Aztec civilization, also known as the Mexica or Tenochca, flourished in central Mexico during the Post-Classic period, dominating much of Mesoamerica through their sophisticated cultural, political, and economic systems. At their height, the Aztecs were renowned for their monumental architecture, intricate art, and complex social structures. They spoke the Nahuatl language, which unified their diverse empire and preserved their oral and written traditions.\u003c\/p\u003e\n\u003cp\u003eThe tradition of using ceramic stamps in Mesoamerica dates back thousands of years, with some of the earliest examples originating in Central Mexico during the Early Formative period (c. 1800–1200 BC). By the Aztec era, these stamps had evolved into intricate tools for creating decorative patterns on clothing, bark paper (amate), pottery, and potentially on human skin for ceremonial purposes. Initially, stamps were hand-formed, but around 1150 AD, the Aztecs began employing molds to produce multiple copies, expanding the accessibility and application of these tools.\u003c\/p\u003e\n\u003cp\u003eThe designs on these stamps were highly diverse, featuring geometric patterns, stylized depictions of animals and plants, and motifs of religious or metaphysical significance. Within Aztec society, the production and use of stamps were closely associated with elite culture. Scribes, who were among the few taught to write and create art, were likely the primary makers and distributors of these stamps, marking their creations as symbols of luxury and status. Stamping was reserved for embellishing valuable objects, further highlighting its association with wealth and prestige.\u003c\/p\u003e\n\u003cp\u003eMany ceramic stamps have been discovered in burial sites, underscoring their cultural and spiritual importance. Their presence in graves suggests they held a significant role in both life and the afterlife, possibly serving as markers of identity, status, or spiritual beliefs. This particular example, with its intricate design and expertly crafted form, serves as a tangible link to the artistic and ceremonial practices of the Aztec elite, offering a glimpse into the sophistication and ingenuity of this remarkable civilization.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. The iconography is well preserved and clear. Age-related minimal wear. Size approx. 11,1cm x 7,1cm x 3,6cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAccording to information, from the collection of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Paul Ragnar Wedendal Sr. a\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ecquired Pre-Columbian art during his travels in the 1940s-1950s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eStamp, Birds, The Metropolitan Museum of Art, Accession Number: 00.5.1161 (https:\/\/www.metmuseum.org\/art\/collection\/search\/307742)\u003c\/p\u003e\n\u003cp\u003eClay Stamp (pintadera), Royal Albert Memorial Museum \u0026amp; Art Gallery, Accession Number: 283\/1990\/34 (https:\/\/rammcollections.org.uk\/collections\/de87b3a5-2663-33c1-bb7b-0808defd568e\/)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44598353723657,"sku":"1100629","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5012.jpg?v=1694256485"},{"product_id":"vicus-phytomorphic-pottery-hanging-vessel","title":"Vicús Phytomorphic Pottery Hanging Vessel","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Vicús Culture, c. 500 BC to 600 AD, Piura Region, Peru\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eThis extraordinary and exceedingly rare Vicús phytomorphic pottery hanging vessel, dating from approximately 500 BC to 600 AD, is a striking example of Pre-Columbian artistry from the Piura Region of Peru. Sculpted in the form of a stylized vegetable, it most likely represents the yacón (Smallanthus sonchifolius) root, a tuber known for its sweet taste, high sugar and starch content, and vibrant yellow flowers. The yacón, often referred to as the \"Peruvian ground apple\" due to its resemblance in name to the French \"pomme de terre\" (potato), was a vital part of ancient Andean agriculture and diet.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003ePhytomorphic effigy vessels like this were believed to serve a ritualistic purpose, potentially placed in Vicús burials as offerings to nourish the deceased in the afterlife, as tributes to supernatural forces, or as commemorations of significant events. The organic, bulbous form of this vessel evokes the natural shape of the yacón root, while its gracefully tapered spout and prominent circular suspension loop suggest it was designed for hanging, possibly in ceremonial or domestic contexts. The russet-hued surface, enriched with cream and white stripes, adds to its striking visual appeal.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Vicús culture, situated in the northernmost coastal region of Peru, remains one of the most enigmatic civilizations of the Pre-Columbian era. Though its chronology remains debated, scholars generally place its emergence between 1000 BC and 200 BC, lasting until approximately 300 AD to 600 AD. Centered around \"Cerro Vicús,\" its strategic highland location connected it with other Andean societies, facilitating trade and cultural exchange. Agriculture was the foundation of the Vicús economy, with advanced irrigation techniques supporting the cultivation of maize, squash, and various fruits. These agrarian practices were complemented by hunting and animal husbandry.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eVicús artisans were highly skilled in ceramics, metallurgy, and goldsmithing, producing artifacts of remarkable technical precision and aesthetic refinement. Their pottery, influenced by the Salinar and Gallizano cultures as well as Ecuadorian traditions, is distinguished by its sculptural quality, bold forms, and intricate painted ornamentation. While sharing stylistic elements with the renowned Moche civilization, Vicús ceramics exhibit a unique color palette, surface treatment, and iconography that set them apart.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis remarkable vessel, with its elegantly contoured form and masterful craftsmanship, stands as a testament to the ingenuity and cultural sophistication of the Vicús people. It offers a rare glimpse into the intersection of art, agriculture, and ritual in the ancient Andean world, preserving the legacy of a civilization that thrived along the Pacific coastline over two millennia ago.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Surface wear and abrasions commensurate with age and use, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSize approx. 16,0cm x 14,8cm x 9,5cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAccording to information, from the collection of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Wedendal Sr. a\u003c\/span\u003e\u003cspan\u003ecquired Pre-Columbian art during his travels in the 1940s-1950s.\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44600749687049,"sku":"1100632","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5044.jpg?v=1694434313"},{"product_id":"pre-columbian-costa-rican-volcanic-stone-shaman-figure","title":"Atlantic Watershed Volcanic Stone Shaman Figure","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Atlantic Watershed Culture, Period VI, c. 1000-1520 AD, Limón Province, Costa Rica\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and highly significant shaman (Sukia) figure, expertly carved from porous grey volcanic basalt (andesite), embodying the spiritual and ritualistic depth of the Atlantic Watershed culture. This powerful representation of a medicine man is depicted in a classic ritual posture—squatting with upraised knees and spread legs, feet firmly planted, elbows resting upon the knees. His right hand delicately holds his left forearm, while his left hand is raised to his mouth, seemingly interacting with a tubular-shaped implement—potentially a flute, smoking pipe, or ceremonial blowing tube. His hunched back, intricately carved to reveal a skeletal spine, reflects the profound physical and spiritual transformation associated with shamanic rituals.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe exquisite detailing of the figure extends to the boldly carved facial features, including coffee-bean-shaped eyes, a broad nose, cup-shaped ears, and delicate forehead lines, all of which enhance its intense and expressive presence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCosta Rica’s three major archaeological regions—Guanacaste-Nicoya, Central Highlands-Atlantic Watershed, and Diquis—each produced unique artistic traditions. While the Nicoya Peninsula bore strong Mesoamerican influences, the Atlantic Watershed culture developed an unparalleled mastery in volcanic stone carving, surpassing all other Costa Rican cultures. Their artisans created elaborate metates (stone grinding platforms) adorned with intricate mythical and dignitary imagery, often associated with hallucinogenic rituals, shamanic trances, and ritual sacrifice. These masterfully sculpted figures served as status symbols in elite tombs, representing the power and prestige of the deceased.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis gorgeous volcanic stone shaman figure stands as a testament to the spiritual traditions, artistic excellence, and ceremonial practices of the Atlantic Watershed civilization—a rare and prestigious artifact for collectors of Pre-Columbian art and shamanic iconography.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Surface wear and abrasions commensurate with age and use, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. Size approx. 11,3cm x 8,3cm x 7,3cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Finnish private collection\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eSukia Figure, The Metropolitan Museum of Art, Accession number: 1993.79.2 (https:\/\/www.metmuseum.org\/art\/collection\/search\/316767)\u003c\/p\u003e\n\u003cp\u003eFigure of a shaman (Sukia), The Baltimore Museum of Art, Accession number: 1960.30.69 (https:\/\/collection.artbma.org\/objects\/23658\/figure-of-a-shaman-sukia)\u003c\/p\u003e\n\u003cp\u003eSukia figure, Princeton University Art Museum, Accession number: 2001-300 (https:\/\/artmuseum.princeton.edu\/collections\/objects\/40594)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44602197508361,"sku":"1100634","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5084.jpg?v=1694523407"},{"product_id":"chancay-textile-weaver-comb","title":"Chancay Textile Weaving Comb","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian era, Chancay culture, 1000–1470AD, Peru\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and rare weaving comb, beautifully crafted from split reed—most likely Carrizo (\u003ci\u003ePhragmites australis\u003c\/i\u003e)—and featuring 30 finely barbed spikes fastened between two horizontal shafts. This authentic textile tool is tightly bound with light brown braided thread characteristic of Chancay textile production. The sturdy rectangular handle is reinforced with black resin, possibly bitumen, and is elegantly embellished with dark brown seeds for added texture and visual appeal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis comb was an essential implement in the complex process of weaving, used to beat the weft threads securely into place. Its remarkable preservation, with resin and original binding thread still intact, offers a rare glimpse into the technical sophistication of Chancay textile craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Chancay culture flourished along Peru’s central coast and is renowned for its mastery of textile arts. Weaving was not only a practical skill but also a profound symbolic language used to express social identity, wealth, gender, and spiritual belief. Chancay artisans employed a vibrant palette of yellows, browns, scarlets, whites, blues, and greens, working with llama wool, cotton, chiffon, and feathers to create intricate gauzes and cloths. Their designs often featured geometric motifs alongside stylized depictions of animals, plants, and human figures.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTextiles were deeply intertwined with ritual life—used in religious ceremonies, magical practices, and funerary rites. In death, Chancay individuals were wrapped in multiple layers of woven cloth and buried with grave goods, reflecting the enduring cultural and symbolic importance of textiles and their tools in Chancay society.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Surface wear commensurate with age and use. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMinor chips and losses to some barbed spikes. Chip to black resin. Size approx. 7,8cm x 6,2cm x 1,0cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: From the estate of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Collected in the 1940's to 1950's.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eWooden Comb with Woolen Decoration, The Metropolitan Museum of Art, Accession number: 1994.35.44 (https:\/\/www.metmuseum.org\/art\/collection\/search\/316869)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44603737571593,"sku":"1100635","price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5096.jpg?v=1694599034"},{"product_id":"kas","title":"Seljuk Kashan Turquoise-Glazed Pottery Ewer","description":"\u003ch3 class=\"p1\"\u003eThe Seljuk Empire, c. 1037–1194 AD, Kashan, Persia\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA magnificent and rare example of medieval Islamic craftsmanship, this turquoise-glazed Kashan ewer is a stunning piece of Turko-Persian artistry. Modeled after metalwork forms, the ewer rests on a short straight unglazed foot with a slightly tapering cylindrical body adorned with vertical flutes, showcasing the exquisite molding techniques of the time. The rounded, sloping shoulder leads into a slender neck, and the horizontal tubular spout, with its circular opening, is complemented by a graceful curved handle.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe rich turquoise glaze has a captivating quality, thinning at the edges and attractively pooling and darkening in the recesses. The glaze's iridescence adds a mesmerizing effect, highlighting the masterful glazing technique employed by the artists of Kashan, a city renowned for producing high-quality pottery during the Seljuk period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Seljuk Empire (1037–1194 AD) was a high medieval Turko-Persian Sunni Muslim empire, with its territory spanning from Anatolia to the Hindu Kush at its greatest extent. Kashan, located strategically near important mineral sources, was particularly known for its production of frit-ware pottery. The use of copper oxide in the alkaline glaze created the striking turquoise color, which is now iconic in Persian pottery and echoes the classic Egyptian turquoise glazes of antiquity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and historically significant artifact, this turquoise-glazed ewer is a remarkable example of Seljuk pottery and would be a prized addition to any collection of Islamic art, medieval ceramics, or Persian antiquities.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. \u003cmeta charset=\"utf-8\"\u003eIntact. \u003c\/span\u003eWear commensurate with age and use. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eIntentional glaze crackling and discoloration to the glaze due to misfiring. Size approx. 13,8cm x 7,5cm x 7,5cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: Finnish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eEwer, The British Museum, Accession Number: 1910,0511.1 (https:\/\/www.britishmuseum.org\/collection\/object\/W_1910-0511-1)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeljuk Turks, History Maps. (https:\/\/history-maps.com\/story\/Seljuk-Turks)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeljuk Turks, New World Encyclopedia, April 21, 2023. (https:\/\/www.newworldencyclopedia.org\/p\/index.php title=Seljuk_Turks\u0026amp;oldid=1109731.)