Animals in Antiquity- Vol. 1

ANIMALS IN ANTIQUITY VOL. 1 1

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London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

Seoul

58-4, Samcheong-ro, Jongno-gu, Seoul, Korea +82 02 730 1949 barakat@barakat.kr www.barakatcontemporary.com Los Angeles 941 N La Cienega Blvd Los Angeles CA 90069 +1 310 859 8408 contact@barakatgallery.com www.barakatgallery.com

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CATALOGUE EDITED BY: GIAN PIERO C. G. MILANI CURATED BY: MARIA SERENA PADRICELLI PAINTINGS: FAYEZ BARAKAT

COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS

PUBLISHED BY: HANNA BELLA PUBLISHING 24.09.2021 All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means including storage by information or retrieval systems without written permission of the authors except in the case of brief quotations embodied in critical articles or reviews.

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

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CONTENTS

Indus Valley

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Egyptian

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Near Eastern

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Classical

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Pre-Columbian

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Asian

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Decorative

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Foreword My fascination with animals began at a really young age when I started collecting artefacts representing animals from different times and places. Over the years, I have collected painted pottery, clay sculptures, carved stones, and sculptures in precious metals representing animals.

The selection we offer to your attention spans different cultures and chronologies. Domestic and wild animals are presented in it, along with mythical animals and animal gods. A variety of media is represented as well, with the only fil rouge being the endless and timeless fascination of human beings for the animals living around them.

These artefacts stand as a testament of the unending human-environment interaction on this earth and how important it is to cherish and preserve it. Ever since humans first started drawing on cave walls, the animal world served as an endless source of fascination. Since humans developed the capacity for symbolic thinking, various ancient cultures have felt the need to represent the world surrounding them in an attempt to make sense of all its beauty and variety. The desire to assign symbolism to animals inhabiting landscapes I believe connects human cultures across time.

Depictions of animals in art remind us not only of themselves, but also of the qualities and traits we assign to them. Artists depicting animals cast bridges across divides of human vs non-human interaction, enabling humans to reconnect with the landscapes they inhabit.

During this last year, many of us have had a chance to reconnect with nature and admire the beauty of the world we inhabit. This collection encourages the viewer to pause and reflect on how nature permeates our lives and manifests itself in daily and ritual objects. The objects show the meaningful relationship between man and nature, which I have tried to make sense of in my art and through the artefacts I have collected.

We hope that these artefacts will be of interest to you as much as they have been to me.

Fayez Barakat President

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I N D U S VA L L E Y

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Slip-painted Terracotta Sculpture of a Zebu Bull - LO.625 Origins: Central Asia Circa: 2800 BC to 2600 BC Dimensions: 10” (25.4cm) high x 14.5” (36.8cm) wide

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Large humped terracotta zebu bull standing on the four legs, his head supporting between two solid up-bent horns what looks like a ceremonial basket, the whole surface painted in bright colourful geometric patterns. The snout carefully sculpted with a small mouth and nostrils and large sunken eyes.

The Indus Civilization is still enigmatic: an ancient civilization with a yet-to be deciphered writing system, a mysterious monumental architecture, no monumental art, a puzzling decline, and little evidence of the identity of its direct descendants. In a civilization extending over an area so vast, one would expect to find monumental art and/or architectural symbols of power displaying the names of the powerful. Instead, the emphasis is placed on small, elegant art and sophisticated craft technology. Three-dimensional representations of living beings in the Harappan world are confined to a few stone and bronze statues and some small objects crafted in faience, stone, and other materials - with one important exception. Ranging variously in size, the anthropomorphic and animal terracotta figurines the Indus Civilization sites depict life as seen by the Harappan people in the Bronze Age. Terracotta figurines have long been considered toys, often without question. The earliest animal figurines from Harappa date back to the Early Harappan (Ravi Phase, Period 1 and Kot Diji Phase, Period 2) and represent zebu bulls. They are typically very small with joined legs and stylized humps. A few of these zebu figurines have holes through the humps that may have allowed them to be worn as amulets on a cord or a string. One Early Harappan zebu figurine was found with the remains of a copper alloy ring still in this hole. Other animal and sometimes anthropomorphic figurines are decorated with black stripes and other patterns, and features such as eyes are also sometimes rendered in pigment. Figurines of cattle with and without humps are found at Indus sites, possibly indicating that multiple breeds of cattle were in use. Water buffalo are often similar to figurines of humpless cattle, except that the water buffalo figurines usually have large (and sometimes incised) backswept horns.

