February catalogue Asian Art Society

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WHo WE ARE

The Asian Art Society features an online catalogue every month listing quality works of Asian art that have been thoroughly vetted by our select members, who are the in-house experts.

By bringing together a group of trusted dealers specializing in Asian art, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee of influential gallerists

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Cover image: Okimono of a deer

Presented by Galerie Mingei.

Alan Kennedy, Santa Monica, California, USA

A LAN K ENNEDY

Since 1978, Alan Kennedy has specialised in Asian art, while living in Europe and the USA. His main areas of interest are Chinese and Japanese costumes, textiles and paintings. His research and writing has resulted in numerous publications and lectures all over the world. Since 2004, he has exhibited in Asia Week New York, and has sold works of art to over 40 museums on four continents. He is a member of the Asian Art Council of the Los Angeles County Museum of Art, and currently lives in the Los Angeles area.

Contact +1 646 753-4938

kennedyalan@hotmail.com

Schuyler V.R. Cammann, Philadelphia, USA

H OW DID YOU GET INTO THE BUSINESS O f DEALING IN C HINESE AND J APANESE PAINTINGS, COSTUMES AND TE x TILES?

After finishing my studies in 1972 at the University of Pennsylvania in Philadelphia, USA, where I was a student of Schuyler V.R. Cammann, a family friend asked if I would work with him importing handicrafts from Peru. This was my first serious contact with artistic objects from another culture. The textiles of Peru were the crafts that had the greatest appeal for me.

After two years of that endeavor, I then decided to explore the handicrafts of Eastern Europe, which happens to be where my parents came from. During my travels in Hungary, Yugoslavia and Romania, I bought contemporary crafts from the official national export agencies, but also found some older pieces in an outdoor marketplace in Zagreb, now in Croatia.

I opened a retail shop upon my return to Philadelphia, and the first piece that I sold was an old kilim from Yugoslavia. Historic textiles turned into a passion, and after being introduced to a Turkish artist and kilim collector named Tosun Bayrak (1926-2018), who was also a devout follower of Sufism, I was invited to visit Turkey and learn about kilims. Antique Turkish kilims became my focus, and the next fortuitous encounter was with a dealer named Jeffrey hayden (died 2019), who had a collection of Japanese textiles. As I continued to broaden my interest in historic textiles from other cultures, Japan became the center of my greatest interest.

In 1980 I moved to a gallery space and staged changing thematic exhibitions of historic textiles and costumes from Bolivia, Indonesia, Japan, Central Asia and elsewhere. My next move was to New York, where I became a private dealer, allowing me more time for travel and study, and greater access to the most important art market in the USA.

My interest in paintings came about as the result of researching textiles and looking at depictions of costumes and textiles in paintings. I came to realize that most of the finest Japanese and chinese paintings that interest me are painted on silk, so that added another connection between paintings and textiles. Furthermore, Japanese paintings often have additional mounting elements that consist of precious woven or

even embroidered textiles.

Sch U yl ER V.R. cA mm A nn (1912-1991) wAS A n IMPORTANT MENTOR fOR YOU. W HAT WAS HE LIKE AS A TEACHER AND f RIEND?

Professor Cammann was quite formal in regard to personal relations, however for his students who expressed a strong interest in Asian art and culture, he made special efforts to expose us to museum collections and to partake in other activities outside of the classroom. During one visit to a museum, using his pen, he actually wrote corrections onto a museum label that had incorrect information. He would take us to Chinese restaurants and show us how to properly eat each dish that he ordered for us, while explaining the history and significance of chinese cuisine.

Cammann was a great storyteller, and we delighted in his accounts of life in China during the 1930s and 1940s, where he was first a student, and later a special agent for the Office of Strategic Services during world war II. He had a vast knowledge and interest in many subjects, ranging from Chinese textiles and costumes to cosmic symbolism in Asian art. Once it was possible to build a personal relationship with him, he would relate fascinating tales of his experiences with ghosts. Even for those of us who never had such experiences, or could not accept the existence of such other-worldly phenomena, we listened seriously to what he had to say.

I was fortunate to be able to stay in touch with him after finishing my studies, until his death twenty years later. I still benefit from reading and re-reading his many books and articles, and hope one day to publish a book of his collected writings. He always encouraged me to research and write in my areas of interest, and that helped to give me the impetus to write for specialized journals, encyclopedias, exhibition catalogues and other scholarly publications.

DID YOU STUDY JAPANESE OR CHINESE?

I took an intensive summer Japanese language course in 1982, but regrettably, have not pursued language studies since then. I did learn to use a Chinese character dictionary, which is helpful in deciphering Chinese and Japanese texts, since written Japanese makes extensive use of Chinese characters. Nowadays there are online tools that are helpful in translating texts.

W HAT BROUGHT YOU TO MOVE TO PARIS AND l IVE T h ERE FOR 23 y EARS?

My wife and I were concerned about the declining quality of life in New York, and were thinking ahead to the high cost of a quality education for children. I had also started collaborating with madame Krishnā Riboud (1926-2000), and her scholarly foundation, AEDTA (Association pour l’Etude et la Documentation des Textiles d’Asie) in Paris. She purchased a large collection of Japanese Buddhist robes (kesa) from me, and that collection is now in the Musée National des Arts Asiatiques-Guimet, along with approximately three thousand other Asian textiles donated by Mme. Riboud and her family. When our daughters were one and two years old, we moved to Paris in 1990. we truly did find a better place to raise a family, and living in another country and culture enriched all of our lives. I continue to return to Paris for regular visits, apart from the current pandemic period.

P LEASE DESCRIBE YOUR E x PERIENCE WORKING ON THE E x HIBITION AND CATALOGUE, Manteau de nuages: kesa jap O nais, XV iii e-X i Xe siècles?

The exhibition came about due to mme. Riboud’s close association with Musée Guimet. I was asked to select the pieces, primarily from her collection, and to write the principal catalogue essay and the catalogue entries for each of the kesa. Marie-Hélène Guelton and Gabriel Vial wrote detailed technical descriptions for the textiles found in each of the kesa

The exhibition was beautifully installed, and the catalogue quickly sold out. It was a further pleasure to see the show in Lyon, at the Musée des Tissus, and eventually in Japan, at the Jotenkaku Museum on the grounds of Shokokuji, one of the most important Buddhist temples in Kyoto. The current Crown Prince of Japan and his wife were present at the inauguration of Japanese exhibition venue.

YOUR BOOK, cO stu M es jap O nais, IS CONSIDERED TO BE A WELL-REGARDED RE f ERENCE IN THE f IELD

O f J APANESE COSTUMES AND TE x TILES

frieze Masters 2019

Krishnā Riboud, Paris, france, photograph by Man Ray

The book was part of a series on textiles, published by Editions Adam Biro in 1990, and edited by Monique Lévi-Strauss. There was also an English language edition that was sold out (titled japanese costumes: History and tradition), and was later reprinted. my approach was to focus on what I consider to be the most important types of silk costumes of Japan’s Edo period (1615-1868), namely noh theater costumes, kosode (the forerunner of the kimono), and Buddhist robes, kesa. In other books on Japanese silk costumes of the Edo period, kesa are usually not included, however there are important connections between all three types of these costumes.

M ANY MUSEUMS HAVE PURCHASED WORKS O f ART f ROM YOU. T HE PAIR O f C HINESE BANNERS THAT YOU PRESENTED IN THE f IRST

CATALOGUE O f THE A SIAN A RT S OCIETY IS ENTERING A MUSEUM COLLECTION. WAS THIS A PLEASANT SURPRISE?