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44631081287945,"sku":"1100650","price":590.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5622.jpg?v=1696251017"},{"product_id":"hellenistic-bactrian-glazed-quartz-bead-necklace","title":"Hellenistic Bactrian Glazed Quartz Bead Necklace","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eGreco-Bactrian Empire, c. \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e200BC to 100AD, \u003c\/span\u003eMazar-e-Sharif, Balkh, Afghanistan,\u003cmeta charset=\"utf-8\"\u003e Central\/South Asia.\u003c\/h3\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAbsolutely stunning, massive and extremely rare necklace strung with 54 chiseled quartz beads from the regions of Balkh, made during the Greco-Bactrian Empire and with remnants of later glazed colour (cobalt, light blue and turquise) during the Islamic Dynasties c. 800 to 1000 AD. Each bead is skillfully carved in the very hard quartz with faceted, spheric form. The unique shapes could be a result of the craftsmanship of a primitive wheel cutting, facilitated by a cutter and an assistant, who kept the wheel spinning by applying diamond dust. This technique is as old as the invention of the diamond drill, 600 BC. and worked pretty much on the same technological level as the bow drill. Interestingly, these beads are only found in small area, which means that they were never exported along the silk routes, like so many other types of beads. \u003c\/span\u003e\u003cspan\u003eThe Greco-Bactrian Kingdom was, along with the Indo-Greek Kingdom, the easternmost part of the Hellenistic world, covering Bactria and Sogdiana in Central Asia from 256 to 125 BC. It was centered on the north of present-day Afghanistan. The expansion of the Greco-Bactrians into present-day eastern Afghanistan and Pakistan from 180 BC established the Indo-Greek Kingdom, which was to last until around AD 10.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eThe necklace are in good condition. Beads with chips and nicks. Surface wear and stable hair line fissures on surface and interior. The glaze is partly worn away, and so are the original cut shapes. Scattered mineral deposits. Strung in modern times on a modern cotton cord and wearable, but we do recommend restringing this piece with a metal wire or more secure cord. Length approx. 62,0cm with 54 beads. Individual bead size varies from 1,0cm to 1,3cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Danish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem data-mce-fragment=\"1\"\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Greek Kingdom of Bactria, its coinage and its collapse, Joe Cribb, Afghanistan Ancien Carrefour Entre Lʼest et Lʼouest: 1, Academia, 2005.(https:\/\/www.academia.edu\/3026258)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAncient Glazed Quartz Beads from Bactria, Gunar Muhlman, ancientbead.com. (http:\/\/www.ancientbead.com\/Ancient_Glaced_Bactrian_Beads.html)\u003c\/em\u003e \u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44633528336649,"sku":"1100653","price":1450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5693.jpg?v=1696414788"},{"product_id":"manteno-huancavilca-standing-male-terracotta-incensario","title":"Manteño-Huancavilca Figural Incensario (Sahumador)","description":"\u003ch3\u003e\u003cspan\u003ePre-Columbian era, Manteño-Huancavilca culture, Integration Period c. 500-1531 AD,  Ecuador\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis rare and sizeable figural incensario is a remarkable artifact from the Manteño-Huancavilca culture of coastal Ecuador, showcasing the advanced artistry and ceremonial practices of this enigmatic civilization. Finely hand-modeled and crafted from terracotta with a painted finish, the piece depicts a male figure, likely a chief (\u003ci\u003ecacique\u003c\/i\u003e), standing proudly in a commanding pose. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s impressive, wide-shouldered build and erect, rigid stance exude an aura of power and authority. The facial features are particularly striking, with almond-shaped eyes that feature pierced irises, incised brows, a prominent, disproportionately large nose characteristic of Manteño art, and an archaic smile that enhances its enigmatic presence. The figure’s intricate adornments, including a tunic decorated with incised triangular motifs, a massive pectoral, bracelets, and large earspools, further underscore his elite status. The grand headdress, adorned with finely detailed bands, serves a dual purpose as a shallow platter-like container, which functioned as the incensario’s basin for burning copal incense. The base of the figure forms a pedestal, adding stability and emphasizing the statue's ceremonial significance.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Manteño-Huancavilca culture thrived along the Ecuadorian coast during the Integration Period, with two primary ceremonial centers: one on the mainland coast and another on Puná Island. These centers were hubs of spiritual activity, where incense burning, shamanistic rituals, and the veneration of rulers played pivotal roles. Incensarios like this one were integral to these ceremonies, symbolizing the intersection of the divine and earthly realms. This extraordinary artifact is a testament to the Manteño-Huancavilca culture’s artistic sophistication and spiritual devotion, offering a rare glimpse into the ceremonial life of one of ancient South America’s most intriguing civilizations.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eExcellent condition. Age-related wear and minimal abrasion. Small chip in the pedestal, and few hairlines, otherwise intact. Traces of red slip paint. Fading to original pigmentation, light encrustations, and light earthen deposits throughout. Size approx. 25,5cm x 13,1cm x 11,2cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Finnish private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003eThe Metropolitan Museum of Art, New York, Accession Number: \u003cmeta charset=\"utf-8\"\u003e1980.34.32 (\u003cmeta charset=\"utf-8\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/314177)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eBlackware Vessel with Flaring Rim in the Form of a Seated Figure, Arts of the Americas, Art Institute Chicago, \u003cmeta charset=\"utf-8\"\u003eAccession Number: \u003cmeta charset=\"utf-8\"\u003e1974.6\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44635589411081,"sku":"1100664","price":3950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5871.jpg?v=1696514541"},{"product_id":"nazca-pottery-jar","title":"Nazca Sling and Stone Bullet","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian era, Nazca civilization, 300 BC \u003cmeta charset=\"utf-8\"\u003e– 600 AD, Peru\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eA rare and mesmerizing Pre-Columbian Nazca sling, woven from cabuya fiber and accented with multi-colored camelid fiber, accompanied by its original stone bullet. Dating from 300 BC – 600 AD, this remarkable weapon showcases the Nazca civilization’s ingenuity in warfare and hunting.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe long fiber-banded cord is woven in thick strands of black, dark brown, and beige, with a central pouch specifically designed to cradle a stone projectile. When spun overhead and released with precision, a skilled user could launch the stone at bone-breaking velocity, making it an effective weapon for combat or hunting.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Nazca civilization flourished in ancient Peru with Cahuachi as its ceremonial and cultural center. This non-urban pyramid complex, located in the Nazca Valley, was used for fertility and agricultural rituals. Nazca art and artifacts depict nature deities, ritual ceremonies, and warfare, reflecting a society deeply connected to spiritual beliefs and iconographic storytelling.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eOne of the most distinctive features of Nazca culture is their polychrome pottery, crafted using the coiling method and painted with earth-derived pigments before firing. The Nazca also had a headhunting tradition, with numerous trophy heads discovered in archaeological sites. These severed heads are frequently depicted in Nazca ceramic art, often with carrying ropes, underscoring their ritual significance.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eBecause the Nazca had no writing system, their pottery and textiles served as visual narratives, preserving shared beliefs, historical events, and religious practices. This intact Nazca sling and stone bullet is a stunning artifact of ancient warfare, reflecting the technical skill and cultural depth of this enigmatic civilization.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent condition. Age-related minimal wear, loose threads and fraying. Rich earthen deposits. The ends lack the finger loop. Size approx. 140,0cm x 3,5cm x 0,5cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the estate of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Collected in the 1940's to 1950's.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eSling, The Metropolitan Museum of Art, New York, Accession Number: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e1994.35.103 (\u003cmeta charset=\"utf-8\"\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/316928)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eSling, Princeton University Art Museum, Accession number: 1995-376 (https:\/\/artmuseum.princeton.edu\/collections\/objects\/4624)\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44637398794505,"sku":"1100666","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_5936.jpg?v=1696599156"},{"product_id":"chancay-pottery-figural-jar","title":"Chancay Pottery Effigy Llama Figure","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Chancay Culture, 1000–1470 AD, Peru\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent hand-modeled pottery effigy, depicting a standing llama, exemplifies the distinctive ceramic traditions of the Chancay culture. Crafted from gritty clay and left unpolished, the figure features an erect head, pointed ears, and a raised tail, supported by four sturdy knob feet with stubby legs. The surface is adorned with slightly curving horizontal stripes, rendered in a rich chocolate brown pigment against a creamy white ground, creating a striking visual contrast.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Chancay civilization flourished along Peru’s central coast, spanning valleys such as Fortaleza, Pativilca, Supe, Huaura, Chancay, Chillón, Rímac, and Lurín from 1000–1470 AD. Their ceramic artistry is renowned for its homogeneous style, characterized by matte surfaces, white slip coatings, and dark painted designs. Extensive cemeteries in the Chancay region have yielded numerous ceramic pieces like this effigy, which were often included as grave goods, reflecting their role in funerary rituals and cultural symbolism.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs llamas were essential to Andean life, serving as beasts of burden, sources of wool, and even sacrificial offerings, this effigy likely held deep cultural and spiritual significance. A rare and evocative artifact, it provides a tangible connection to Chancay craftsmanship, funerary traditions, and the reverence for llamas in Pre-Columbian society.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. No repairs or restorations. Abrasion and minor pitting, all commensurate with age. Encrustation and dust. Size approx. 14,7cm x 5,2cm x 6,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFormer collection of the archaeologist Ferdinand Anton, Germany, combined between 1950 and 1965. Ferdinand Anton was born in 1929 in Munich, Germany. He made a living by writing richly illustrated books about the art objects and religious rituals of Pre-Columbian cultures: the Aztecs, the Maya, and Andean peoples of South America. He was an explorer who flew to South America and Mexico, and hiked to remote shrines where few Westerners had set foot. He wrote more than forty books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eFigure of a llama, The Baltimore Museum of Art, Accession Number: 1989.192 (https:\/\/collection.artbma.org\/objects\/21789\/figure-of-a-llama)\u003c\/p\u003e\n\u003cp\u003eLlama Effigy, Michael C. Carlos Museum of Emory University, Accession Number: 1989.008.003 (https:\/\/collections.carlos.emory.edu\/objects\/3041\/llama-effigy)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44860194980105,"sku":"100100113","price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6908.jpg?v=1703246534"},{"product_id":"inca-ceremonial-copper-alloy-knife-tumi","title":"Inca Ceremonial Copper Tumi with Figural Finial","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Inca Empire, c. 1438–1533 AD, Andes Region, South America\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional Inca ceremonial copper tumi, this beautifully crafted sacrificial knife features a detailed narrative on the shaft, depicting a dramatic scene of an approaching llama sacrifice. A masked figure holds the llama’s tail and leash, while another stands poised with the tumi, ready to perform the ritual. The tumi’s crescent blade was used for sacrificial ceremonies during the Inti Raymi festival, which honored the Sun god and ensured a prosperous harvest.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTumis were central to Inca rituals, where they were used to sacrifice llamas and even in surgical practices such as cranial trephination. Cast in copper, this beautifully detailed object offers a rare glimpse into Inca religious and medical traditions, making it a remarkable and sought-after collector’s item.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis extraordinary piece represents the Inca Empire's wealth, artistry, and spiritual practices, and is a must-have for collectors of ancient South American artifacts.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. \u003c\/span\u003eSurface wear and abrasions commensurate with age, nicks and chip. \u003cspan\u003eCovered in layers of light-green, dark-green, and russet-hued rich patina. Encrustation. \u003c\/span\u003e\u003cspan\u003eSize \u003c\/span\u003e\u003cspan\u003eapprox. 13,5cm x 3,6cm (blade 10,8cm) x 0,4cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Swedish private collection\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eKnife (Tumi), The Metropolitan Museum of Art, Accession Number: 1987.394.230 (https:\/\/www.metmuseum.org\/art\/collection\/search\/315290)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eInca Civilization, Mark Cartwright, World History Encyclopedia. Last modified September 15, 2014 (https:\/\/www.worldhistory.org\/Inca_Civilization\/).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Incas and Their Ancestors : The Archaeology of Peru, Michael E Moseley, Thames and Hudson, 1992.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLife of the Incas in Ancient Peru, Jésus Romé \u0026amp; Lucienne Romé, Productions Liber, 1987.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Incas: New Perspectives, Gordon F. McEwan, Santa Barbara, California: ABC-CLIO, 2006.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAncient Inca  (Part of Case Studies in Early Societies), Alan L. Kolata, University of Chicago, Cambridge University Press, 2013.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44869839159561,"sku":"100100122","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6968.jpg?v=1703690951"},{"product_id":"copy-of-chimu-ceremonial-copper-alloy-knife-tumi-1","title":"Chimú Ceremonial Copper Tumi with Warrior Figure Finial","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Chimú Culture, c. 800-1470 AD, Moche Valley, Trujillo, Peru\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent Chimú sacrificial tumi, cast from thick copper, is a striking testament to the ceremonial and artistic traditions of pre-Columbian Peru. Featuring a heavy crescent-shaped blade, this exceptional piece is attached to a cylindrical handle adorned with an abstract avian motif—a design commonly seen in Chimú textiles. The finial, a seated warrior or deity figure, elevates the knife’s status as both a functional ritual object and a sacred emblem of power.