The large humped terracotta bull would in fact belong to a recently discovered typology datable to pre-Harappan times in the Merghahr phase, datable to the 3rd millennium BCE. The geometric patterns, slanting bands red or ochre painted still visible on the body are paralleled by Merghahr contemporary ceramics, of which several examples are exhibited in the Barakat Collections. This type of fired ceramic was only produced in Baluchistan. From here and other small centres, they were traded far and wide throughout Baluchistan, from the borders of the Indus Valley to southeastern Iran. Examples of this pottery were also carried by merchants and nomads during their travels within the Indus Valley, and fragments have been found at the site of Harappa dating to 2800-2600 BCE and possibly even earlier. The motifs painted include both geometric and floral and stylised animals. Yet, this type of pottery was no more produced after the beginning of the mature Harappan period (i.e. 2600 BCE). Furthermore, the large size of these zoomorphic figurines together with their mysterious headgear would seem to indicate a ritualistic, rather than ludic, function, hence quite distinct from later Indus Valley pottery figurines.

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Indus Valley Painted Terracotta Sculpture of a Zebu Bull - LO.1025 Origins: India/Pakistan Circa: 2600 BC to 1900 BC Dimensions: 4” (10.2cm) high x 7.25” (18.4cm) wide

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Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-2450 BCE). Like many figurines datable to this period, the front and back legs are joined together. In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps linked to music.

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Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-2450 BCE). Like many figurines datable to this period, the front and back legs are joined together. In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps linked to music.

Painted Earthenware Cheetah - LO.1015 Origins: Pakistan/India Circa: 2600 BC to 1900 BC Dimensions: 3.5” (8.9cm) high x 6.5” (16.5cm) wide 18

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EGYPTIAN

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Middle-New Kingdom Terracotta Vessel in the Form of a Fish - LO.1311 Origin: Egypt Circa: 2300 BC to 1300 BC Dimensions: 3.3” (8.5cm) high x 6.5” (16,5cm) wide

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Egyptian Stone Hippopotamus - OF.216 Origin: Egypt Circa: 2100 BC to 1800 BC Dimensions: 1.8” (4.6cm) high x 3.1” (7.9cm) wide

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Wood Sculpture of a Water Animal-Otter - LO.1375 Origin: Egypt Circa: 2040 BC to 1640 BC Dimensions: 2.0” (5.1cm) high x 5.5” (14.0cm) wide

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Egyptian Sculpture of Horus as a Falcon - OF.208 Origin: Egypt Circa: 600 BC to 500 BC Dimensions: 2.2” (5.6cm) high x 3.2” (8.1cm) wide

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Mummified Bird/ Falcon - FF.078 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 12.0” (30.5cm) high x 3.0” (7.6cm) wide

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Cats in ancient Egypt were treated as sacred animals, as they were thought to be an incarnation of Bastet, goddess of music and joy and protector of women. Bastet was originally portrayed as a warlike lioness, but her image softened over time as she became more strongly associated with domestic cats. This cat from the Late Period (c.712-332 BC) is therefore depicted in a seated, gentle manner. Mummification was essential to ancient Egyptians because they believed if their bodies survived they could become immortal.

The cats were often killed deliberately while still young, and the embalming process could be as elaborate as for humans. According to research at the University of York, the typical recipe would have been 80 per cent fat or oil, 10 per cent pistacia resin, 10 per cent conifer resin and a pinch of cinnamon.

Presenting a mummified sacred animal to a god was a popular sign of devotion across all classes of society. One could pay to have an animal dedicated in their name and buried in a special cemetery by priests, such as the large cat cemetery in the ancient city of Bubastis – a practice attested to by Herodotus.

Egyptian deified mummy of a crouching cat - MS.1903 Origin: Egypt Circa: 600 BC to 300 BC Dimensions: 14.25” (36.2cm) high

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NEAR EASTERN

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Elam was an ancient Pre-Iranian civilization centered in the far west and southwest of what is now modern-day Iran, stretching from the lowlands of what is now Khuzestan and Ilam Province as well as a small part of southern Iraq. Elamite states were among the leading political forces of the Ancient Near East. In classical literature, Elam was also known as Susiana, which is a name derived from its capital, Susa. Elam was part of the early urbanization during the Chalcolithic period (Copper Age).

The emergence of written records from around 3000 BC also parallels Sumerian history, where slightly earlier records have been found. Its culture played a crucial role during the Persian Achaemenid dynasty that succeeded Elam, when the Elamite language remained among those in official use. In accordance with geographical and archaeological matches, some historians argue that the Elamites comprise a large portion of the ancestors of the modern day Lurs,whose language, Luri, split from Middle Persian.