It was a very auspicious beginning for the Asian Art Society, and I was delighted to add yet another museum to the long list of museums that have bought works of art from me. The banners were purchased by a support group for a major European museum. I enjoy working with museum curators, and have great respect for their knowledge and their devotion to their wonderful institutions that preserve and display works of art. I feel honored to have sold so many works of art to museums all over the world, and to have also donated and lent works to museum collections and exhibitions. Knowing that the public has the possibility to see these art works in museums is very satisfying to me. Private collectors are also an inspiration for me, especially when they have a passion to learn and appreciate art by living with it.

COULD YOU DESCRIBE SOME O f THE MOST IMPORTANT WORKS O f ART THAT YOU HAVE SOLD?

One of my greatest pleasure in working as an art dealer has been to discover art works that have been otherwise unrecognized or misunderstood. for me, such discoveries are a combination of treasure hunting and detective work. The ultimate validation of such finds occurs when they enter a museum or an important private collection.

Korean Buddhist painting; ink, colors and gold on silk; Amitabha Triad, 14th century, late Goryeo dynasty (918-1392)

One of my most exciting discoveries was a rare Korean Buddhist painting. The mother of a friend of my wife had a contemporary art gallery in New York for many years, but she also had exhibited antique Japanese paintings from a private collection. my wife’s friend inherited a painting that had been unsold, and I was asked to look at it.

Upon seeing the painting, I had a feeling that it was Korean, rather than Japanese. After doing some research, I was able to confirm my hunch, and told my wife’s friend that the painting was extremely valuable. If it were Japanese, rather than Korean, it would be worth only a small fraction of the price of a comparable Korean painting of the period. The painting was examined by Professor chung woothak, Korea’s leading expert on Buddhist painting, and it is now in a Korean collection. This discovery was reported in newspapers in Korea.

Another find was a chinese painting of a type known as meiren (literally “beautiful woman”). The painting that I discovered was misidentified in an auction house catalogue, and I was able to buy it for a modest price. I sent an image of the painting to a leading scholar of Chinese painting, Professor James Cahill (19262014), who was very surprised that a painting that he only knew of from a black and white photograph had actually been found. He had been looking for the painting for decades since he first saw its photo when employed as a museum curator. The painting was acquired by the museum at the university where Prof. Cahill taught, and it was chosen as the image for the cover of the catalogue of an important exhibition on meiren painting. It was a real thrill to see the exhibition, and to read the catalogue.

Another discovery that appeared on the cover of an important museum exhibition was royal-style, yellow silk robe from Okinawa. I had bought an assorted group of Japanese textile fragments at an auction, and after examining the fragments, I realized that several pieces were parts of a rare robe. After determining the original construction of the garment, it became evident that there were some missing parts.

I took the fragments to Japan, where a leading conservation workshop reconstructed the robe, and added a lining. A museum curator, William Rathbun, eagerly acquired the robe, as he was planning an exhibition of Japanese textiles and costumes. The

Chinese meiren painting; ink, colors and gold on silk; 18th century, mid Qing dynasty (1644-1911); Berkeley Art Museum

Exhibition catalogue, James Cahill, Julia M. White, et. al., Beauty

Revealed: images of Women in Qing dynasty chinese painting, Berkeley 2013

Okinawan royal-style robe; silk with paste-resist designs; first quarter of the 20th century, meiji period (1868-1912) or Taishō period (1912-1926); Seattle Art Museum

Exhibition catalogue, William Jay Rathbun, Amanda Mayer Stinchecum, et. al., Beyond the tanabata Bridge: traditional japanese textiles, Seattle 1993

garment is pictured on both the front and back covers of the exhibition catalogue.

Years ago, when looking through a catalogue for an Asian art auction in London, I noticed a Chinese Buddhist painting that seemed familiar. After doing some research, I realized that it looked familiar because it was very similar to rare Chinese Buddhist textile in a museum collection. The museum’s textile is woven in a silk tapestry weave technique (kesi in chinese), and the painting, which has the signature and seal of a well-known Chinese artist, could have served as a model for the Buddhist textile. I was able to buy the painting at a modest price, as no one else seemed to have recognized its importance, and it was acquired by the museum that owns the textile version of the painting. The painting and thetextile have been displayed side by side, and it was exciting to have reunited them centuries after they had been made.

The last find that I would like to mention is a Japanese kosode (the garment that is the forerunner to the kimono). I had seen a black and white illustration of the kosode in a newspaper article about an art and antiques fair in Tokyo,and tried to find out which dealer owned the robe. Even though years had passed, I kept the newspaper article, and during one of my regular visits to Japan, I decided to show the article to a friendly Japanese art dealer, and he told me that he owned the kosode. I sold it to a major US museum, and after conservation work at the museum’s textile conservation department, it was put on display in their Japanese art galleries. It is one of the oldest kosode in any collection outside of Japan.

YOU HAVE E x HIBITED IN N EW YORK DURING A SIA wEEK FOR 16 cO n SE c UTIVE y EARS PRIOR TO THE CURRENT PANDEMIC. A RE YOU LOOKING fORWARD TO E x HIBITING AGAIN WHEN IT IS SA f E TO DO SO?

Asia Week in New York has always been an exciting experience for me. Museum curators, collectors, scholars, dealers, auction house specialists and even people with only a casual interest in Asian art are

Chinese Buddhist textile; silk; slit-tapestry weave (kesi); dated 1744; Asian Art Museum, San francisco

Chinese Buddhist painting; Buddhas of the Three Ages; Ding Guanpeng (active 1708-1771); ink and colors on paper; 18th century, mid-Qing dynasty (1644-1911); Asian Art Museum, San francisco

present in large numbers during the March event. I get to meet visitors who come from all over the world, and it is wonderful to have in depth discussions about the Asian art that is displayed in my exhibitions. I always learn more about the art works on view, even though I have already done my own detailed research on the each piece.

One regret for me is that I rarely have time to visit my colleagues’ exhibitions, since my days in the gallery are quite long. With the auctions, museum exhibitions and lectures, there is always so much to do and see.

I do look forward to returning to the in-person experience of Asia Week in New York, hopefully in 2022. In the meantime, I am grateful for the opportunity to present works of art for sale every month, thanks to the Asian Art Society. Online platforms will undoubtedly be of continuing and growing importance for the international art market.

YOU HAVE LECTURED WIDELY AT MUSEUMS AND VARIOUS SPECIALIST SOCIETIES

P LAT fORMS LIKE Z OOM HAVE BECOME AN

E x TREMELY USE f UL AND POPULAR WAY TO PRESENT A TALK TO A WORLDWIDE AUDIENCE

H AVE YOU GIVEN ANY SUCH LECTURES YET?

At the end of February I will give my first such presentation, a lecture on Japanese Buddhist kesa, that is sponsored by the Textile Museum Associates of Southern california. It is a subject that I first wrote about in 1983 for the textile Museum journal, so apparently I have not lost interest in the subject!

In 2018 yOU l ED A TOUR TO J APA n FOR mARTIN R ANDALL T RAVEL AND HALI M AGAZINE O f LONDON. P LEASE DESCRIBE THAT E x PERIENCE

I was honored to be asked to create a tour on the theme of historic textiles and costumes in Japan. In organizing the tour, I contacted museum curators, independent specialists, collectors and dealers whom I have known for years, and put together an itinerary that was focused on Tokyo and Kyoto. The travel company booked first-class hotels and restaurants for our group, and everything went smoothly, even though we were a large group. In fact, the tour was over-subscribed. Our hosts at the various sites in Japan were very hospitable, and quite generous in sharing their

expertise and in showing us wonderful collections, as well as guiding us through exhibitions. One very special visit was to an imperial convent, Daishoji, that is not open to the public. We were greeted there by the venerable Abbess Kasanoin Jikun. Another ‘celebrity’ host was the travel writer and public speaker Pico Iyer, who has lived in Japan for many years. The tour was meant to be repeated in November 2020, but was cancelled for obvious reasons. We do hope to reschedule the tour to November of this year, and if all goes well, I look forward to organizing and leading the tour again.