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBird imagery was deeply significant in Chimú religion, with seabirds like pelicans symbolizing both fertility and the afterlife. The tumi itself was a revered tool, widely used by several coastal civilizations—including the Moche, Sicán, Chimú, and Inca—for blood sacrifice, ritual ceremonies, and even surgical procedures. In Moche iconography, the tumi is frequently depicted in sacrificial rites, where it was used to slit the throats of offerings. Among the Inca, these knives played a vital role in Inti Raymi’rata, a sacred harvest festival dedicated to the Sun God. During this elaborate ritual, a High Priest would sacrifice a pure white or black llama, interpreting its entrails to divine future harvests, after which the remains were ceremonially incinerated.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBeyond its ritualistic importance, the tumi was also an instrument of advanced Andean medicine. In the practice of cranial trephination, it was used to drill or scrape holes into the skull—an early surgical technique employed to treat head injuries, fractures, or psychological ailments. While ceremonial tumis were crafted in larger, more elaborate designs, medical variations were smaller and designed for precision.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis extraordinary tumi, with its symbolic warrior finial and intricate iconography, embodies the profound spiritual and technological achievements of the Chimú civilization. A rare and museum-worthy artifact, it stands as a compelling relic of ancient Peruvian ritual, medicine, and artistry—an unparalleled addition to any collection of pre-Columbian artifacts.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. Both blade and handle are covered in layers of green and russet patina.\u003c\/span\u003e\u003cspan\u003e Age-\u003c\/span\u003e\u003cspan\u003erelated wear and abrasion. \u003c\/span\u003eSize approx. 13,8cm x 1,8cm (blade \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e13,8cm\u003c\/span\u003e) x 0,3cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a similar example see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eCopper Tumi with Figure, The Metropolitan Museum of Art, Accession Number: 1987.394.607 (https:\/\/www.metmuseum.org\/art\/collection\/search\/315655)\u003c\/span\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44870457590025,"sku":"100100121","price":880.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_6970.jpg?v=1703691149"},{"product_id":"asmat-tree-bark-fibre","title":"Asmat Tree Bark Fibre Ritual Warrior's Garment","description":"\u003ch3 class=\"p1\"\u003eAsmat People, Mid-20th Century, Irian Jaya, New Guinea, Indonesia\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn exceptional and exceedingly rare Asmat ritual warrior’s garment, crafted to adorn the upper torso and worn draped over the shoulders. Meticulously constructed from hand-knotted sago bark fibre with a supportive orchid-fibre base, the garment is entirely covered with thousands of Job’s tears (Coix lacryma-jobi) seeds, woven in dense, perfectly aligned rows. Decorative tassels composed of cassowary (Casuarius casuarius) quills and feathers—bundled and tied with great care—accent the chest and waist areas of both the front and rear panels, adding dramatic movement and presence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe creation of bark-fibre textiles among Papuan peoples demands considerable expertise: suitable bark or stems are harvested, heated over fire, softened in water, stripped, dried, and spun into durable, flexible cord, sometimes coloured with natural pigments. Mastery of this process requires months of practice, and garments of this complexity reflect the highest levels of Asmat fibre craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Asmat live in the swampy lowlands of southwestern New Guinea, a landscape of rivers, mangroves, and dense forest. “Asmat” is an umbrella designation for a dozen interconnected groups sharing linguistic, cultural, and ritual traditions. Villages feature family dwellings (tsyem) and at least one men’s house (jeu, also known as jew, djeu, or yeu)—the spiritual and ceremonial heart of the community. Daily life is shaped by the natural environment: sago palms provide staple starch, supplemented by fish and forest game.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRenowned worldwide for their powerful woodcarving traditions, the Asmat are equally known for their former practices of headhunting and ritual cannibalism—traditions deeply tied to cosmology, balance, and ancestral veneration. These practices famously became the subject of international attention following the 1961 disappearance of Michael Rockefeller, whose ill-fated collecting expedition in the region remains one of the most debated episodes in modern ethnographic history. Recent scholarship, including Carl Hoffman’s Savage Harvest, presents compelling evidence that Rockefeller fell victim to an Ostjanep group during a period of active ritual conflict.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraditional Asmat spirituality centres on maintaining harmony among humans, ancestors, and the spirit world. Rituals—warfare, initiation, carving, and mortuary ceremonies—were essential to restoring cosmic balance. Headhunting, suppressed by missionaries in the mid-20th century yet reported in some areas into the 1990s, was integral to initiatory rites, with cannibalism serving as part of the ritual cycle that followed the taking of an enemy’s head.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis magnificent fibre warrior’s garment stands as a rare and culturally potent example of Asmat ceremonial attire—rich in artistry, symbolism, and historical resonance.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Age-related wear and signs of use. Imperfections and loose strings. Frayed feathers. Lovely patina. Stains. Faded colors. Size approx. 52,0cm x 42,0cm.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: From a Dutch private collection; reportedly originally from the holdings of a now-closed ethnographic museum and foundation in the Netherlands.\u003c\/p\u003e\n\u003cp\u003eFor a similar example see:\u003c\/p\u003e\n\u003cp\u003eGarment, \u003cspan\u003eThe Metropolitan Museum of Art\u003c\/span\u003e, \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAccession number: 2009.502.7 (\u003c\/span\u003e\u003cspan\u003ehttps:\/\/www.metmuseum.org\/art\/collection\/search\/319837)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Asmat Museum of Culture and Progress, Tobias Schneebaum, Cultural Survival Quarterly Magazine, December 1982.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOceania, Encyclopedia of World Cultures, Peter and Kathleen Van Arsdale, ed. by Terence Hays, G.K. Hall \u0026amp; Company, 1991.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAsmat Art: Seventy years of Asmat woodcarving, Simon Kooijman, Pacific Arts Newsletter No.4, January 1977, pp. 9-11.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArt and Culture of the Asmat, Holmes Museum of Anthropology, Wichita States University, 2021.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHeadhunting Practises of the Asmat of Netherlands New Guinea, Gerard A. Zegwaard, American Anthropologist New Series, Vol.61, No.6, December 1959, pp. 1020-1041.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"The Asmat\", In Heilbrunn Timeline of Art History, Emily Caglayan, Ph.D., Department of Art History, The Graduate Center, City University of New York, The Metropolitan Museum of Art, 2000-, October 2004.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eSavage Harvest: A Tale of Cannibals, Colonialism, and Michael Rockefeller's Tragic Quest for Primitive Art, Carl Hoffman, Publisher William Morrow, 2014.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44895248056585,"sku":"1014135","price":685.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7231.jpg?v=1704298588"},{"product_id":"igbo-coiled-bronze-currency-manilla","title":"Igbo Coiled Copper Alloy Currency Armlet (Manilla)","description":"\u003ch3 class=\"p1\"\u003eLate 19th – early 20th century, Igbo people, Nigeria, West Africa\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent and exceptionally large coiled copper alloy currency armlet, formed as a powerful spring-like structure composed of eight tightly twisted coils ending in bulging, squared-off terminals. With its impressive size, weight, and sculptural presence, this piece was almost certainly a prestige example—created to display wealth and status rather than for regular wear. Its bold form and commanding proportions make it an outstanding specimen of Igbo metalwork and traditional currency.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Igbo people—Ndi Igbo—are the second-largest ethnic group in southern Nigeria and among the most influential in West Africa. Their densely populated homeland spans the southeastern region along the Niger River and has long been a center of trade and craftsmanship. Through extensive commercial networks exchanging ivory, pepper, and later slaves, the Igbo acquired significant quantities of copper and developed an advanced metallurgical tradition.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTheir technique involved hammering copper alloys into long rods, which were then heated, shaped, and tightly wound into coils before being cut and adjusted to form bracelets, armlets, anklets, and other wearable forms of wealth. These coiled currency pieces—especially large examples such as this—are increasingly sought after for their rarity, beauty, and historical importance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eManillas, the broader currency category to which this piece belongs, served as a major form of commodity money across West Africa. Produced in numerous shapes and sizes, they originated before European contact and expanded through early Portuguese trade. Used as currency, dowry wealth, social prestige items, and ornament, they remained in circulation until the late 1940s and still appear as decorative status objects today.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhile most manillas are the recognizable horseshoe-shaped forms, prestige coil types such as this were highly valued within Igbo communities. The earliest historical records show their use in the Calabar region, where, in 1505, 8–10 manillas could purchase a slave, and a single copper manilla could buy an elephant’s tusk. Each region had its own named varieties and strict standards for acceptance, making these currencies both functional and culturally specific.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA museum-worthy, exceedingly rare Igbo coil manilla—a stunning example of traditional wealth, metallurgical mastery, and the sculptural aesthetics of West African currency traditions.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. \u003c\/span\u003eSurface wear and abrasions commensurate with age and use. \u003cspan\u003eBeautiful encrusted patina of greens, tans and browns, with russet highlights. Light oxidization. Size approx. 21,5cm x 11,5cm x 7,3cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: Finnish private collection.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIgbo Manilla Currency Bracelet\u003cspan class=\"s1\"\u003e, \u003c\/span\u003eAACHS Art Collection, Philadelphia, PA (https:\/\/www.artworkarchive.com\/profile\/aachsartcollection\/artwork\/igbo-manilla-currency-bracelet-aachs-art-collection-f15180)\u003c\/p\u003e\n\u003cp\u003eCoiled Armlet, The Brooklyn Museum, Accession Number: 2006.66.3 (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/171372)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Teach Yourself Guide to Numismatics, C.C. Chamberlain, English Universities Press. 1963, p. 92.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe West African Manilla Currency: Research and Securing of Evidence from 1439-2019, Rolf Denk, Tredition GmbH, Hamburg, 2020.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePrimitive Money in its ethnological, historical and economic aspects, Paul Einzig, Eyre \u0026amp; Spottiswoode, London, 1949.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eObject biographies, Manilla or Penannular Bracelet Currency, Eric Edwards, Balfour Library, Pitt Rivers Museum, January 29th, 2010. (https:\/\/web.prm.ox.ac.uk\/rpr\/index.php\/objectbiographies\/78-manilla.html)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44966862389513,"sku":"1000244","price":650.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_7861.jpg?v=1706111685"},{"product_id":"khmer-angkor-period-bronze-lime-container","title":"Khmer Angkor Period Bronze Lime Container","description":"\u003ch3\u003e\u003cspan\u003eThe Khmer Empire, Angkor period, 12th or 13th century, Cambodia.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis elegant bronze vessel, crafted during the 12th or 13th century in the Angkor period of the Khmer Empire, exemplifies the artistry and functionality of Khmer design. The container, composed of two cast sections, features a fluted body and a lid tapering gracefully to a stepped conical finial. Its purpose was to hold slaked lime, a vital ingredient in the preparation of betel nut, a traditional mixture chewed with spices for its mildly intoxicating effects. The lime, derived from shell, coral, or limestone, was essential to this practice, neutralizing the bitterness of the betel nut and facilitating its absorption. Containers like this were not only utilitarian but also served as symbols of refinement, crafted with an aesthetic sensibility that reflected the cultural richness of the Khmer Empire.\u003c\/p\u003e\n\u003cp\u003eAt its zenith, the Khmer Empire was one of Southeast Asia's most powerful civilizations, extending across present-day Cambodia, Thailand, Laos, and Vietnam. The empire’s capital at Angkor is celebrated for its extraordinary architectural achievements, including the iconic Angkor Wat and Bayon temples, which remain enduring monuments to Khmer innovation, spirituality, and wealth.\u003c\/p\u003e\n\u003cp\u003eThis lime container embodies the legacy of the Khmer Empire, offering a glimpse into the daily rituals and artistic sophistication of a society renowned for its grandeur and influence. Its intricate form and historical significance make it a captivating artifact of a bygone era. Excellent condition. Age-related wear and signs of erosion. Still contains remnants of its original contents. Earthen deposits. Lovely patina with some evidence of green oxidization. Size approx. 8,7cm x 2,3cm x 2,3cm. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProvenance: Private collection from Sweden\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetel-box, The British Museum, Accession Number: 1954,0715.23 (https:\/\/www.britishmuseum.org\/collection\/object\/A_1954-0715-23)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCovered Bowl and Spoon, Tokyo National Museum, Accession Number: TE-809 (https:\/\/colbase.nich.go.jp\/collection_items\/tnm\/TE-809?locale=en)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Khmer Empire, Rodrigo Quijada Plubins, World History Encyclopedia, 12 March 2013.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44976213360905,"sku":"100100172","price":245.