Tibetan Buddhist Art furniture & Antiques from the monasteries of the Ser Shong (Golden Valley)
FAQ the Frequently Asked Questions
1. How long before I receive my purchase?
We generally ship with in 2 business days after your purchase has been completed. The transit time depends upon where you live. For the Eastern seaboard, allow 7-9 days. West coast, allow 3-4 days. Outside the continental USA and Canada, allow up to three weeks. If you are purchasing a Tangka allow 2-3 weeks for delivery.
2. I live in the Portland-Vancouver metro area, can I pick the item up?
Yes, you can pick it up, however prior arrangements must be made on a case by case basis.
3. What if I want to return the item?
We allow returns for any reason, or no reason at all. We must be notified within 15 days of your delivery, and the item must be received at our warehouse within 30 days (USA & Canada). Item must be returned in original condition before a refund of purchase price will be given. Buyer pays all shipping and card processing fees associated with the purchase and return. Shipment must be insured. We recommend using delivery confirmation. *If the item was not as described, we will reimburse the full price including shipping both ways.
4. I lost my Certificate of Authenticity, can I get another?
In most cases you can get a replacement certificate. They cost $40.00 and will have a photo copy of the brush signature (it will be difficult for the naked eye to tell the difference). Of course, you will have to provide documentation that you have an authentic Wutun creation. I need to see a good quality picture of the piece, so I can match it up with what I have on file.
5. My item looks like it has recycled or used wood in it, what's up with this?
Most of the creations made produced between 1950 -1972 are from recycled material. There are two factors to consider. Poverty and resources. Subsequent to the annexation and the ensuing cultural revolution, the economic situation has been ever worsening.
6. Can I see your items in person?
I do not have a store front, arrangements can be made to see individual items at the warehouse, however viewing of the entire inventory is not possible as the warehouse has steel storage shelves 10 feet high and is very crowded; it has been arranged for optimum use of storage space and not optimum viewing. Some very high value items are stored at a different location that shall remain secret.
7. Why are the monks signing these certificates of authenticity? Are they looking to gain fame for themselves, contrary to what they profess?
We have asked the Monks to do this. There are many fakes on the market that come out of factories that have nothing to do with art or spirituality. We feel that the kyungbur, colors, and themes of these pieces combine to make worthwhile and beautiful pieces of art. The particular pieces that we are currently offering, with the exception of the Thang Ka's, were made between 1600 and 1972. They were made exclusively for the local monks and for other monasteries, not for export. Unfortunately, the Cultural Revolution made it impractical and dangerous to possess this artwork. In view of all these factors, we wanted to offer our customers an unique opportunity to own a piece of the past while assuring them that it is indeed authentic. There is a very limited supply of these creations, and we also believe they will greatly increase in value in the coming years.
8. Is the dating of these items accurate?
The dating of these items is very problematic. Monasteries keep no records, they are teaching institutions. The Sange monasteries are academies of art. We have oral histories of these items, but those oral histories generally do not go back to the origins of items. We have used radio-carbon dating on some items, although this is very expensive running about $600 per test. This gives us a base line for comparison. We also use historic events to date items, i.e. the conversion of the monastery from the Nyingma order to the Geluk order in 1655, The change of the Imperial Chinese dynasty from the Ming to the Qing in the early 1600s, the destruction of many of the temples in 1385 AD by a devastating mudslide. Each of these events had effects upon the art. The change from the Ming to the Qing allowed the inclusion of 5-clawed dragons and a wave design that were before illegal. While the Tibetans were not subject to Imperial Chinese law there existed the Choyon of 1247 AD which supplied valuable silks and other commodities to the Tibetan monasteries. The Tibetan art work adhered to these various Imperial edicts to keep the Choyon coming.