Japanese kosode; silk and gold; embroidery and resist-dyeing; circa 1660s, early Edo period (1615-1868); Metropolitan Museum of Art, New York

FEBRUARY ART W o RK s

Pieces are published and changed each month. The objects are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress.

In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts.. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this, the Asian Art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase.

Items presented in the last section are all priced under 10.000 euros. feel free to ask the price if the artwork is listed with a price on request.

Kain Bati K

t ulisan a ra B

Ritual Cloth

Jambi, Sumatra

Cotton; tulis batik

19th / very early 20th Century

89 x 234 cm / 35 x 92 in Price on request

Obje C t P R e S ented by: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

The eight-pointed star is the "star of the prophets" and is said to have been used by Solomon to capture genies, djinns, and other malevolent spirits. This is also used in classical carpet design. Depicted as well, Zulfiqar, or "double sword of Ali", a very auspicious symbol.

An exceptionally beautiful deep red tulis (hand drawn) batik, featuring Islamic invocations and magical diagrams, displayed during major life transition rituals.

Kain Bati K

t ulisan a ra B

Ritual Cloth

Jambi, Sumatra

Cotton; tulis batik

19th / very early 20th Century

91 x 223 cm / 36 x 88 in Price on request

Obje C t P R e S ented by:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

Kain Bati K

t ulisan a ra B

Ritual Cloth with tughra of the Sultan

Jambi, Sumatra

Cotton; tulis batik

19th / very early 20th Century

91 x 223 cm / 36 x 88 in

Provenance:

Ex. Roger Hollander collection

Price on request

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

An exceptionally beautiful deep purple tulis (hand drawn) batik, featuring Islamic invocations and magical diagrams including the signature/calligraphic seal or tughra of the Ottoman Emperor.

Ottoman symbols like a tughra have held great spiritual and political agency throughout Sumatra since 1565 when the Ottoman Emperor sent ships in support of Aceh and other Muslim Sultanates of the Malacca Straits who were being attacked by the Portuguese.

Obje C t P R e S ented by: Thomas Murray

Kain Bati K

t ulisan a ra B

Ritual Cloth with Talismanic Inscriptions

Jambi, Sumatra

Cotton; tulis batik

19th / very early 20th Century

94 x 254 cm / 37 x 100 in Price on request

Obje C t P R e S ented by: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

This extremely rare batik features talismanic lozanges of stylized Arabic script and garuda wings, known to be powerful motifs.

The extreme rarity of this cloth permits us to overlook a few holes that were conserved to museum standards.

B U dd HA sHAKYA m U ni

Sculpture

Thailand, Khmer period, Lopburi

13th century

22 x 6 ¾ x 4 in. (55.9 x 17.1 x 10.2 cm.)

Provenance:

The collection of Mrs. Julian B. Herrmann, acquired in the 1920s or 30s.

Thence by descent.

Price: 40.000 USD

Obje C t P R e S ented by:

Kapoor Galleries

m.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

While the origins of the crowned buddha image in Southeast Asia are unknown, it is likely that this serene figure represents the historical buddha donning the crowns and jewels of a royal. The figure displays the vitarkamudra with both hands, indicating that he is in discussion or transmitting Buddhist teachings. The present figure of Buddha Shakyamuni is a product of the ancient Mon city of Lopburi during the Khmer period of Cambodian rule. The square face and full lips give the face of the present figure a likeness to the last phase of Khmer art of the Angkor period, which centers around the art produced for the Temple of Bayon. native Thai Dvaravati influences are also apparent in thesculpture’s frontality and balance.

A twelfth-century bronze figure of the Buddha at the Asian museum of Art San Francisco (acc. 2006.27.20) — which displays a conical crown, a necklace with floral ornaments and pendants, highly-positioned arm bands, a jeweled belt with pendant ornaments hanging from its lower band, as well as an overall symmetrical design — is attributed to either Thailand or Cambodia. comparison to a seated bronze figure of Buddha attributed to the twelfth or thirteenth century provincial Khmer capital of Lopburi at the Metropolitan museum of Art (acc. 2019.451), however, provides more conclusive evidence that the present figure originated in the ancient Khmer dominion of Lopburi, in what is now Thailand.

H EA d o F B U dd HA

Sculpture Thailand

Stuccoed terracotta

Circa 14th century, Mon kingdom of Haripuñjaya

Height: 41 cm

Provenance:

Private collection, Belgium, acquired from Gallery Jan & Marcel Nies

Price: 15.000 euros

Christophe Hioco

m.: +33 (0) 1 53 30 09 65

E.: info@galeriehioco.com

This large head of Buddha in stuccoed terracotta, undoubtedly coming from a monumental sculpture, is characteristic of the Mon kingdom of Haripuñjaya, located in the north of Thailand and whose capital was Lamphun. The kingdom of Haripuñjaya was founded in the 8th century by a dynasty of Mon emigrants from lop’burī - where the artistic tradition of Dvāravatī was flourishing at the time. It lasted until 1292, when Lamphun was taken by the Thais of the kingdom of Lanna.

The art of Haripuñjaya is the original combination of the artistic contributions of Dvāravatī, expressed mainly in stone works, and of the Khmer kingdom of lop’burī. This art gives rise to sculptures of exceptional expressiveness.

This head from the Lamphun region marks a break with the provincial mannered style developed in the region. Indeed, the relative naturalness of this head attests to the change of creative spirit imposed by a new order of artistic values that occurred in 1292. This beautiful head is undoubtedly one of the best examples of the art of Haripuñjaya in the 14th century when Lamphun was still the cultural capital of Lanna, before being definitively supplanted by chiang mai.

we find on this piece the expressive character of the Mon features: the broad face with the forehead widening at the level of the temples framed by large ears with drooping lobes, the high and well-defined cheekbones, the broad nose and the very full lips edged with a thick double line. The eyes, inlaid to recreate the effect of the pupils, are slightly bulging and the upper eyelid is lowered.

finally, the hair, delimited by a border characteristic of this art of Haripuñjaya and still partially visible, consists of spiky conical curls that were traditionally modeled separately and then applied. The back of the head is carved in the round and the curls of the hairstyle are represented there smaller. This detail attests that the complete sculpture, probably made of brick and stucco, could have been leaned against a wall, but was nevertheless probably also in the round.

Obje C t P R e S ented by:

Wis TER i A

Screen Japan

Ink, colour and gold leaf on paper

Momoyama period

16th - 17th century

177cm x 199cm

Price on request

Obje C t P R e S ented by:

Gregg Baker Asian Art

M.: +32 468 00 56 85

E.: info@japanesescreens.com

A two-fold paper screen painted in ink and colour on a gold ground with fuji (wisteria) in full bloom on a bamboo trellis.

fuji has been celebrated at viewing parties held in Japan from the late Heian period, a tradition which continues today. The wisteria’s trailing racemes of purple or white flowers lend themselves to a wide variety of presentations, and are one of the most popular decorative motifs used for family crests.