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8080.jpg?v=1706353276"},{"product_id":"tibetan-human-thigh-bone-silver-inlaid-trumpet-kangling","title":"Tibetan Human Thigh Bone Silver Inlaid Trumpet (Kangling)","description":"\u003ch3 class=\"p1\"\u003eLate 19th or Early 20th Century, Tibet\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eExceptional and rare human bone ritual trumpet (kangling) lavishly adorned with repoussé silver and copper alloy fittings. The ends of the tibia are sheathed in finely worked silver (untested), expertly shaped to retain the natural patellar groove, which has been hollowed to create a dramatic double bell. The shaft is wrapped in delicate copper wire, culminating in a beautifully formed silver mouthpiece. Both terminal silver mounts are richly decorated with intricate repoussé motifs and inlaid with turquoise and red coral, enhancing its ceremonial presence and rarity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe kangling (Wylie: rkang-gling), literally “leg flute,” is a trumpet made from a human femur or tibia and used in Tibetan Buddhist chöd rituals, as well as in funerary rites performed by chöpa practitioners. Traditionally, the bone of an individual who died violently—or alternatively, that of a revered teacher—was considered most efficacious. While wooden or animal-bone variants exist, true human-bone kanglings such as this example represent the most potent form.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUsed exclusively in outdoor chöd ceremonies, the kangling is played together with the thöpa damaru or chöd damaru, a double-headed ritual drum fashioned from paired human skull caps. In tantric chöd practice, the practitioner plays the kangling as an act of unwavering fearlessness—summoning spirits, demons, and hungry ghosts, not to repel them but to offer compassion and spiritual nourishment, thereby relieving their suffering.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRitual instruments such as kanglings, kapālas (skull bowls), and damarus were traditionally made from bones gathered at sky burial (jhator) sites, one of Tibet’s oldest and most sacred mortuary customs. In this practice, bodies are ritually dismembered and exposed to the elements in designated charnel grounds as a final act of generosity—“giving alms to the birds.” Selected bones were then meticulously cleaned, shaped, consecrated, and adorned with silverwork, turquoise, coral, and sacred carvings before being used in advanced tantric practice.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rare and beautifully preserved kangling—rich in patina, craftsmanship, and spiritual provenance—stands as an extraordinary example of Tibetan ritual art and a powerful artifact of tantric Buddhist tradition.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. Wear consistent with age and use. \u003c\/span\u003eLovely polished patina. Size approx. 31,0cm x 5,2cm x 7,7cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFor a similar examples see:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eBone pipe, National Museum, New Delhi, Accession Number: 87.792 (https:\/\/indianculture.gov.in\/artefacts-museums\/bone-pipe)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRkangling, The Metropolitan Museum of Art, Accession Number: 46.34.11 (https:\/\/www.metmuseum.org\/art\/collection\/search\/505238)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eNB! All of our human osteological specimens are historical ethnographic or ceremonial artefacts (e.g., \u003ci\u003ekapalas\u003c\/i\u003e, \u003ci\u003ekanglings\u003c\/i\u003e). We do not sell, buy, or handle human osteological material of unknown origin or items that do not clearly meet these criteria. This policy adheres to Finnish law regarding the sanctity of graves (Criminal Code of Finland 563\/1998, Chapter 17, Section 12).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe practices and rituals of Tibetan Kapala skull caps, Ancient Origins - Reconstructing the story of humanity's past, April Holloway (https:\/\/www.ancient-origins.net\/ancient-places-asia\/practices-and-rituals-tibetan-kapala-skull-caps-00945). \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCharnel Ground Ornaments and Implements, Rufus C. Camphausen (www.yoniversum.nl.).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eInstruments of Burma, India, Nepal, Thailand and Tibet, Thomas E. Cross, M.M. Thesis, University of South Dakota, May 1983, pp. 73-75.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTibetan Mahayoga Tantra: An Ethno Historical Study of Skulls, Bones and Relics, Andrea Loseries-Leick, 2008, B.R. Pub. Corp. p. 225.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBody Matters: Exploring the Materiality of the Human Body, Luci Attala \u0026amp; Louis Steel, Cardiff, Wales: University of Wales Press. p. 166.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTibetan Rituals of Death: Buddhist funerary practices, Margaret Gouin, Published March 29, 2012 by Routledge.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44989742874889,"sku":"100100179","price":2050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8177.jpg?v=1706624933"},{"product_id":"cypro-archaic-terracotta-warrior-figurine-fragment","title":"Cypro-Archaic Terracotta Warrior Figurine Fragment","description":"\u003ch3\u003e\u003cspan\u003eCypro-Archaic Period I-II, c. 700-475 BC, Kourion, Republic of Cyprus\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis magnificent and rare figure fragment from the Cypro-Archaic period features the upper half of a handmade male warrior, likely part of a larger horse and rider group. The figure is adorned with a conical headdress, characteristic of the era. Notable facial features include a protruding chin, beard, hooded eyes, small pellet ears or studs on the helmet, and a pronounced large nose. While the arms are missing, it is believed that the warrior’s original posture had them extended forward, possibly holding reins within a chariot group.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis fragment is a remarkable example of the Cypriot craftsmanship from the Iron Age, where simple handmade terracotta figurines were crafted with coarse, cylindrical bodies and distinctive facial features formed from clay pellets. These figures were symbolic representations of warriors, charioteers, and soldiers, linking them to the martial culture of the time. Terracotta chariot models and horse and rider figures, such as this one, were often used as votive offerings in sanctuaries or placed in the graves of the wealthy. They were thought to symbolize the connection between the divine and the earthly realms, offering protection and guidance in the afterlife. The prominence of such figures suggests a society deeply entrenched in warfare, with the riding of horses and chariot warfare being exclusive to the elite. Many of these horse and rider figurines have been found in the sanctuary of Apollo Hylates at Kourion, where the god Hylates—later associated with Apollo—was worshipped. Excavations at other sites, such as the sanctuary of Avia Irini, have uncovered numerous chariot models, further emphasizing the importance of chariotry in Cypriot culture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis fragment, with its raw and expressive form, offers a fascinating insight into the religious, military, and cultural life of ancient Cyprus, making it a highly desirable piece for collectors and scholars of Mediterranean antiquities.\u003c\/p\u003e\n\u003cp\u003eGood condition. Age-related wear and corrosion. Chip and nicks. The object is covered with a thin layer of earthy encrustation. Size approx. 10,3cm x 5,6cm x 3,6cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: According to information, from the collection of professor Dr. Med. Albert Fischer, 1891–1956. Founder and director of the Carlsberg Foundation biological institute, Copenhagen (1932–1956). Albert Fischer acquired antiquities during his travels in the 1930s-1950s.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eChariot group, The Metropolitan Museum of Art, Accession Number: 74.51.1800 (https:\/\/www.metmuseum.org\/art\/collection\/search\/241355)\u003c\/p\u003e\n\u003cp\u003eFigurine, Louvre, Accession Number: AO 32412 (https:\/\/collections.louvre.fr\/en\/ark:\/53355\/cl010359455)\u003c\/p\u003e\n\u003cp\u003eFigure, The British Museum, Accession Number: 1896,0201.219 (https:\/\/www.britishmuseum.org\/collection\/object\/G_1896-0201-219)\u003c\/p\u003e\n\u003cp\u003eTerracotta horse and rider figurine (tomb gift), Ashmolean Museum, University of Oxford, Accession Number: AN1888.1267 (https:\/\/collections.ashmolean.org\/object\/304807)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTerracotta Figurines from Kourion in Cyprus, John Howard Young \u0026amp; Suzanne Halstead Young, Published by: The University Museum, University of Pennsylvania, Philadelphia, 1955.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHandbook of the Cesnola Collection of Antiquities from Cyprus, John L. Myres, The Metropolitan Museum of Art, 1914.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHorse and Rider Figurines from Ancient Marion, Chelsea Walter, Arizona State University, December 2014.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44994181136649,"sku":"100100187","price":420.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8232.jpg?v=1706706860"},{"product_id":"copy-of-roman-bronze-fibula","title":"Roman Bronze Crossbow Fibula","description":"\u003ch3 class=\"p1\"\u003eLater Roman Empire, c. 300 AD\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely stunning Late Roman bronze crossbow fibula, a striking example of the status and prestige associated with high-ranking Roman officials and military personnel. This elegant and well-preserved fibula features a ridged crossbar, adorned with two oblate spheres with central raised points, while a third onion-shaped terminal sits prominently above the junction with the bow—a distinctive feature of crossbow fibulae. The bow itself is beautifully embellished with vertical channels, lending it a refined, architectural aesthetic. The rectangular footplate, detailed with two vertical channels and dot decorations, further enhances its appeal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe separately made pin, an impressive example of Roman engineering, is attached via a hinge secured to a wire rod, inserted through the crossbar, and is completed by a D-shaped catchplate.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFibulae were essential accessories in Roman fashion, functioning as both decorative brooches and practical garment fasteners, typically securing cloaks and togas at the shoulder. Unlike modern brooches, fibulae followed the safety-pin principle and, beyond their utilitarian function, were also given as votive offerings to the gods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe crossbow fibula was a hallmark of high-ranking Roman military and civil officials from 300–600 AD. The distinctive onion-shaped knobs suggest it was a symbol of authority and rank, much like those depicted in the famous fourth-century relief of the Roman general Stilicho in Mantua, where both the general and his son wear similar fibulae.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA magnificent and historically significant artifact, perfect for collectors of Roman militaria, antiquities, and ancient jewelry.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Wear consistent with age. Bends, surface scratches and light corrosion. Complete with hinged pin (moveable). Light encrustation. Beautiful light green patina. Size approx. 5,4cm x 3,7cm x 1,8cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Dutch private collection\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCrossbow fibula, The Metropolitan Museum of Art, Accession Number: 67.259.2 (https:\/\/www.metmuseum.org\/art\/collection\/search\/325947)\u003c\/p\u003e\n\u003cp\u003eCrossbow fibula, Harvard Art Museums\/Arthur M. Sackler Museum, Accession Number: 1992.256.107 (https:\/\/harvardartmuseums.org\/collections\/object\/304550)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":44997805900041,"sku":"100100191","price":375.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8287.jpg?v=1706789220"},{"product_id":"bactrian-bronze-kohl-container-with-applicator","title":"Bactrian Bronze Kohl Container with Applicator","description":"\u003ch3 class=\"p1\"\u003eBactria-Margiana Archaeological Complex, c. 2200–1700 BC, Central Asia\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThis exceptional and rare Bactrian bronze kohl container, dating from approximately 2200–1700 BC, showcases the advanced metallurgical techniques of the Oxus Civilization. Crafted using the lost wax method, the elongated cylindrical vessel features two raised ribs and delicate incised designs along its slender body. The design is completed with a discoid rim and an accompanying slender applicator that fits neatly inside, highlighting both its aesthetic elegance and functional sophistication.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Bactria-Margiana Archaeological Complex (BMAC), also known as the Oxus Civilization, flourished in Central Asia between 2250 and 1700 BC. Situated between the Oxus River and the Hindu Kush mountains, this culture was renowned for its monumental architecture, advanced irrigation systems, and refined craftsmanship in bronze, ceramics, and jewelry. The region's inhabitants were primarily agrarian, cultivating wheat and barley, while their extensive trade networks connected them to the civilizations of Mesopotamia, the Indus Valley, and beyond.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eKohl, for which this vessel was designed, has been used as an eye cosmetic since at least 3100 BC, particularly in Egypt and the surrounding regions. Made from stibnite or galena, it was applied for both aesthetic and medicinal purposes, believed to protect against eye infections and the sun’s glare. Kohl also held religious and cultural significance, with its use extending across ancient societies. In Islamic tradition, the Prophet Muhammad recommended Ithmid (antimony-based kohl), believing it enhanced vision and promoted eyelash growth.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis finely crafted bronze container, with its intricate detailing and perfectly preserved applicator, is a remarkable testament to the sophistication of Bactrian artisans. It not only reflects the luxury and refinement of ancient cosmetic practices but also serves as a tangible link to the cultural and artistic achievements of one of Central Asia’s most enigmatic early civilizations.\u003c\/p\u003e\n\u003cp\u003eGood condition. Wear consistent with age and use. Surface scratches and corrosion due oxidation. Built up verdigris patina, rich earthen deposits. Size approx. 8,2cm x 1,5cm x 1,5cm and the applicator 13,5cm x 0,4cm. Sell as a set.\u003c\/p\u003e\n\u003cp\u003eProvenance: Danish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCosmetic container, The Metropolitan Museum of Art, Accession Number: 1983.535.37 (https:\/\/www.metmuseum.org\/art\/collection\/search\/326790)\u003c\/p\u003e\n\u003cp\u003eCosmetic-bottle, The British Museum, Accession Number: 1936,0613.130 (https:\/\/www.britishmuseum.org\/collection\/object\/W_1936-0613-130)\u003c\/p\u003e\n\u003cp\u003eCosmetic container, The Metropolitan Museum of Art, Accession Number: 1983.535.38 (https:\/\/www.metmuseum.org\/art\/collection\/search\/326791)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMargus, Turkmenistan: Ancient oriental kingdom in the old delta of the Murghab river, Wiktor Sarianidi, Publisher Benatzky Druck \u0026amp; Medien, January 1, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTreasures from the Oxus: The Art and Civilization of Central Asia, Massimo Vidale, Bloomsbury Publishing, 2017.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThinking Around Grave 3245 in the 'Royal Graveyard' of Gonur (Murghab Delta, Turkmenistan), in: On the Track of Uncovering a Civilisation. A volume in honor of the 80th-anniversary of Victor Sarianidi, Sandro Salvatori, 2010.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45016853217545,"sku":"1029109","price":425.