For a set of fusuma (sliding door) paintings with a similar design from the Kano School in the collection of Daian-ji temple, Osaka, see: Tsugiyoshi Doi, Momoyama decorative painting, the Heibonsha survey of japanese art, Volume 14, (new york / Tokyo, 1977), pl. 112.

A PA i R o F Komainu (G UAR di A n d o G s)

Sculpture

Japan

Gilt lacquer wood

Kamakura/Muromachi period

13th/14th century

Height: 45 cm x Width: 46 cm each

Price: 30.000 GBP

Obje C t P R e S ented by: Gregg Baker Asian Art

M.: +32 468 00 56 85

E.: info@japanesescreens.com

komainu (guardian dogs) are a pair of lion-like guardian figures which are often placed at each side of a shrine or temple entrance in order to ward off evil spirits.

The lions in stone or bronze relief as temple decorations in the nara period (710-794) belong to a sculptural tradition that can be traced back to the Buddhist art of India and China. Images of the seated Buddha often include lions at his left and right, both to underscore his majesty and to protect him.

In the early heian period (9th century) the two guardian statues were clearly differentiated. The figure which stood on the right, komainu, resembled a dog with its mouth open (agyou) and sometimes sported a short horn; the figure on the left, shishi, resembled a lion with its mouth closed (ungyou). Gradually the term komainu came to be used for both statues, and their shapes became indistinguishable except for the open and closed mouths (a-un).

These features were perhaps inspired by niō (two kings), Buddhist guardian figures who are often found at either side of a Buddhist temple gate, whose mouths can also be open or closed. ’a’ is the sound of the first letter of the Sanskrit alphabet and is pronounced with the mouth open. ’un’ is the sound of the last letter of the Sanskrit alphabet and is pronounced with the mouth closed. ’a’ and ’un’ represent the beginning and the end of all things, or inhalation and exhalation, respectively.

oK imono o F A

d EER

Sculpture

Japan or China

Root and lacquer

19th century

Height: 33 cm

Length: 35 cm

Price: 12.000 euros

In Japan and China, the deer is an animal particularly important in Buddhist symbolism where the golden deer is a manifestation of the Buddha free of suffering. for the Shintoism in Japan, the deer is the rim and the messenger of the gods and is itself considered a divine being. According to legend, the god takemikazuchi no kami arrived in Nara on the back of a white deer. Since then, thousands of deer roam freely in parks and temples of ancient imperial capital.

Obje

Galerie Mingei

m.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

C t P R e S ented by:

d o R j E dRolo

THA n GKA

Textile

Eastern Tibet

Late 18th - Early 19th century

Mineral pigment and gold on cloth

59 x 42 cm

Provenance: European private collection

Price on request

M.: +852 9311 2577

E.: hollywoodgalleries@gmail.com

Obje C t P R e S ented by: Hollywood Galleries

sAKYA lA m A, P ossi B lY sAKYA PA ndi TA

Sculpture

Tibet

Late 15th - early 16th century Bronze with silver and copper inlay eyes

Height: 15,8 cm

Provenance: Dr Phillip and Patricia Adams Australian collection Price on request

This figure is finely cast with details. A rich patina is form on the surface. figure is consecrated with original copper plate. The overall roundness and depth and the engraved detail show excellent quality in Tibetan craftsmanship.

Obje C t P R e S ented by:

Hollywood Galleries

M.: +852 9311 2577

E.: hollywoodgalleries@gmail.com

An illU s TRAT ion FRom THE R A m AYA nA

Painting Nepal

Opaque watercolor heightened with gold on paper

18th century

8 x 11 ¾ in. (20.3 x 29.8 cm.)

Provenance: Doris Wiener Gallery (label on frame).

Price: 25.000 USD

The present painting, though lacking inscriptions, seems to illustrate a portion of the Ramayana, as the three figures on the right side of the composition resemble the exiled triad at the center of the Indian epic: Krishna’s avatar Rama, his betrothed, Sita, and his brother Lakshmana. The seven sages depicted, however, may very well be the saptarishi or celestial brothers born from Brahma. while the subject-matter is difficult to elaborate upon, the present is discernibly Nepalese, particularly in palette. The prominent bright reds and blues and heightening with gold closely resemble the pigments used in a well known dispersed eighteenth-century Nepalese Bhagavata Purana series executed in a large format of which two folios reside in the metropolitan museum of Art (acc. 2019.64). The crown and ornamentation style, however, very closely resemble the style of those in a circa-1700 painting from Bilaspur depicting only Sita, Rama, and Lakshmana on a red ground in the Los Angeles County Museum of Art (acc. m.87.278.10). Thus, the influence of Indian miniature painting is also evident in this unusual Nepalese illumination of a Hindu epic.

m.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

Obje C t P R e S ented by: Kapoor Galleries

An imPERiAl Gold PHoEniX HEAdBAnd

Jewelry

China

Gold

Qing Dynasty

17th - 18th century

Price on request

The filigree gold headband is cleverly designed as three hinged segments, decorated with graceful lotus flowers framed by fine openwork borders, the top of the band adorned with nine beautifully worked models of phoenix, the back of each has a ruby inset a single pearl, its wings are wired to create a trembling effect, each bird is separated by eight blossoms each with layered filigree petals and surmounted with a central pearl. The superb quality of the hairpiece suggests it was made for informal use or used in a bridal ensemble of important court event. The symbol of the phoenix was associated with the Empress. In the official portrait of Empress Xiaozhuangwen (1613 – 1688) she is seen wearing a differently designed crown decorated with phoenix each holding a pearl. The elaborate hair decoration of the Manchu court meant that there was often a solid band placed on the crown of the head to keep the high offerings of flowers and jewels in place.

Obje

C t P R e S ented by:

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

A pair of gold fluted cups with the sides hammered into eight lobes rising from a spayed foot rim and finished with a rolling lip rim.

A PAiR oF Gold FlUTEd CUPs

Cups

China Gold Ming Dynasty

Circa 1600

Diam.: 3,5cm

Height: 6cm

Price: 18.500 GBP

Obje C t P R e S ented by:

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

PomAndER

Perfume holder

China Gold

Song/Jin Dynasty

11 - 12th century

Length: 8,5cm

Price: 12.000 GBP

Beaten from a sheet of gold pierced and decorated in repousse and chasing technique, the teardrop- shaped container composed of two halves with one side fitting tightly into the other ,meant to hold fragrant leaves or scented material and was suspended from either a belt or attached to a scarf.

Similar Examples:

White Julia M, Bunker Emma C So, Jenny f: adornment for the Body and soul, ancient chinese Ornaments from the Mengdiexuan collection Hong kong The University of Hong Kong 1999 .p289 no 131

Similar Example excavated from a womans tomb in nanjing in 1980 published in wenwu ( Beijing 1982.3) pl 3 no 1.

Obje C t P R e S ented by:

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

A sHA ivi TE

dE voTEE

Painting

Attributed to Sahib Ram

Jaipur

Ink drawing and gouache on paper

Late 18th century

15 1/2 x 11 1/4 in. (39.4 x 28.6 cm.)

Provenance:

The Pal family Collection . christie’s, new york, 20 march

2008, lot 246.

Price: 38.000 USD

Obje C t P R e S ented by:

Kapoor Galleries

m.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

Shown in near frontal view, a young Shiva devotee smiles. His hair is pulled in a topknot and a broad tilak mark of three parallel lines is painted on his forehead in yellow sandal paste. His eyebrows are arched, his eyes almond shaped and tinged with red. The features of the devotee are outlined in deftly applied black ink and lightly tinted in broad washes of transparent color. Upon closer observation one can see that numerous reconsidered areas appear within the composition. The artist seems to have been occupied in finding a placement on the page and a tilt of the head. This study is a rare example of a style associated with Sahib Ram of Jaipur. This drawing was previously in the collection of renowned scholar Dr. Pratapaditya Pal and has been attributed to Sahib Ram (active ca. 1750-1820), the principal master of the royal workshops of the ruling Kacchwaha Dynasty of Jaipur. Sahib Ram is accredited with creating several large drawings, pricked for transfer including a Female dancer in the Role of krishna once in the Coomaraswamy Collection and, now in the Collection of the Metropolitan Museum of Art (acc. 18.85.2), and Singer and sarangi player (acc. 18.85.4). The present drawing may have been intended as a workshop study, or a design created to transfer to another surface, like a wall, for painting and finishing. highlighted with limited color, this fluidly and boldly executed drawing displays all the traits of the hand of Sahib Ram. for more information on the artist, see molly Emma Aitken’s “Sahib Ram” essay in Milo C Beach, Eberhard fischer, B n. Goswamy, and Jorrit Britschgi’s, masters of Indian Painting (Zurich,: Artibus Asiae Publishers, 2011), pp. 623-640. Also see Dr. Pratapaditya Pal and catherine Glynn’s the sensuous line: indian drawings from the paul F. Walter collection (Los Angeles county museum of Art, 1976) p. 22, cat. no. 1.

v is H n U

Sculpture Gujarat or Rajasthan

Red sandstone

11th -12th century

Height: 46 cm

Width: 48 cm

Price: 32.000 euros

Obje C t P R e S ented by: Alexis Renard

M.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

for two related sculptures, probably from the same architectural context, see: Pratapaditya Pal. (2003) asian art at the norton simon Museum, vol. I, p. 169, n° 129 et 130.

A closely related sculpture depicting Shiva is kept in the collection of the LACMA - Los Angeles County Museum of Art (m.74.5.4) and published in: Pal, P. (1988) indian sculpture, Los Angeles: Los Angeles County Museum of Art, University of California Press, Vol. 2, pp. 130-131, N°55.

18

A l EAF FRom A PA n CH

K A lYA nAKA o F

Ris HABHA nATHA

s ER i E s: P R in CE

sHREYA ns A CH i E v E s

jAT i-sm ARA n j nA n

Painting

Rajasthan, Amber

Opaque watercolor on paper

Circa 1720 - 1750

Image: 9 x 15 in. (22.8 x 38.1 cm.)

Folio: 10 ½ x 16 ½ in. (26.6 x 41.9 cm.)

Price: 18.000 USD

Obje C t P R e S ented by: Kapoor Galleries

m.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

The present image illustrates a Jain text which describes the five auspicious events that occurred in the life of Rishabhanatha, the first Jain tirthankara Rishabhanatha, with a golden complexion, appears here nude, typical of priests from the digambara (’sky-clad’) order. Standing against a flat green background, he is depicted proportionally larger than the worshippers, using hierarchical scale to denote his dignity and importance. The three standing figures are royalty, as indicated by their crowns, yet they hold their hands together in prayer as they stand outside of the palace modestly awaiting an audience with the austere priest. Below them, dressed in white, is Shreyans who bows in awe and reverence upon seeing the monk. The inscription on either side of the kneeling figure, which reads “ shreyans jati ,” denotes this particular scene as one in which prince Shreyans Kumar (grandson of Bahubali, and great grandson of Rishabhanatha) rushes to meet his great grandfather. Thousands of other citizens also come bearing gifts of gold and jewels, but Rishabhanatha doesn’t even cast a glance at their offerings, as he has completely renounced worldly possessions. Living as a monk, Rishabhanatha wandered under a vow of silence, asking for nothing and only eating when offered. when Shreyans bows down at the ascetic’s feet, he looks up at Rishabhanatha and finds that he can no longer shift his gaze. Shreyans then immediately acquires jati-smaran Jnan , the knowledge that opens up memories of past births, and realizes that the monk had been wandering for some time without food or water. This moves Shreyans to offer the monk fresh sugar cane juice and beg him to break his fast. Rishabhanatha accepts his request and calls out, “Hail the alms giving.” This leaf likely follows another from the same set in the Norton Simon Museum, published by Dr. Pal in painted poems (Pal 2004., 20-21, cat. 3). In this leaf a party meets the monk at the outskirts of town after welcoming him to stay with them via a vijnapti-patra (a formal invitation). The party can be seen bearing the aforementioned material offerings, which the monk does not accept. Several other leaves from this panch kalyanaka series have appeared in public collections, including two leafs in the San Diego Museum Art (accession nos. 1990.0213 and 1990.0214), and a leaf in the Los Angeles County Museum of Art (M.74.102.4; Pal 1981, 28-29, no.15). leaves from this series are primarily identified by their prominent orange border with a meandering vine motif.

19

i llU s TRAT ion To

THE dE vi

mAHAT mYA : K A li

Wi TH d RAW s FRom

v is H n U

Painting

Jaipur, Opaque watercolor heightened with gold on paper

Circa 1800

11 x 7 in. (28 x 18 cm.)

Provenance:

Sas Cornette De Saint Cyr, 31 October 2017, Lot 158.

Price: 15.000 USD

Obje C t P R e S ented by:

Kapoor Galleries

m.: + 1 (212) 794-2300

E.: info@kapoorgalleries.com

The present scene depicts the first episode of the Devi Mahatmya. The time is pralaya , the period between the cyclical destruction and creation of the universe when the primordial ocean is all that exists. Vishnu is in deep sleep amongst the cosmic waters and Brahma is preparing to create the next universal cycle at which time two demons emerge to kill Brahma. Alarmed, he attempts to awaken Vishnu to slay the demons, singing a hymn of praise. Brahma sings to the great goddess mahamaya, the personification of Vishnu’s sleep and asks her to release him from her spell. As Devi proceeds to retreat from Vishnu’s body she appears before Brahma. Vishnu then awakens and slays the demons, thereby acting as Devi’s instrument in restoring cosmic order.

Here, Devi appears in her form as the ten-headed Dasa Mahavidya Mahakali. This form of the goddess is relatively rare in the Indian painting tradition, as she is more commonly portrayed in her one-headed, fourarmed image, trampling Shiva. However, the present form shares many iconographic attributes with the more common form. Clad in a garland of severed heads andskirt of dismembered arms, Kali holds items representing the powers of each of the gods in her ten hands. These include a severed head, trident, bow, mace, conch, sword, and chakra. Her outstretched tongues, bared teeth, long unruly hair, large nimbus and strong stance convey her fierceness. Below, Vishnu reclines, and Brahma emerges from Vishnu’s navel on a lotus, flanked by the demons madhu and Kaitabha. fine lines of water and lotuses comprise the cosmic ocean, while a horizon of foliage bisects the background with a pale blue-grey sky above. This partitioning of the background reinforces the hierarchical scale of the painting and thus emphasizes Kali’s great power.

Śikhara

Sculpture

India, Madhya Pradesh, probably Gwalior region

Sandstone

10th-11th century, medieval period

Height: 42 cm or 16 1/2 in

Provenance:

Private collection, UK, acquired from Simon Ray, 2007.

Price: 15.000 euros

Christophe Hioco

m.: +33 (0) 1 53 30 09 65

E.: info@galeriehioco.com

This beautiful relief represents a shell tower called śikhara which is characteristic of north Indian architecture. The rose hue of this sparkling sandstone might suggest that this sculpture originally came from the Gwalior region in northern Madhya Pradesh. This architectural element, which was probably located above a niche on a temple façade, is a very symmetrical work, which is constructed, patterned and ornamented on both sides with small female figures – guardians or secondary goddesses – playing with makara, mythical and benevolent aquatic monsters.