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8384.jpg?v=1707223404"},{"product_id":"cypriot","title":"Cypro-Classical Plain White Ware Wine Jug (Oinochoe)","description":"\u003ch3 class=\"p1\"\u003eCypro-Classical I Period, c. 475–400 BC, Republic of Cyprus\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis exceptional wheel-made pottery wine jug, or oinochoe, crafted in Plain White Ware VI during the Cypro-Classical I period, exemplifies the refined simplicity and functionality characteristic of ancient Cypriot ceramics. The jug features an elegant ovoid-biconical body resting on a low conical foot, a conical neck, and a distinctive trefoil spout designed for precise pouring. A single high strap handle, gracefully extending from the rim to the vessel's waist, complements its symmetrical form. Shallow parallel grooves encircle the body, subtly enhancing its aesthetic appeal. The jug is fashioned from coarse, light buff clay with white grits, further emphasizing its rustic yet sophisticated craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCypriot pottery has a rich heritage dating back to the Neolithic period, evolving significantly through the centuries as Cyprus became a cultural and commercial hub in the ancient Mediterranean. During the Early and Middle Bronze Ages, Cypriot artisans produced innovative and imaginative ceramics, and these artistic traditions continued into the Cypro-Classical period. The Plain White Ware technique gained popularity during this time, especially for utilitarian and ceremonial vessels like this oinochoe. Its form reflects the influence of Levantine designs, particularly the dipper sack-shaped jugs, while embodying the unique stylistic identity of Cyprus.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe island of Cyprus, strategically located at the crossroads of the Aegean, Anatolia, the Levant, and Egypt, played a vital role in the ancient Mediterranean trade networks. During the Classical period, it was under Persian control, but its artistic traditions remained vibrant and distinctive. Following Alexander the Great’s conquests, Cyprus enjoyed a brief period of autonomy before being annexed by Ptolemaic Egypt, further enriching its cultural influences. This wine jug is more than just a functional vessel—it is a testament to the artistic and cultural sophistication of ancient Cyprus. With its graceful proportions and historical significance, it would be a remarkable addition to any collection of ancient Mediterranean artifacts or Cypriot ceramics.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. No chips, cracks or fractures. Rootmarks and light earthen deposits. Museum number: S.R: 7371\/75. Size approx. 17,5cm x 11,5cm x 11,5cm. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eNB! Comes with original documents, including Licence to Export Antiquities No. 99370, issued under Antiquities Law, Cap. 43, Form F.18. Republic of Cyprus, Department of Antiquities, dated and signed 9.1.1979.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: \u003c\/p\u003e\n\u003cp\u003eCyprus Archaeological Museum, Nicosia, Cyprus.\u003c\/p\u003e\n\u003cp\u003eacquired from the above, 1979\u003c\/p\u003e\n\u003cp\u003ewith danish private collection\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eJug, The Metropolitan Museum of Art, Accession Number: 74.51.427 (https:\/\/www.metmuseum.org\/art\/collection\/search\/240013)\u003c\/p\u003e\n\u003cp\u003eTrefoil Jug, Penn Museum, University of Pennsylvania Museum of Archaeology and Anthropology, Accession Number: 54-41-28 (https:\/\/www.penn.museum\/collections\/object\/292959)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePottery of Geometric, Archaic and Classical periods in Cyprus,  Anna, P. Georgiadou, Kyprios Character. History, Archaeology \u0026amp; Numismatics of Ancient Cyprus (kyprioscharacter.eie.gr\/en\/t\/A0)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePottery Types, Cypro-Geometric to Cypro-Classical, Einar Gjerstad, Opuscula Atheniensia. 7 (7): pp. 105–122, 1960.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHandbook of the Cesnola Collection of Antiquities from Cyprus, John L. Myres, The Metropolitan Museum of Art, 1914.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSwedish Cyprus Expedition IV, 2. The Cypro-geometric, Cypro-archaic and Cypro-classical Periods, Einar Gjerstad, Stockholm: Swedish Cyprus Expedition, 1948.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45017302171913,"sku":"1059069","price":1025.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8392.jpg?v=1707229639"},{"product_id":"cypro-classical-pottery-jug","title":"Cypro-Classical Coarse Ware Cooking Pot (Chytra)","description":"\u003ch3 class=\"p1\"\u003eCypro-Classical II Period, c. 400–323 BC, Republic of Cyprus\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis exquisite wheel-made cooking pot, or chytra, is a remarkable example of Cypriot Coarse Ware pottery from the Cypro-Classical II period. It features a beautifully crafted globular body with a flat bottom, surmounted by an everted rim. A single strap handle elegantly connects the rim to the vessel's rounded waist. Made of coarse red clay mixed with white grits, the piece exudes a rustic charm indicative of its utilitarian purpose while reflecting the artistic traditions of ancient Cyprus.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe pottery of ancient Cyprus, which dates back to the Neolithic period, is renowned for its diversity and adaptability, showcasing connections with various Mediterranean cultures. During the Cypro-Classical period, these cultural exchanges are evident in the continuation and refinement of stylistic trends from the preceding Cypro-Archaic II period. Fine ware ceramics, such as Plain White pottery, gained popularity during this time, particularly in the form of jug-like vessels and handle-less bowls inspired by Levantine shapes.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCyprus' strategic location in the northeastern Mediterranean made it a vital hub in ancient trade networks. Positioned at the crossroads of the Aegean, Anatolia, the Levant, and Egypt, the island played a pivotal role in the exchange of goods, ideas, and artistic influences. During the Classical period, Cyprus was under Persian rule but maintained its cultural identity through its unique ceramic traditions. The island experienced a brief period of autonomy under Alexander the Great, who granted greater independence to Cypriot city-states. Following his death in 323 BC, Cyprus became part of the Ptolemaic Kingdom of Egypt, ushering in a new era of Hellenistic influence.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis chytra is more than a utilitarian artifact; it embodies the rich history and cultural significance of ancient Cyprus, offering a tangible link to the island's role as a bridge between civilizations. A piece like this would make an outstanding addition to any collection of ancient Mediterranean artifacts, reflecting the artistry and heritage of a pivotal era in Cypriot history.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eExcellent condition. Intact. No chips, cracks or fractures. Delcate rootmarks and earthen patina. Museum number: S.R: 7020\/75. Size approx. 12,7cm x 16,0cm x 14,5cm. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eNB! Comes with original documents, including Licence to Export Antiquities No. 007268, issued under Antiquities Law, Cap. 43, Form Antiq. 1. Republic of Cyprus, Department of Antiquities, dated and signed 26. April 1979, Director of Antiquities.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: \u003c\/p\u003e\n\u003cp\u003eCyprus Archaeological Museum, Nicosia, Cyprus.\u003c\/p\u003e\n\u003cp\u003eacquired from the above, 1979\u003c\/p\u003e\n\u003cp\u003ewith danish private collection\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCooking-pot, The British Museum, Accession Number: 1864,1007.1937 (https:\/\/www.britishmuseum.org\/collection\/object\/G_1864-1007-1937)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChytra: miniature cooking pot, Museum of Fine Arts Boston, Accession Number: 81.175 (https:\/\/collections.mfa.org\/objects\/198988)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMiniature chytra, The Acropolis Museum, Accession Number: ΝΜΑ 409 (https:\/\/theacropolismuseum.gr\/en\/miniature-chytra-0)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePottery of Geometric, Archaic and Classical periods in Cyprus,  Anna, P. Georgiadou, Kyprios Character. History, Archaeology \u0026amp; Numismatics of Ancient Cyprus (kyprioscharacter.eie.gr\/en\/t\/A0)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePottery Types, Cypro-Geometric to Cypro-Classical, Einar Gjerstad, Opuscula Atheniensia. 7 (7): pp. 105–122, 1960.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHandbook of the Cesnola Collection of Antiquities from Cyprus, John L. Myres, The Metropolitan Museum of Art, 1914.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSwedish Cyprus Expedition IV, 2. The Cypro-geometric, Cypro-archaic and Cypro-classical Periods, Einar Gjerstad, Stockholm: Swedish Cyprus Expedition, 1948.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45020518646025,"sku":"1039414","price":985.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8414.jpg?v=1707302478"},{"product_id":"bactrian-bronze-kohl-container","title":"Bactrian Bronze Kohl or Cosmetic Container","description":"\u003ch3 class=\"p1\"\u003eBactria-Margiana Archaeological Complex, c. 2200–1700 BC, Central Asia\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThis magnificent and rare Bactrian bronze kohl or cosmetic container, dating from approximately 2200–1700 BC, exemplifies the refined craftsmanship of the Oxus Civilization. Cast using the lost wax technique, this small yet elegant vessel features a conical body, a low foot, a tall neck, and a gracefully splayed rim. Its form is both functional and aesthetically sophisticated, reflecting the high level of metallurgical expertise in the region.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Bactria-Margiana Archaeological Complex (BMAC), also known as the Oxus Civilization, thrived between 2250 and 1700 BC in what is now northern Afghanistan, southeastern Turkmenistan, and southern Uzbekistan. This Bronze Age society was known for its impressive material culture, including monumental architecture, finely crafted metalwork, and intricate jewelry made from semi-precious stones. The inhabitants were skilled in irrigation farming, cultivating wheat and barley, and engaged in long-distance trade, linking them with Mesopotamia, the Indus Valley, and beyond.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eKohl, the substance for which this vessel was likely intended, has been used since at least 3100 BC, particularly in Egypt, where noble women and queens applied it for both aesthetic and medicinal purposes. Made from stibnite or galena, kohl was believed to protect against eye ailments and shield the wearer from the sun's intense glare. It also held cultural and religious significance across many ancient civilizations. In Islamic tradition, the Prophet Muhammad recommended Ithmid (antimony-based kohl), attributing it with benefits for vision and eyelash growth.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis exquisite bronze container is a remarkable testament to the sophistication of Bactrian artisans. It serves as a tangible connection to the rich traditions of personal adornment and self-care in the ancient world, embodying both the artistic and cultural legacy of one of Central Asia’s most enigmatic early civilizations.\u003c\/p\u003e\n\u003cp\u003eGood condition. Wear consistent with age and use. Surface scratches and corrosion due oxidation. Built up verdigris patina throughout, with rich earthen deposits. Size approx. 7,9cm x 3,7cm x 3,7cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Danish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eCosmetic container, The Metropolitan Museum of Art, Accession Number: 1983.535.38 (https:\/\/www.metmuseum.org\/art\/collection\/search\/326791)\u003c\/p\u003e\n\u003cp\u003eCosmetic container, The Metropolitan Museum of Art, Accession Number: 1982.445.9 (https:\/\/www.metmuseum.org\/art\/collection\/search\/326705)\u003c\/p\u003e\n\u003cp\u003eCosmetic container, The Metropolitan Museum of Art, Accession Number: 1983.535.37 (https:\/\/www.metmuseum.org\/art\/collection\/search\/326790)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMargus, Turkmenistan: Ancient oriental kingdom in the old delta of the Murghab river, Wiktor Sarianidi, Publisher Benatzky Druck \u0026amp; Medien, January 1, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTreasures from the Oxus: The Art and Civilization of Central Asia, Massimo Vidale, Bloomsbury Publishing, 2017.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThinking Around Grave 3245 in the 'Royal Graveyard' of Gonur (Murghab Delta, Turkmenistan), in: On the Track of Uncovering a Civilisation. A volume in honor of the 80th-anniversary of Victor Sarianidi, Sandro Salvatori, 2010.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45032363884809,"sku":"1056019","price":385.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8530.jpg?v=1707478008"},{"product_id":"napatan-period-terracotta-pilgrim-flask","title":"Napatan Period Terracotta Pilgrim Flask","description":"\u003ch3\u003e\u003cspan data-mce-fragment=\"1\"\u003eKingdom of Kush, Napatan Period, c. 700-400 BC, Lower and Upper Nubia (Sudan), Africa \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis rare and significant small-sized terracotta pilgrim flask is of circular form, with a biconvex body adorned with shallow concentric grooves on each side. The vessel is composed of two hemispherical halves, joined vertically with soft seams, showcasing the craftsmanship of the period. A narrow, short neck is inserted at the top, flanked by two small loop handles at its base. These handles, tightly folded, are decorative and non-functional, adding to the unique aesthetic of the flask. The neck is finished with a rolled rim, further highlighting the fine details of this functional yet artful object.\u003c\/p\u003e\n\u003cp\u003eThe Napatan Period (c. 700-400 BC) derives its name from Napata, the capital of the powerful Kingdom of Kush during this era. Located near the site of modern Karima in Sudan, Napata was a significant center of power and culture. The kingdom was heavily influenced by Egyptian traditions, including their gods, writing systems, and funerary practices. The Kushite kings, who ruled Egypt as the 25th Dynasty (c. 750-656 BC), were buried in small pyramids at sites like Nuri and el Kurru, where they were interred with Egyptian-style burial goods such as shabtis, pottery, and sarcophagi.\u003c\/p\u003e\n\u003cp\u003eNapata served as a religious and cultural hub for the Kingdom of Kush, and its kings’ conquests of Egypt marked the apex of Kushite power. However, by the end of the 25th Dynasty, the capital was relocated to Meroë, continuing the legacy of the powerful Kushite civilization. This beautifully crafted flask is a testament to the artistic and cultural exchanges between Nubia and Egypt during this fascinating period of African history.\u003c\/p\u003e\n\u003cp\u003eGood condition. Traces of external red slip paint. Age-related wear. Fractures and cracks. Repaired. Glue residue. Mineral encrustation and earthen deposits. Traces of old museum label. Size approx. 9,1cm x 7,7cm x 6,1cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Finnish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eSmall pilgrim flask, Museum of Fine Arts Boston, Accession Number: 20.4804 (https:\/\/collections.mfa.org\/objects\/491314\/small-pilgrim-flask?ctx=3b9c8ae5-c854-4109-87de-e5e4c30523e6\u0026amp;idx=21)\u003c\/p\u003e\n\u003cp\u003ePilgrim flask, The British Museum, Accession Number: EA22340 (https:\/\/www.britishmuseum.org\/collection\/object\/Y_EA22340)\u003c\/p\u003e\n\u003cp\u003eSmall pilgrim flask, Museum of Fine Arts Boston, Accession Number: 20.4805 (https:\/\/collections.mfa.org\/objects\/491315\/small-pilgrim-flask?ctx=f2754553-284c-4ee5-a214-8c74cd9bdc00\u0026amp;idx=22)\u003c\/p\u003e\n\u003cp\u003ePink pilgrim ware flask, Ashmolean Museum, University of Oxford, Accession Number: AN1920.220 (https:\/\/collections.ashmolean.org\/object\/750169)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePilgrim flasks: Chronological and cultural transformations in Nubia from the New Kingdom to the Napatan Period Volume I, L. Kilroe, ORA - Oxford University Research Archive, 2019\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Kingdom of Kush: Handbook of the Napatan-Meroitic Civilization, László Török, Handbuch der Orientalistik, Erste Abteilung, Nahe und der Mittlere Osten, 1997, Vol. 31, Leiden: Brill.