The pattern of multiplied Indian arcs appears on five successive levels. These ovoid openings can be found in the earliest examples of Indian architecture. A large Indian arch thus opens to air and light the upper part of the façades of caves excavated as early as the 2nd century BC. Their terminology remains problematic even if some authors call them “kudu”, “hole” or “gavakṣa window”, “bay in the shape of a cow’s ear”. After a long evolution, they were multiplied to cover in fine mesh the façades of the shell towers (śikhara) built above the cellas of Hindu temples, a reduced version of which is shown here. They were placed on certain central bands during the Gupta period (4th-6th centuries) and from the 8th century onwards they covered all the upper parts, firstly at Rājasthān, and then throughout northern India during the Gurjara-Pratihāra period (6th-11th centuries).

The presence of the makara, on both sides of the śikhara, seems to refer to the theme of water. These fantastic creatures of half-crocodile and half-elephant, here adorned with pearl necklaces, are indeed benevolent and prophylactic aquatic monsters. They are delicately sculpted, their eyes are widely open, their trunks are erected with small tusks and their teeth are exposed.

Two characters, one coming out of the mouth of one of the makara, the other dominating the second creature with music, could be guardians or goddesses of the rivers. The one on the right is standing on the trunk of the makara and leaning against the śikhara. She is wearing a dhoti, heavy earrings, a necklace and bracelets. The one on the left is dressed in the same way and may be holding a sack, referring to the theme of water and its purifying character. It is worth noting the pretty twist of the body, superbly energizing the relief.

Obje C t P R e S ented by:

GA n E s H

Sculpture Pakistan/ Afghanistan (Punjab hills)

White Marble

Hindu Shahi/ Post Gupta Period

mid 9th century

height: 47,5 cm or 18 1⁄2 inches

Provenance:

Private collection, USA

Price on request

Obje C t P R e S ented by:

Joost van den Bergh

m.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

The elephant-headed god Ganesha is one of the best known and loved deities in the Hindu pantheon of gods. As the son of Parvati and Shiva, he is one of the most widely worshipped. Whilst his image is found throughout India, devotion to Ganesha is widely diffused and extends to Jains, Buddhists and beyond India. He is revered as the Remover of Obstacles, provid- er of good fortune, prosperity and success and is also patron of arts and sciences and the deva of intellect and wisdom. He is honoured at the start of rituals and ceremonies and invoked as Patron of Letters during writing sessions. This marble Ganesh dates back to the Hindu Shahi/post Gupta Period and comes from the area of present day Afghanistan and Pakistan. Between 4th –7th centuries this region saw successive occupations by the Central Asian White Huns and other foreigners including the Turki, Shahis and later by the Hindu Shahis. During the post Gupta period from the 7th-9th centuries there is evidence of the peaceful coexistence of Hinduism and Buddhism under Shahi rule which is reflected in the stylistic attributes of the sculptures from this period. Drawing inspiration from post Gandharan, Gupta, and Kashmiri sculptural styles, Hindu Shahi sculpture combines the monumental presence of early Gandharan, with the soft roundness of Gupta and some of the broad facial features seen in Kashmiri sculpture.

U nd ER 10

This intact pottery is part of a river treasure found at the beginning of the 20th century in a Javanese shipwreck sunk at the bottom of a river in Thailand.

PoTTERY

Big Majapahit pottery

Java Indonesia

Terracotta

12th to 14th century

Height: 31 cm

Diam.: 25 cm

Price: 7.200 euros

Obje C t P R e S ented by:

Cédric le Dauphin

M.: +33 6 07 82 95 08

E.: c.ledauphin@gmail.com

Work of granulation of ascending diameters in a star shape on the setting of cabochon stones.

A Gold RinG WiTH THREE RUBiEs

Ring Bali, Indonesia Gold and rubies

19th century

Price: 2.500 euros

Obje C t P R e S ented by: Cédric le Dauphin

M.: +33 6 07 82 95 08

E.: c.ledauphin@gmail.com

sARUGAKU m A s K, Ko-B E s H imi TYPE

Mask Anonymous

Japan

Wood and lacquer

muromachi period (1336-1573), 15th century

Height: 21,8 cm

Price: 9.500 euros

Obje C t P R e S ented by:

Galerie Mingei

m.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

A sarugaku mask representing a demon that prefigures the character of Beshimi, before the establishment of the codification of the nō masks. sarugaku is the archaic term for what is now known as nōgaku, a classical drama composed of nō and Kyōgen plays. Conventional theory on the origins of sarugaku points to sangaku (“miscellaneous arts”) introduced from the continent that are said to have merged with indigenous performing arts and gradually evolved into the highly perfected singing and dance drama that is passed down today.

Nō mask, K URo H i GE TYPE

Mask Anonymous

Japan

Wood and lacquer

Edo period

18th-19th Century

Height: 22 cm

Price: 6.500 euros

Obje C t P R e S ented by:

Galerie Mingei

m.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

A nō mask representing a dragon god which is believed to live in the sea and have the power to bring rain. The mask’s gold eyeballs rest beneath thick eyebrow ridges of light ochre, and since Kurohige rises from the sea, the pupils look slightly upwards. The lower jaw juts forward, while the upper jaw is pulled back to create the concave shape characteristic of this mask. With its mouth open in this way, the mask’s wide, large red tongue and upper and lower teeth are visible. Its name derives from its thick, black mustache and beard. The entire mask is painted a dark flesh color, and it is worn for dragon-god roles in plays like chikubushima, Mekari, kasuga Ryujin, kuse-no-to and Orochi.

i shigami dARU m A

Sculpture Anonymous

Japan

Boxwood root and stone, urushi lacquer

Edo period

19th century

Height: 33,3 cm

Price: SOLD

Obje C t P R e S ented by:

Galerie Mingei

m.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

A wrinkled root-ball wrapped around a stone known in Japanese as ishigami (biting stone) in the shape of the Daruma, legendary founder of Zen Buddhism. These natural objects are highly prized, expressing a sense of the accidental and the power of nature in the face of man’s vain attempts at control. ishigami are literati objects prized by Bunjin scholars; also, called ishikui (eating Stone) or ishidake (holding stone).

The Daruma (officially Bodhidharma) was a Buddhist monk who lived during the 5th or 6th century. He is traditionally credited as the transmitter of Chan Buddhism to china (called Zen in Japan), and regarded as its first chinese patriarch.

oK imono o F A n

E l EPHA n T

Japan

Root and lacquer

Edo period

19th century

Height: 37 cm

Length: 56 cm

Price: 4.800 euros

Obje C t P R e S ented by:

Galerie Mingei

m.: + 33 (0)6 09 76 60 68

E.: info@mingei-arts-gallery.com

Real elephants would almost not have been seen in Japan before the end of 19th century. However, Buddhists consider the white elephant as the holiest of beasts, and as the very embodiment of the soul of the Buddha. In Japanese art, Kan'non (Avalokiteśvara) is often shown seated on an elephant symbolizing the spiritual strength of the path to freedom (satori).

vA s E

Japan

bronze Taisho period

Early 20th century

Height: 39 cm

Price: 3.200 GBP

Obje C t P R e S ented by:

Gregg Baker Asian Art

M.: +32 468 00 56 85

E.: info@japanesescreens.com

HYoTA n-s HAPE d Kan B an

Shop sign

Hashi Ichi style

Japan

Burl wood

Second half of the 19th century

Height: 100 cm

Price: 2.700 euros

Obje C t P R e S ented by:

Kitsune gallery

M.: +32 476 87 85 69

E.: arie.vos@kitsune.be

Kanban are shop signs displayed prominently outside the shop to advertise their business. The Kanban typically took an enlarged shape of whatever the merchant was dealing in. Here we have a hyotanshaped Kanban, probably from a shop selling gourds

o ni

Demon mask

Japan

Edo period (1603-1868).

Wood, gofun, natural pigments

Height : 18 cm

Width: 15 cm

Price: 2.300 euros

Obje C t P R e S ented by:

Cédric le Dauphin

M.: +33 6 07 82 95 08

E.: c.ledauphin@gmail.com

Carved out of wood, worn out by intensive use, its gofun is completely scaled and missing in many places. This condition, far from disfigurating it, gives it a magic that seduces and set it apart.

A PA i R o F B o W ls

Japan

Negoro lacquer

Edo period

17th - 18th century

Height: 8 cm

Diam.: 15 cm

Price: 2.000 GBP

The main characteristic of Negoro lacquer is its simplicity which exemplifies one aspect of Japanese aesthetics. The wood base is first coated with black lacquer and then with red or vermilion. Over time and constant use the red lacquer wears away to reveal the black ground beneath, producing the elegant surface characteristic of Negoro. Such rubbing, cracks and chips on Negoro from use and age, something usually regarded as imperfection in other parts of the world, have been admired and appreciated in Japan for centuries. Practical, durable and with sophisticated simplicity, Negoro lacquerware has been favoured by temples and shrines as well as aristocrats, before being sought after by tea masters from the 17th century.

for other examples, see Miho museum ed., negoro: Efflorescence of Medieval Japanese Lacquer Ware, (Tokyo, 2013), p.254-255 pls. 281, 283, 285

Obje C t P R e S ented by:

Gregg Baker Asian Art

M.: +32 468 00 56 85

E.: info@japanesescreens.com

l EAF-s HAPE d s ERvin G TRAY

Tray originally used for serving sweets.

Signed at the back (artist unidentified)

Japan

Wood, delicately carved (at some places as thin as paper)

Meiji / Taisho-period

Early 20th century

Length: 35 cm

Price: 1.800 euros

Kitsune gallery

M.: +32 476 87 85 69

E.: arie.vos@kitsune.be

Obje C t P R e S ented by:

l oTU s l EAFs HAPE d CHAG o

Tea scoop

Japan Wood

meiji-period (1868-1912)

Lenth: 20 cm

Price: 1.200 euros

SOLD

Obje C t P R e S ented by:

Kitsune gallery

M.: +32 476 87 85 69

E.: arie.vos@kitsune.be

A senchado (Sencha tea ceremony) tea scoop carved from a single piece of wood; the stem connects two leaves into a loop to which a loose-carved ring is attached. A testament to Japanese craftsmanship.

K aya K u-ire

coarse gunpowder flask

Japan

Edo-period (1603-1868)

Height: 14 cm

Price: 1.600 euros

This portable matchlock gunpowder container in wood dates back to the first half of the Edo-period (16031868) – before the advent of paper cartridges in the 19th century. The patina is amazingly beautiful, and confirming its age. The dark wood stopper has a hollow spout in stag antler for measuring powder. Note that the metal netsuke might also have served as an implement for measuring powder for larger matchlock firearms (teppo).

Obje C t P R e S ented by:

Kitsune gallery

M.: +32 476 87 85 69

E.: arie.vos@kitsune.be

B HU vA n E s H vAR i

Painting

Nepal

Pigments and gold on paper

18th century

Height: Page 42cm, Miniature 39cm

Width: Page 29cm, Miniature 25,5cm

Price: 9.500 euros

Obje C t P R e S ented by: Alexis Renard

M.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

Bhuvaneshvari, a powerful female goddess, is depicted with four arms holding her attributes : a sword, a shield, a noose and an ankus (or elephant goad).

The goddess is placed on top of her Yantra, symbol of her power and object of meditation. Yantras are used in tantric or meditation practices as a tool and aide to help attain illumination.

The back bears a border decorated with friezes of dragons in the style of Indian mughal album margins.

A comparable painting is kept in the collections of Los Angeles county museum of Art, inv. (m.81.206.8)

G Ro UP o F THREE Ti BETA n Ts AK lis

Paintings

Western Tibet

gouache on leather

13th–14th century

height: 12,5 cm or 4 7⁄8 inches

Width: 10 cm or 4 inches

Price: 4.500 GBP

Obje C t P R e S ented by:

Joost van den Bergh

m.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

Tsakli is the Tibetan term used for cards used during Buddhist rituals to consecrate a temple or to give an initiation. A tsakli can also be placed in a portable shrine or box (gau) and carried as a device giving protection to the traveller or pilgrim who carries this box around the neck or on a shoulder strap. These three tsaklis are painted on leather which is unusual, the majority are painted on cloth (like most of the tangkas) or cardboard.

A lARGE-sCA l E

C H in E s E

C HR is T i A n Colo R P R in T

Print Shanghai, China color printing ink and colors on paper

Qing dynasty (1644-1912)

Between 1864 and 1884

height: 125 cm. (49.2 in.)

width: 63 cm. (24.8 in.)

Provenance:

Private collection, Belgium

Publication: pg. 37, pl. 41, P. Vasseur, Mélanges sur la chine, Société générale de la librairie Catholique, Palmé, éditeur, Paris, 1884

Price: 6.500 euros

Obje C t P R e S ented by:

Alan Kennedy

M.: + 1 646 753-4938

E: kennedyalan@hotmail.com

This print was produced at the print workshop in Shanghai established by french Jesuits, and located in the orphanage known as Tushanwan, founded in 1864.

The crucifixion scene includes both European and chinese religious figures, such the bearded man on the left wearing a box-shaped headdress called a jijin in chinese. This identifies him as a high-ranking catholic official. The chinese figure on the right is Paul Xu Guanqi (1562-1633), who converted to catholicism during the Ming dynasty, and was a colleague of the Italian Jesuit Matteo Ricci.

The four large characters at the top can be translated as shizi chongdong (Blessings of the cross). shizi also means “ten characters,” and refers to the ten Chinese writing characters in the rectangular cartouches that appear on the left and right borders of the print.

A d RAG on BA d GE

Badge

China, probably made for Tibet

Brocade

Silk Qing dynasty

Kangxi reign (1662 – 1722)

height: 37 cm (14.5 in.)

width: 37 cm. (14.5 in.)

Provenance:

Purchased in Kathmandu, Nepal, circa 1999

Price: 3.500 euros

Obje C t P R e S ented by:

Alan Kennedy

M.: + 1 646 753-4938

E: kennedyalan@hotmail.com

It is highly unusual to see a dragon with a third eye in Chinese art. A badge such as this example, having a front-facing five-clawed dragon, would normally have been reserved for use by a member of the imperial family, although yellow would be the expected background color, rather than red, the original ground color of this badge (now faded to beige).

This badge must have had some association with the imperial support of Tibetan Buddhism during china’s Qing dynasty (1644 – 1911). There is a robe in the chris Hall Collection having dragons with a third eye. It is made of embroidered Chinese fabric, and is tailored in Tibetan style. Such a robe is known as a chuba in Tibet. (see no. 13, pp. 36-37 in Judith Rutherford & Jackie Menzies, celestial silks: chinese Religious and court textiles, Sydney 2004)

Since Tibet did not have an advanced silk weaving industry, as did China, it is likely that this badge was woven in China, and was intended to be sewn onto a robe of a high-ranking Tibetan official.