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNubia: Ancient Kingdoms of Africa, Geoff Emberling, New York: Institute for the Study of the Ancient World, 2011, pp. 9–11.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMeroe and the Sudanic Kingdoms, David N. Edwards, The Journal of African History. 39 (2), 1998, pp. 175–193.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNubia: the Napatan Period, Digital Egypt for Universities, University College London, 2002. (https:\/\/www.ucl.ac.uk\/museums-static\/digitalegypt\/nubia\/napatan.html)\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45053364044041,"sku":"1073380","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8728.jpg?v=1708083462"},{"product_id":"seljuk-bronze-double-wicked-oil-lamp-1","title":"Seljuk Pottery Spouted Pitcher","description":"\u003ch3 class=\"p1\"\u003eSeljuk Empire, c. 1037–1194 AD, Khorāsān Province, Persia\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThis exceptional Seljuk pottery spouted pitcher, dating from approximately 1037–1194 AD, is a rare and unusual example of high medieval Turko-Persian craftsmanship, likely originating from Khorāsān. Fashioned from unglazed terracotta, the vessel features a globular, compressed body resting on a splayed foot, a wide funnel-shaped neck, and a distinctive conical elongated spout projecting from the shoulder. A rounded handle, surmounted by a decorative knob, elegantly connects the shoulder to the rim. An intriguing feature of this piece is its delicately molded interior lid, seamlessly fused to the vessel with a small round opening, a testament to the skill of Seljuk potters.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eFinely decorated in brownish-black geometric motifs, including intricate triangular designs, this pitcher exemplifies the mastery of Seljuk artisans in both wheel-throwing and molding techniques. During the early Seljuk period, molded ceramics were often left unglazed, emphasizing the purity of form and the aesthetic appeal of finely incised or painted designs.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Seljuk Empire, founded in 1037 by Tuğrul Beg and Chağribey Beg, was a powerful Turko-Persian Sunni Muslim dynasty that flourished across a vast expanse from Anatolia and the Levant to Central Asia and the Persian Gulf. As one of the leading forces of medieval Islamic civilization, the Seljuks fostered an artistic golden age, with ceramic production reaching remarkable levels of sophistication. This elegant pitcher is a prime example of the period's ingenuity, where function and artistic refinement were seamlessly integrated.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Surface wear and abrasions commensurate with age and use. Small chip in the ring foot, otherwise intact, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eSize approx. 15,0cm x 20,5cm x 14,0cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: private collection from Germany\u003c\/p\u003e\n\u003cp\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp\u003eSeljuk Turks, History Maps. (https:\/\/history-maps.com\/story\/Seljuk-Turks)\u003c\/p\u003e\n\u003cp\u003eSeljuk Turks, New World Encyclopedia, April 21, 2023. (https:\/\/www.newworldencyclopedia.org\/p\/index.php title=Seljuk_Turks\u0026amp;oldid=1109731.) \u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45053757718793,"sku":"1060381","price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8638.jpg?v=1707989429"},{"product_id":"songye-power-figure-nkisi-1","title":"Songye Power Figure (Nkisi)","description":"\u003ch3 class=\"p1\"\u003eSongye people, early to mid-20th century, Democratic Republic of the Congo, Central Africa\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent and imposing standing Songye power figure (nkisi), the collaborative creation of a master sculptor and a trained ritual specialist. Expertly carved from a single piece of dense brown wood, the surface is deeply dyed and enriched with sacred materials (bishimba) composed of seeds, horns, fiber, and hide—substances believed to activate and house spiritual power.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe head is sculpted in the classic Songye style. The face is beautifully rendered with large coffee-bean shaped eyes beneath arched brows, a small flat nose, and a rectangular projecting mouth above an angular chin. Recessed ears frame the sturdy cylindrical neck, which is adorned with a dramatic necklace of large seed pods. The broad shoulders and bent arms emphasize the hands resting firmly against the forward-projecting abdomen, its prominent navel symbolizing vitality, fertility, and continuity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAround the hips and chest is a band of antelope hide and animal skin, the remnants of its original fur still faintly visible. The short, slightly bent legs stand powerfully upon a shallow circular plinth carved from the same block of wood. Crowning the figure is a small Dik-Dik horn (Madoqua sp.), inserted upside down at the top of the head—a potent emblem associated with ancestral wisdom and ritual authority.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Songye inhabit a vast region between the Sankuru and Lubilash rivers in the west and the Lualaba River in the east, extending across Kasaï-Oriental, Katanga, and the Kivu Provinces. Numbering around 150,000 people, they are organized into thirty-five subgroups governed by a paramount chief (Yakitenge) supported by elders (bakulu), noble lineages (bilolo), and various secret societies. Their traditions are closely linked to those of the Luba (Baluba), with whom they share the legendary ancestor Kongolo.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMost Songye figural sculpture functions as nkisi (pl. minkisi or mankishi)—spiritual entities connected to ancestors whose force can influence the living world. Each community traditionally maintains a central nkisi as well as numerous personal figures. Housed in a dedicated shrine (shibo ya bwanga), the communal nkisi addresses major concerns such as illness, crop failure, sorcery, witchcraft, or conflicts. Every nkisi is assigned a guardian (nkunja or kunca), who interprets visions, dreams, and spirit communications, and who mediates between the living and ancestral forces.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe power of the nkisi derives from its bishimba, a charged mixture created by the spiritual healer (nganga). These substances—hidden within the abdominal cavity, tied to the figure, or placed in a horn atop the head—are composed of elements chosen for their symbolic and metaphysical potency. Ingredients may include hawk feathers (kabemba), lion claws (ntembve), snake scales (nsanci), fragments associated with individuals who met unusual deaths, or body materials from twins, epileptics, or albinos (nsaka). Others carry symbolic resonance, such as earth from an elephant’s footprint or wood from a tree struck by lightning (tufi twa mpeshi).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA profoundly expressive and fully empowered example of Songye spiritual sculpture, rich in ritual detail and remarkable in both its aesthetic and ethnographic significance—a superb collector’s piece.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Age-related heavy wear and signs of significant ceremonial use. Parallel split in wood running across the figure. Small chip. Exceptionally fine glossy black patina. Traces of libations and sacrificial offerings. Size approx. 27,0cm x 9,0cm x 8,2cm (excluding the modern base).\u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003ePower Figure (nkisi), New Orleans Museum of Art, Accession Number: 97.159 (https:\/\/noma.org\/collection\/power-figure-nkisi-2\/)\u003c\/p\u003e\n\u003cp\u003eMale Power Figure (nkishi), Birmingham Museum of Art , Accession Number: 1989.64 (https:\/\/www.artsbma.org\/collection\/male-power-figure-nkishi\/)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReviewing Power, Process, and Statement: The Case of Songye Figures, Dunja Hersak, African Arts, Vol.43, No.2, pp.38-51, Published UCLA, Summer 2010.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOn the Consept of Prototype in Songye Masquerades, Dunja Hersak, African Arts, Vol.45, No.2, pp.12-23, Published UCLA, Summer 2012.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCommunity Poer Figure: Male (Nkisi), Yaëlle Biro, The Metropolitan Museum of Art, 2018.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSongye, Art \u0026amp; Life in Africa, University of Iowa Stanley Museum of Art.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45079438164233,"sku":"100100217","price":925.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9079.jpg?v=1708530445"},{"product_id":"roman","title":"Roman Ivory Knife Handle with Hound and Hare Motif","description":"\u003ch3 class=\"p1\"\u003eThe Roman Empire, c. 200–300 AD\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eAn absolutely stunning example of Roman craftsmanship, this delicately carved zoomorphic ivory knife handle showcases a hound and hare motif—a captivating depiction of nature and hunting. The rectangular handle is beautifully embellished with the figures of a lean hound and a slender hare, rendered with remarkable detail. The hound’s well-moulded limbs and elongated head, with the snout almost touching the hare’s tail, convey the intensity of a chase, while the hare’s own graceful body is angled in pursuit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe reverse side of the handle features intricate concentric circle and dot decorations, enhancing its aesthetic appeal. The copper alloy blade remains in fragmented form, showing signs of age with damaged edges but still offering a glimpse of the casting and hammering process typical of the time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis zoomorphic knife would have been a symbolic and functional object in Roman life, with the hound and hare motif possibly representing themes of hunting, fidelity, or even protection. A rare and exceptionally preserved relic, it represents the height of Roman artistry and would make a highly coveted addition to any collection of Roman luxury items or zoomorphic artifacts.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGood condition. \u003cmeta charset=\"utf-8\"\u003eWear consistent with age and use. Surface scratches and light corrosion. Beautiful patina. Size approx. 8,2cm x 1,7cm x 1,0cm and blade 8,0cm x 1,6cm x 0,1cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Private collection from Italy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eKnife, Corinium Museum,  Accession Number: 1980\/109\/22 (https:\/\/coriniummuseum.org\/object\/1980-109-22-2\/)\u003c\/p\u003e\n\u003cp\u003eFolding knife handle, Museum of London, Accession Number: A10479 (https:\/\/collections.museumoflondon.org.uk\/online\/object\/8165.html)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45084319023369,"sku":"100100219","price":850.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_8939_c53c1d45-d5e4-44c4-aa06-84f052549daf.jpg?v=1708606094"},{"product_id":"chancay-pottery-figural-jar-1","title":"Chancay Pottery Figural Jar","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian era, Chancay culture, 1000–1470AD, Peru\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003eThis exceptionally large Chancay polychrome effigy jar is a striking example of Pre-Columbian Andean artistry, crafted with hand-built precision and polychrome decoration. The vessel depicts a shaman or crowned nobleman, clutching a conical kero cup, likely used for hallucinogenic rituals, reinforcing its ceremonial importance.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe stylized figure features a voluminous, egg-shaped body tapering into a vertical neck with a slightly flared rim. His cylindrical head showcases oval eyes with dilated pupils, symbolizing a trance-like state, alongside a pointed nose, pursed lips, and a jutting chin. Intricate tattoos or face paint adorn his eyes, mouth, and cheeks, further enhancing the expressive detailing.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAdorning the figure is an impressive headdress, presenting five ridged columnar high-relief motifs, enormous round earspools, and an incised collar with a rectangular design—all elements that suggest high status or ritual significance. His arms, legs, and feet are sculpted in relief, with applied hands featuring incised fingers, while painted dark brown geometric motifs on a light beige slip complete the decoration.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe Chancay civilization (1000–1470 AD) flourished on Peru’s central coast, producing distinctive, unpolished ceramics with matte surfaces, often featuring white slips with black or dark brown designs. These ceramics, frequently discovered in burial sites, were ritual objects and grave goods, reflecting the spiritual beliefs and artistic legacy of this enigmatic culture.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis masterfully crafted effigy vessel is a rare and exceptional artifact, offering valuable insight into Chancay ceremonial practices, spiritual iconography, and elite status symbolism.\u003c\/p\u003e\n\u003cp\u003eGood condition. Areas of chipping to rim and earspools and some nicks and pitting in areas, all commensurate with age. Otherwise, intact and excellent with nice remaining pigments. Earthen deposits on interior. Size approx. 33,0cm x 19,5cm x 21,5cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eJar with human form, Harvard University, The Peabody Museum of Archaeology \u0026amp; Ethnology, Accession Number: 75-20-30\/8488 (http:\/\/collections.peabody.harvard.edu\/objects\/details\/269434)\u003c\/p\u003e\n\u003cp\u003eFigure Holding Cup, The Brooklyn Museum, Accession Number: 44.99.25 (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/56398)\u003c\/p\u003e\n\u003cp\u003eJar, The British Museum, Accession Number: Am1997,05.1 (https:\/\/www.britishmuseum.org\/collection\/object\/E_Am1997-05-1)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45100767576329,"sku":"100100226","price":2450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9170.jpg?v=1708940055"},{"product_id":"copy-of-chancay-pottery-figural-jar","title":"Chancay Pottery Standing Female Figure Cuchimilco","description":"\u003ch3\u003e\u003cspan\u003ePre-Columbian era, Chancay culture, 1000-1470 AD, Peru.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eMagnificent bichrome female cuchimilco (\"star gazer\") pottery figure of a hollow-molded and stylized form with painted details. This figure stands on two delineated legs and flat feet with short arms outstretched and the head pointed skyward. The figure bears delineated genitalia below a broad abdomen, a slightly indented naval cavity, and small breasts. Sides of the body with small openings that lead into the body, these openings acted as vents during the firing process but may have held additional ornamentation. Her elongated head display an expressive visage with wide circular eyes and painted pupils, a protruding pinched nose and small mouth. She wears a elaborately painted headband of linear and zigzag forms. A band of perforations along the top of the head. Additional black-painted details adorn her eyes, cheeks, hands, and chin perhaps suggestive of ritual scarification marks or tattooing. The exact function of these figures is unknown, but it is thought that they may have acted as guardians to the tombs of the Chancay people, or as companions in the afterlife. The cuchimilco figure are often created or found in pairs, male and female, which indicates the importance of divine duality.