39

Gold And CRYsTAl EARRinGs

Jewelry China Gold and crystal

Ming Dynasty

16th century

Length: 2,54 cm excluding pins

Price: 8.000 GBP

A pair of gold and crystal earrings composed of two faceted orbs of rock crystal resembling a double gourd, mounted in a petalled lantern, crest and cup suspended from a S-shaped gold pin.

Lantern earrings are discussed in by Yang Zhishui in Zhongguo Gudai Jinyin Shoushi (Beijing Gugong, 2014) Vol 2 p 626 and p629.

A similar pair of earrings in jade and gold was excavated from the Ming tomb in Langzhou Gansu Province.

Similar Example: kwan Simon and Ji Sun: chinese gold Ornaments (Hong Kong Muwen Tang fine Arts Publications ltd 2003) p 508 no 348 #4

Obje C t P R e S ented by:

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

jAAT m A l A

Painting India, Bundelkhand

Pigments and gold on paper circa 1720-30

Height : Page 33,5cm, Miniature 30cm

Width: Page 25cm, Miniature 22cm

Price: 9.500 euros

Obje C t P R e S ented by:

Alexis Renard

M.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

In the upper part of the scene, Krishna is entertained by three dancing gopis, with Radha sitting behind him. In the lower part, two princes holding katars at their belt are seduced by a nayika, lowering their heads in sign of respect in front of the beautiful princess. Behind them, a metaphoric hunter is about to hit a deer with his arrow.

This painting can be attributed to the region of Bundelkhand, and seems to come from a series of jaatmala paintings (meaning "Garlands of castes") starring nayikas (or Indian heroines) from different castes, and describing their typical behavior when in love, with the presence of the lovers Krishna and Radha in the upper register.

Konrad Seitz, in his publication Orchha, Datia, Panna, publishes three other paintings from this series, dated circa 1720-1730, showing a similar composition and palette.

See: SEITZ K. (2015), Orchha, datia, Panna, Miniaturen von den rajputischen Höfen Bundelkhands 1580 – 1820. hanstein Verlag, Band II (Volume II), pp. 182-189, n°55.155.3.

41

C hauri

flywhisk

India Silver

Mughal dynasty, 18th century

Length: 38,5 cm or 15 ¼ inches

Diam.: 8,5 cm, or 3 3/8 inches

Provenance:

Christopher Gibbs

Sven Gahlin, purchased from the above in 1969

Price: 5.500 GBP

Obje C t P R e S ented by:

Joost van den Bergh

m.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

A finely beaten and chased silver handle mounted with yak hair. The head of the flywhisk consists of a series of stylized petals of a flower. Around the edge of the top into which the yak hair has been mounted a continuous series of small grips hold the hair. The underside of the head has a second layer of smaller leaves. A single collar, decorated with floral design, separates the head from the grip. The longest section is the grip, which tapers inwards at both ends and is decorated with leaves at the top and a simple twisted band, made to look as if it is twisted around the shaft, all the way down. The flywhisk terminates in a small rounded knob. In miniature paintings from the Mughal period often servants of noble persons can be seen carrying flywhisks, however not many survive today. not only did the flywhisk have a practical use, that to shoo away the fly, it also functioned as a kind of fan, creating a gentle cool breeze. The flywhisk is the most frequently used and depicted emblem of royalty and are swayed on either side of the ruler by dedicated officials called chamardar. The Indian flywhisk is known as the chauri. The name chauri refers to a plume of yak tail hair in an elaborate holder. The word chauri derives from the Sanskrit word chamara, meaning fly-whisk, which is extremely close to the word for ’yak’

PA d UKA

Paduka on a lotus pedestal, representing the preceptor or the deity

Andhra Pradesh, India

18th–19th century

height: 14,5 cm, 5 3⁄4 inches

Diam.: 18,5 cm, 7 3⁄8 inches

Price: 4.500 GBP

Joost van den Bergh

m.: +44 (0)20 7839 8200

E.: joost@joostvandenbergh.com

The use of footprints to symbolise a deity has been an ancient practice in Buddhist, Jain and Hindu art and goes as far back as the 2nd century B.C. The practice seems to have originated with Buddhism. The Buddha, before attaining Nirvana, forbade his followers from personal worship, so his followers introduced various symbols which represented him and which could become the subjects of their devotion. The representation of his footprint being one such symbol and now many if not most sites of Buddhist worship feature representations of his feet. Some hundreds of years later, perhaps abound the fifth century AD, followers of Vishnu adopted representations of Vishnu’s feet (Vishnupada) as part of their rituals, most particularly in Rajasthan. Vishnu, the manifest form of cosmos, is believed to have in his foot the entire cosmos and, so multiple symbols are accepted as representing Vishnu. These symbols vary from place to place but can include the conch, chakra, flag, fish, pot, sword, bow and arrows, axe, throne, lotus, lyre, trident and mace.

Obje C t P R e S ented by:

43

Head OF bO d H i S att Va

Sculpture

Ancient region of Gandhāra Stucco

4th – 5th century

height: 15 cm or 5 ⅞ in Provenance :

Private collection, france, formed in the 1930s.

Price: 8.000 euros

Christophe Hioco

m.: +33 (0) 1 53 30 09 65

E.: info@galeriehioco.com

This bodhisattva has a remarkable face, drawing an almost perfect oval and imbued with serenity. The head gives off according to the codes of “GrecoBuddhist” art of Gandhāra a feeling of fullness and piety. The eyelids, half-closed, are the sign of his deep meditation, while the mouth, small and fleshy, very nicely modelled, outlines a delicate smile. This expression is reminiscent of that of the stucco Buddha and bodhisattva, made during the same period and for which comparable examples can be found in major museums. A major role in Gandharan iconography is played by bodhisattva, spiritual beings “promised to an Awakening”, a specific state of historical Buddha before their “Enlightenment”. They cannot go backwards in the cycle of reincarnation, feel compassion for all sentient creatures of the earth and only wish to break free of the causal loop along with them. These characters have become one of the major specificities of the Buddhism of the Great Vehicle (mahāyāna).

Thin incisions characteristic of sites in Afghanistan, notably Hadda, outline the almond-shaped eyes, delineate the eyebrows, mark the nostrils, and accentuate the contour of the lips. We should also note as a distinctive feature of these works the depression in the middle of the chin, under the mouth. Drawing a characteristic fringe on the forehead, joined and regular curls separate from the rest of the hair. This consists of strands of hair pulled backwards that rose into a flattened bun from which longer wavy curls or ribbons fell. A braided headband holds and adorns the whole.

Stucco was used brilliantly throughout Gandhāra craftmanship’s history, notably in the sites of hadda in Afghanistan and Taxila in Pakistan. The statues were made by using molds, the resulting shapes picked up with a spatula. This technique allows a lot of ease in the treatment and to obtain, as here, faces with an incredibly supple shape. The mouth, with its particularly sensitive production, is a fine example. Often, the finer stucco heads were fired separately and glued to the bodies with slush. This donor’s head was to participate in the decoration of the exterior courtyards of the monasteries, accessible to devotees. A thin slip –still very evident over the entire surface – covered the whole, concealing any disparity and bearing a rich polychromy of red, ocher and black, visible here at the level of the eyebrows and the headband.

Obje C t P R e S ented by:

TR i BA l ART so C i ETY

Check also the December catalogue of Tribal Art Society www.tribalartsociety.com

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