\u003c\/p\u003e\n\u003cp\u003eThe Chancay were a pre-Columbian archaeological civilization which developed between the valleys of Fortaleza, Pativilca, Supe, Huaura, Chancay, Chillón, Rimac and Lurin, on the central coast of Peru from c. 1000AD-1470AD. The Chancay culture is defined archaeologically by a distinctive and homogeneous ceramic style. These ceramics are known from extensive cemeteries in the Chancay region, where they were included in burials as grave goods. They are generally made of a peculiarly gritty clay that leaves an unpolished matte surface. Over this is painted a white slip, decorated with black or dark brown designs. \u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Wear commensurate with age and use. Surface abrasions and some pitting. Fading to pigmentation in some areas. Size approx. 21,5cm x 15,2cm x 7,0cm. \u003c\/p\u003e\n\u003cp\u003eProvenance: private collection from Sweden.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eFigurine, The British Museum, Accession Number: Am1939,10.3 (https:\/\/www.britishmuseum.org\/collection\/object\/E_Am1939-10-3)\u003c\/p\u003e\n\u003cp\u003eFigurine of Abstract Figure with Arms Held Outwards, The Art Institute Of Chicago, Accession Number:1976.632 (https:\/\/www.artic.edu\/artworks\/51997\/figurine-of-abstract-figure-with-arms-held-outwards)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45100927320329,"sku":"100100227","price":1450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9200.jpg?v=1708942760"},{"product_id":"kongo-yombe-maternity-figure-phemba","title":"Kongo-Yombe Maternity Figure Phemba","description":"\u003ch3\u003e\u003cspan\u003eKongo peoples, Yombe subgroup, early to mid. 20th century, Mayombe region, Democratic Republic of the Congo.\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eThis exceptional and rare wooden maternity figure, known as phemba (or pfemba), is a powerful embodiment of Kongo-Yombe ideals of feminine beauty and spiritual significance. Carved with exquisite detail, the figure depicts a seated mother cradling a child, her legs crossed atop a small base. She tenderly supports the child's head with her right hand and its legs with her left. The mother is adorned with symbols of Kongo leadership and status, including a royal knotted hat (mpu), intricate raised scarifications across her shoulders, chest, and back, and finely rendered jewelry, including a necklace and bracelets. Her firm breasts and filed teeth further emphasize her esteemed position as an idealized matriarch. The face of the figure is mesmerizing, marked by delicate and harmonious lines. The smooth oval contours feature a broad, flat nose, arched brows, and a pointed chin. Her piercing oval eyes gaze directly ahead, while her slightly open mouth, showing two incisors and a tongue, conveys an air of quiet authority and transcendence. Symmetrically carved ears enhance the balance of her facial composition.\u003c\/p\u003e\n\u003cp\u003eAmong the Yombe, the color red holds profound associations with birth and death. During rituals involving phemba figures, the surfaces were rubbed with a mixture of palm oil and camwood powder, leaving a characteristic red residue. This ritual practice underscores the figure's role as a mediator between the earthly and spiritual realms. Phemba figures, particularly those representing a mother with a child, hold deep cultural and spiritual significance among the Kongo peoples, especially the Yombe subgroup. These figures are thought to connect to a women's cult (mpemba), which focuses on fertility and addressing infertility. Two primary iconographic variants exist: one depicting a cross-legged woman with a deceased infant and another portraying a woman with a living child, as seen here.\u003c\/p\u003e\n\u003cp\u003eEthnographer Leo Bittremieux, writing in 1939, described \"Phemba\" as \"the one who gives children-in-potentia,\" highlighting the figure's association with the mystical conception of children. The pfemba child, often portrayed in a supine, unexpressive pose, is considered a magically conceived nkisi child—a delicate emissary from the spirit world. This sublime artifact is a timeless testament to Kongo artistry and spiritual depth, blending maternal devotion with the sacred.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Wear consistent with age and ritual use. Minor cracks and abrasion. Softly worn surface patina. Beautiful reddish brown color. Size approx. 15,3cm x 6,5cm x 6,0cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: From the estate of Jan Ölander, Sweden. From 1984 to 1987, Jan Ölander served as the Swedish ambassador to Zambia and Malawi.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eFemale figure with child, National Museum of African Art, Smithsonian, Accession Number: 86-12-12 (http:\/\/n2t.net\/ark:\/65665\/ys7d7f13447-1c37-47fc-830e-52e3afac6319)\u003c\/p\u003e\n\u003cp\u003eFigure of Mother and Child (Phemba), The Brooklyn Museum, Accession Number: 22.1138 (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/2948)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIcons: Ideals and Power in the Art of Africa, Herbert M. Cole, Smithsonian, 1990.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNational Museum of African Art, Smithsonian Institution. “Smithsonian Learning Lab Resource: Female figure with child.” Smithsonian Learning Lab, Smithsonian Office of Educational Technology, 3 Nov. 2015. (https:\/\/dev.sll.nnth.dev\/q\/r\/241275)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Four Moments of the Sun: Kongo Art in Two Worlds, Robert Farris Thompson \u0026amp; Joseph Cornet, National Gallery of Art, Washington DC, 1981.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45106862850313,"sku":"100100230","price":2450.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9252.jpg?v=1709050670"},{"product_id":"luba-double-female-caryatid-stool-lupona","title":"Luba Female Power Half Figure (Kakudji)","description":"\u003ch3 class=\"p1\"\u003eLuba people, early to mid-20th century, possibly Lukuga River Region, Democratic Republic of the Congo\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent and rare kakudji female power half-figure, superbly carved from a single piece of dense hardwood. The figure stands upright in a posture of composed spiritual authority, her sensitively rendered features including a short, close-cropped coiffure above large almond-shaped eyes, a short flattened nose, and an oval raised mouth with full lips over a pointed chin. A strong neck supports squared shoulders and pointed breasts, while long tubular arms extend downward, the hands placed firmly upon the prominently modeled abdomen with its accentuated navel. The sculptor has achieved fluid, harmonious lines and beautifully rounded surfaces, creating a sense of inner poise and embodied power.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer entire torso is adorned with refined raised scarification (ntaho), composed of complex vertical and horizontal bar patterns that reference both beauty and elevated status. The figure terminates in a round plinth, carved from the same piece of wood and partially covered with animal skin. A cavity in the top of the head—filled with sacred substances—indicates her role as a vessel for potent spiritual force.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s gesture, with hands calmly resting upon the rounded belly, conveys both grounded presence and meditative connection to the unseen world. Her forward-gazing eyes reinforce the duality of being anchored in the physical realm while serving as an intermediary to ancestral spirits.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Luba comprise a wide cluster of peoples inhabiting south-central Democratic Republic of the Congo. Their kingdoms flourished between the 17th and 19th centuries, and their artists—especially those of the Luba Shankandi and Hemba communities—are renowned for masterful anthropomorphic sculpture, caryatid stools, ceremonial axes, and headrests. Luba blacksmiths, revered as holders of esoteric knowledge, maintained prestige for their mythically inherited skills.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFemale imagery dominates Luba art because women hold exceptional social and spiritual status as life-bearers, priestesses, and high-ranking officiants. More importantly, only the body of a woman was believed capable of containing the powerful spirit of a deceased king. As Mary Nooter Roberts and Allen F. Roberts famously wrote:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e“Luba people say that only a woman’s body is strong enough to contain a powerful spirit like a king’s, so sculpture dedicated to kingship is almost always female in gender.”\u003cbr\u003e(Memory: Luba Art and the Making of History, 1996, p. 42)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA superb, spiritually resonant example of Luba sculptural tradition—elegant, authoritative, and richly imbued with the visual language of female power and ancestral presence.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Wear consistent with age and use. Minor abrasion. Smooth polished surface patina. Beautiful reddish brown color. Size approx. 21,5cm x 7,0cm x 6,0cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: Swedish private collection.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eTruncated Female Figure (Kakudji), The Yale University Art Gallery, Accession Number: 2014.121.7 (https:\/\/artgallery.yale.edu\/collections\/objects\/112382)\u003c\/p\u003e\n\u003cp\u003eFemale Luba Figure, High Museum of Art, Accession Number: 2009.155 (https:\/\/high.org\/collection\/female-luba-figure\/)\u003c\/p\u003e\n\u003cp\u003eReferences and further reading:\u003c\/p\u003e\n\u003cp\u003eLuba: Visions of Africa, Mary Roberts \u0026amp; Allen F. Roberts, Publisher: 5 Continents Editions Srl, 2007.\u003c\/p\u003e\n\u003cp\u003eMemory: Luba Art and the Making of History, Mary Nooter Roberts \u0026amp; Allen F. Roberts, Publisher: Center for African Art, 1996.\u003c\/p\u003e\n\u003cp\u003eLuba, Mutombo Nkulu-N'Sengha, Encyclopedia Britannica, 2 Dec. 2018. (https:\/\/www.britannica.com\/topic\/Luba-people)\u003c\/p\u003e\n\u003cp\u003eHistory of Art in Africa: Second Edition, Monica Blackmun Visona, Robin Poynor and Herbert M. Cole, Publisher: Prentice Hall, 2007.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45122641133833,"sku":"100100231","price":2050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9353.jpg?v=1709377236"},{"product_id":"ewe-twin-figure-venavi-2","title":"Ewe Female Twin Figure (Venavi)","description":"\u003ch3 class=\"p1\"\u003eEwé people, early to mid-20th century, Togo, Benin or Ghana, West Africa\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eMagnificent and sensitively aged female twin figure, expertly carved from light-colored wood, most commonly the soft, fine-grained wood of the kapok tree. She stands firmly on both feet with legs slightly apart, her slender torso rising into gently rounded shoulders, pointed breasts, and long arms that hang elegantly at her sides. She is adorned with a necklace and beaded waistbands of orange and white glass beads—likely later additions—enhancing her presence and ritual character.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer elongated cylindrical neck supports a head noticeably large in proportion to her body, a hallmark of Ewe sculptural aesthetics. The ovoid face features strong, expressive elements: a flat, broad, elongated nose, protruding almond-shaped eyes, and intricate scarification patterns on the forehead and cheeks. Her large pierced ears (ear ornaments now lost) and an elaborate coiffure painted in deep black complete the striking facial composition. Over time, the facial area has been partially worn away through repeated feeding, rubbing, and ceremonial washing—ritual actions expected for such figures. This intentional softening of the features also served a protective purpose: the Ewe believe that fully articulated facial features of powerful spirits can be dangerous to the living.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong the Ewé, the birth of twins—known as venavi or venovi—is considered a profoundly auspicious event. Twins are understood to share a single, joint soul, making them spiritually immortal. When one twin dies, the surviving sibling is believed to be in danger due to the soul’s imbalance, oscillating between the world of the living and the ancestral realm. To restore this equilibrium, a venavi figure is carved to embody the deceased twin and is cared for as though alive—fed, bathed, anointed, and kept close. Beyond twin commemoration, these figures also served as fertility charms, placed under mattresses or worn discreetly beneath clothing by young women seeking to enhance fertility or attract safe childbirth.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe spiritual framework surrounding these figures is deeply intertwined with the Vodoun religious tradition of the region. Vodoun (also spelled Vodun, Vodzu, Vodu, or Voudou) means “numerous immortal spirits and deities” in the Fon and Ewé languages. Its practice encompasses four overlapping realms: public gods, personal deities, ancestral spirits, and magical charms. Central to family and community life is the ancestral cult, indispensable for preserving the lineage. Most family compounds include a Dexoxos, or ancestral shrine, where tovodu—family gods—are ritually fed and honored through songs and dance. At the apex of the cosmology stands Nana Buluku, the primordial creator deity, both male and female, who gave birth to the divine twins Mawu (female, associated with the night) and Lisa (male, associated with the day). After creation, Nana Buluku withdrew, leaving the governance of the universe to Mawu-Lisa and the host of deities and spirits beneath them.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis venavi figure, with its graceful form, deep ritual wear, and resonant cultural meaning, is an exceptional and evocative example of Ewe spiritual artistry.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eGood condition. \u003c\/span\u003e\u003c\/span\u003eSurface wear and abrasions commensurate with age and use. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cspan\u003eTraces of ceremonial use and handling over many years. Fractures and cracks on the feet\/ rounded base. Size approx. 27,0cm x 8,7cm x 5,7cm (excluding the modern stand).\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Swedish private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAfrican Vodun: Art, Psychology and Power, Suzanne Preston Blier, University of Chicago Press, 1995.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVodún\/Vodu, Resistance, and North\/South Relations in Undemocratic Togo, Eric J. Montgomery, Brill, Journal of Religion in Africa, pp. 224-248, 2020.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVodou, Serving the Spirits, The Pluralism Project, Harward University, 2020.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFour Vodun Ceremonies, George Eaton Simpson, The Journal of American Folklore, Vol. 59, No. 232, pp. 154-167, Amercan Folklore Society, 1946.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eContemporary Vodun Arts of Ouidah, Benin, Dana Rush, African Arts, Vol. 34, No. 4, pp. 32-47 + 94-96, UCLA, 2001.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThey Died in Blood: Morality and Communitas in Ewe Ritual, Eric J. Montgomery, Journal of Ritual Studies, Vol. 32, No. 1, pp. 25-40, 2018.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45130461839625,"sku":"100100235","price":395.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_96062.jpg?v=1709566589"},{"product_id":"songye-power-figure-nkisi-2","title":"Songye Power Figure (Nkisi)","description":"\u003ch3 class=\"p1\"\u003eSongye people, mid-20th century, Democratic Republic of the Congo, Central Africa\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eA fantastic and mesmerizing small-sized Songye power figure, or nkisi, created through the collaboration of a master sculptor and an initiated ritual practitioner. Carved from a single piece of dense brown wood, the figure has been dyed black and sheathed in sacred materials (bishimba) including horn, fiber, fur, and hide—substances believed to activate and empower the spirit housed within.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe figure’s head exhibits classic Songye aesthetics: large, coffee-bean–shaped eyes closed beneath sharply arched brows; a short, wide, flattened nose; and a small, rectangular, slightly protruding mouth set above an angular jutting chin. The ears are intentionally small and recessed. A short cylindrical neck rises to conical shoulders, giving the figure an almost geometric, architectural elegance. The long tubular arms bend inward, with both hands resting upon the forward-thrusting abdomen and prominent navel—symbols associated with vitality, lineage, and procreation. Bands of animal skin and plant fiber are affixed around the hips and right arm, further energizing the object’s spiritual potency. The short, bent legs stand apart on large, firmly planted feet atop a shallow circular plinth carved in continuity with the figure.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrom the crown emerges a small Dik-Dik (Madoqua sp.) horn, an especially potent material referencing the wisdom of elders and serving as a conduit for spiritual force.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Songye inhabit a broad region between the Sankuru and Lubilash rivers in the west and the Lualaba River in the east, extending across Kasaï-Oriental, Katanga, and the Kivu provinces. Numbering around 150,000 and divided into thirty-five subgroups, the Songye are governed by a paramount chief (Yakitenge) supported by councils of elders (bakulu), noble lineages (bilolo), and numerous secret societies. Their history is deeply intertwined with that of the Luba (Baluba), with whom they share a mythical founding ancestor, Kongolo.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMost traditional Songye sculpture represents nkisi (plural minkisi, also mankishi), spirit-activated figures capable of influencing the realm of the living. Each community maintains a principal nkisi, housed in its own shrine (shibo ya bwanga), used to address collective crises such as crop failure, epidemics, witchcraft, sorcery, or inter-village conflict. Minkisi are entrusted to a designated guardian (nkunja or kunca), often an elder man or woman who dreams for the spirit and interprets signs of possession or spiritual visitation. Individuals also maintain personal minkisi for protection, healing, and communication with ancestors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe power of any nkisi resides in its bishimba, a complex assemblage of spiritually charged substances prepared by a ritual healer (nganga). These may be inserted into an abdominal cavity, tied around the figure, or—most commonly—embedded within a horn projecting from the head. The figure itself is considered merely a vessel, animated only when the bishimba is added.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTraditional bishimba may include:\u003cbr\u003e• feathers of a hawk (kabemba),\u003cbr\u003e• teeth or claws of a lion (ntembve),\u003cbr\u003e• scales of a dangerous snake (nsanci),\u003cbr\u003e• flesh or bone of a suicide victim,\u003cbr\u003e• hair or nails of an epileptic or albino (nsaka),\u003cbr\u003e• umbilical cords of twins,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eas well as symbolically potent materials such as earth from an elephant’s footprint or fragments from a lightning-struck tree (tufi twa mpeshi). Each element carries specific metaphysical properties, forming a complex spiritual chemistry invisible to the uninitiated but essential to Songye cosmology.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA small yet powerful example, this nkisi radiates presence, authority, and ritual depth—a masterful embodiment of Songye sculptural genius and ancestral spiritual technologies.\u003c\/p\u003e\n\u003cp\u003eGood condition. Surface wear and abrasions commensurate with age and use. Parallel split in wood running across the figure. Small chip. Exceptionally fine glossy patina. Traces of encrustation, libations and sacrificial offerings. Size approx. 22,0cm x 5,6cm x 6,0cm (excluding the modern base).\u003c\/p\u003e\n\u003cp\u003eProvenance: From the estate of Jan Ölander, Sweden. From 1984 to 1987, Jan Ölander served as the Swedish ambassador to Zambia and Malawi.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReviewing Power, Process, and Statement: The Case of Songye Figures, Dunja Hersak, African Arts, Vol.43, No.2, pp.38-51, Published UCLA, Summer 2010.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOn the Consept of Prototype in Songye Masquerades, Dunja Hersak, African Arts, Vol.45, No.2, pp.12-23, Published UCLA, Summer 2012.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCommunity Poer Figure: Male (Nkisi), Yaëlle Biro, The Metropolitan Museum of Art, 2018.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSongye, Art \u0026amp; Life in Africa, University of Iowa Stanley Museum of Art.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45151231934729,"sku":"100100238","price":725.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9669_332a9d96-b4d1-41ed-9fe8-6fcb07d1584e.jpg?v=1709899801"},{"product_id":"yaka-or-suku-female-fetish-figure","title":"Yaka or Suku Female Fetish Figure (Nkisi)","description":"\u003ch3 class=\"p1\"\u003eYaka or Suku peoples, early 20th century, Democratic Republic of the Congo\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eExceptional, rare, and deeply arresting, this wooden female fetish figure stands in a strong frontal pose, carved with the distinctive sculptural language associated with the Yaka and Suku peoples. Her columnar torso is decorated with vertical scarification marks and features a small, carved chest cavity intended to receive magical ingredients—now empty, but still resonant with ritual purpose. The long tubular arms bend forward, with the small hands resting upon her chest above a slightly swollen abdomen. A sculpted horizontal ridge marks the lower torso, while the short, powerfully built legs spread apart in a dynamic stance, supported by large feet upon a shallow circular plinth, carved in one piece with the figure.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAround her neck, a coiled bronze ring has been tightly fastened, from which hang two animal tails attached with vegetal fiber. These materials once served as the primary bishimba—the potent substances through which the ritual specialist charged the figure with spiritual force. Her surface is coated in a thin wash of white pigment or kaolin, enhancing her stark and otherworldly presence. The face is mesmerizing: prominent ears, a small slit mouth, a triangular nose, and a pair of inset glass eyes surrounded by an incised white outline, likely representing ritual face paint or symbolic markings. The result is a visage both unnerving and powerfully alive.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch figures functioned as nkisi, containers for protective or aggressive magical forces manipulated by a ritual expert (nganga). They were employed to combat illness, neutralize sorcery, and counteract malevolent influences—both personal and hereditary. At the same time, these figures could be activated to protect property, safeguard individuals, or inflict harm upon witches and other wrongdoers.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMost Yaka figures of this type are associated with Mbwoolo-Tchio shrines, small protective shelters where community rituals were performed. Their magical ingredients or medicines were often tied to the arms in small pouches or bundles, and more rarely inserted into the ventral cavity—thereby transforming the figure into a powerful “medicine-poison” (nkisi). Their functions were multifaceted: they could “make ill” (kukwatn) by projecting an invisible harmful influence, or “make well” (kubuka) by cleansing and lifting such influences.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA rare and evocative example of early 20th-century Central African spiritual artistry—at once a sculptural masterpiece and a vessel of profound ritual potency.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Layered and encrusted surface patina suggesting genuine age and ritual use. Traces of magical ingredients. Old collection label on the backside. Size approx. 19,5cm x 5,3cm x 4,3cm (excluding the modern stand).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProvenance: From the estate of Jan Ölander, Sweden. Jan Ölander served as the Swedish Ambassador to Zambia and Malawi from 1984 to 1987. Former Otis Diallo Collection.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eReferences and further reading:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArt of the Yaka and Suku, Arthur Bourgeois, Published by Meudon, Alain et Françoise Chaffin, 1984.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMagical Statuettes and their Accessories Among the Eastern Bayaka and their Neighbors (Belgian Congo), Hugo Huber, Anthropos 51 (1956): 264-90.\u003c\/em\u003e\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45154612019465,"sku":"100100240","price":1025.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9705.jpg?v=1709980692"},{"product_id":"vicus-vessel","title":"Vicús Pottery Bird Stirrup Spout Whistling Vessel","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Vicús Culture, c. 500 BC to 600 AD, Piura Region, Peru\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis rare and exquisite Vicús pottery bird stirrup spout whistling vessel, dating from approximately 500 BC to 600 AD, is a masterful example of Pre-Columbian craftsmanship from the Piura Region of Peru. Hand-built and highly burnished, the vessel features a large lenticular body surmounted by a striking crested bird's head, which is seamlessly connected to a short conical spout by a gracefully curved strap handle. The vessel is further adorned with a rich red slip and elegant cream-white bands, creating a visually stunning contrast.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhistling vessels like this were integral to ancient Andean culture, serving both ceremonial and functional roles. These sophisticated two-chambered vessels produce a bird-like twittering sound when liquid is poured between the chambers or when air is blown through the spout, possibly mimicking the calls of local fauna or enhancing ritualistic practices with their melodic tones.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Vicús culture, which flourished along the northern Peruvian coast, remains an enigmatic yet significant early civilization. Although exact dates remain debated, the culture is generally believed to have emerged between 1000 BC and 200 BC, persisting until approximately 300 AD to 600 AD. Centered around \"Cerro Vicús,\" its strategic location linked it to other Andean societies, fostering trade and cultural exchange. Agriculture formed the backbone of the Vicús economy, with advanced irrigation systems supporting the cultivation of squash, maize, and various fruits. Livestock and hunting supplemented their agrarian lifestyle.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRenowned for their mastery in ceramics, copper, and gold, Vicús artisans created works of striking aesthetic and technical sophistication. Their ceramics exhibit influences from the Salinar and Gallizano cultures, as well as Ecuadorian traditions, setting them apart with distinctive forms, bold sculptural elements, and intricate painted decorations. While sharing certain iconographic motifs with the Moche civilization, Vicús pottery is distinguished by its unique color palettes, modeling techniques, and surface embellishments.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis whistling vessel, with its elegant form and remarkable sound-producing capabilities, offers a glimpse into the artistry, spiritual beliefs, and daily life of the Vicús people, preserving the echoes of an ancient civilization that once thrived along the Andean coastline.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Surface wear and abrasions commensurate with age and use, with fading to some finer features, and light encrustations within recessed areas. Nice earthen deposits throughout. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSize approx. 20,0cm x 16,0cm x 17,0cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: According to information, from the collection of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Wedendal Sr. acquired Pre-Columbian art during his travels in the 1940s-1950s.\u003c\/p\u003e\n\u003cp\u003eFor a similar examples see:\u003c\/p\u003e\n\u003cp\u003eVessel; Whistle, The British Museum, Accession Number: Am1967,08.5 (https:\/\/www.britishmuseum.org\/collection\/object\/E_Am1967-08-5)\u003c\/p\u003e\n\u003cp\u003eEffigy Stirrup Spout Vessel with Resist Paint, The Brooklyn Museum, Accession Number: 78.118.37 (https:\/\/www.brooklynmuseum.org\/opencollection\/objects\/104425)\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45231806382345,"sku":"100100249","price":1050.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9232.jpg?v=1711547441"},{"product_id":"chimu-blackware-parrot-effigy-bottle","title":"Chimú Blackware Phytomorphic Stirrup Spout Whistling Vessel","description":"\u003ch3 class=\"p1\"\u003ePre-Columbian Era, Chimú Culture, c. 800-1470 AD, Moche Valley, Trujillo, Peru\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eThis rare and unusual phytomorphic blackware whistling vessel, exquisitely mold-formed, embodies the Chimú civilization’s sophisticated ceramic artistry and deep-rooted spiritual symbolism. Designed in the shape of a seed or kernel, this vessel reflects the Chimú’s reverence for agriculture and fertility, themes central to their cosmology and daily life.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vessel features a horizontal seed-shaped body with a conical protrusion on one side, a stirrup-shaped handle, and a cylindrical spout from which a whistle emerges at the center. Whistling jars of this kind were ingeniously designed—either blown into manually or activated when liquid was poured between chambers, producing a bird-like twittering sound that likely held ceremonial or ritual significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLike most Chimú ceramics, this piece was crafted using mold-production techniques and subjected to reduction firing, which deprived the kiln of oxygen, transforming the clay into a rich black hue. Its smooth, polished finish was achieved through meticulous stone burnishing, a hallmark of Chimú pottery. While many Chimú vessels were designed for everyday use, whistling vessels such as this were primarily used in ceremonial contexts, possibly in rituals related to fertility, agricultural cycles, or communication with the spirit world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA remarkable and rare artifact, this whistling vessel is a testament to Chimú ingenuity, symbolism, and artistic mastery—a museum-worthy piece for any collector of pre-Columbian art and Andean antiquities.\u003c\/p\u003e\n\u003cp\u003eExcellent condition. Intact. Light wear commensurate with age and use. Size approx. 13,5cm x 8,5cm x 18,0cm.\u003c\/p\u003e\n\u003cp\u003eProvenance: According to information, from the collection of Paul Ragnar Wedendal Sr. \u0026amp; Paul Wedendal Jr. Wedendal Sr. acquired Pre-Columbian art during his travels in the 1940s-1950s.\u003c\/p\u003e","brand":"Göta's World","offers":[{"title":"Default Title","offer_id":45237234860297,"sku":"100100250","price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0695\/1557\/5561\/files\/IMG_9798.jpg?v=1711630789"}],"url":"https:\/\/gotasworld.com\/collections\/featured.oembed?page=12","provider":"Göta's World","version":"1.0","type":"link"}