Elamite marble figure of a crouching monkey - LM.61 Origin: Central Asia Circa: 2100 BC to 1500 BC Dimensions: 7” (18cm) high x 4.6” (12cm) wide

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Since the dawn of time, the bull has represented power, strength and nobility. This splendid votive, unusually large, depicts a Zebu, the hump-backed bull common to Asian regions. At the height of the Hittite empire, it was offered as a gift to win the favor of the gods. A fierce warrior people, the Hittites worshiped deities for whom a bull was the ultimate sacrifice. As a tribute to masculine strength, it impresses us even today with its timeless aura of power.

Hittite Bronze Zebu Bull Votive Sculpture - FZ.213 Origin: Anatolia Circa: 2000 BC to 1500 BC Dimensions: 3” (7.6cm) high x 4.25” (10.8cm) wide

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Stone Sculpture of a Recumbent Bull - X.0448 Origin: Persia Circa: 1900 BC to 1300 BC Dimensions: 2.75” (7.0cm) high x 4” (10.2cm) wide

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Elegant bronze statuette of a panther attacking a stag; the stag rears on hindlegs leaving throat exposed to panther who’s jaws and front paws are locked around the stag’s neck; moulded and tooled naturalistic detailing. An attempt at naturalism can be seen in the musculature of either animal and the moulded detailing. Elam was an ancient kingdom of Central Asia that corresponded approximately to the modern day province of Khuzistan in Iran. The capital of Elam and its most fabled city was Susa, today the city of Shush. Elamite states, while somewhat overshadowed in history by the rival kingdoms of Babylon and Assyria, were among the most powerful political forces of the ancient Near East. Founded in 3200 BC and lasted – in various guises – almost continuously until the mid 1st millennium BC when succeeded by the Persian Achaemenid dynasty. This piece heralds from the Neo-Elamite period, c. 1100- 539 BC and is characterized by both Assyrian and Median influence.

Elamite culture bronze figurine of a panther attacking a stag - LO.1334 Origin: Central Asia Circa: 900 BC to 600 BC Dimensions: 5.6” (14.2cm) high x 3” (7.6cm) wide

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Assyrian Terracotta Sculpture of a Recumbent Lion - LO.874 Origins: Mesopotamia Circa: 900 BC to 700 BC Dimensions: 5.9” (15.0cm) high x 9.50” (24.1cm) wide

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Although archaeological excavations reveal that the land of the Assyrians had been inhabited as early as 5000 B.C., it was not until the reign of King Sargon of Akkad in 2371 B.C. that the Assyrians first rose to glory. Under Sargon, the kingdom rapidly expanded north to the city of Ashur and as far west as the Mediterranean, controlled by a central government based in Akkad. By 1813 B.C., King Shamshi-Adad I united the cities of Ashur, Nineveh, and Arbel into one cohesive administrative unit. These three cities, as well as Arrapkha and Kalhu (later known as Nimrud), form the historical core of the Assyrian Kingdom which would remain a credible force throughout the Mediterranean world for the next millennium. While various parts of Assyrian territory were annexed for brief periods of time by neighboring civilizations, this core remained firmly intact. The Assyrians experienced another Golden Age, lasting from the 9th until the 7th Century B.C. (this period is referred to as “Neo- Assyrian”). During this period, the kingdom grew to its largest extent, encompassing the lands from parts of modern Iran to the Mediterranean, from Anatolia to Egypt. However, it proved difficult even for the powerful Assyrian monarchs to maintain control over this vast territory for very long. By the end of the 7th Century, the Assyrian Kingdom began to collapse under the weight of assaults from the Babylonians to the south and the newly founded Medes Kingdom to the east. In 612 B.C., Nimrud burned for the second time in three years, followed by the sacking of Ashur and Nineveh, effectively ending Assyrian control of the ancient Near East.

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Zoomorphic water vessel made of terracotta in the shape of a bull standing foursquare with dark brown slip over whole, incised and moulded decoration; stout body of tapering cylindrical form with blunt rear at one end giving rise to applied filling-spout and short, rounded tail; applied, pierced breastplate at other end rising through broad, triangular neck to narrow, angular head flanked by laterally protruding ears and topped by twin horns; incised eyes and circle to apex of horns. From ACE 390 onwards, the Land of Israel and Judah became a part of the Eastern Roman Empire known as the Byzantine Empire, which would endure until ACE 611.

This piece marks the span of a period heavily shaped and defined by a Christian majority, the result of mass Christian migration into the Roman province of Palestine following the collapse of the Western Roman Empire in 5th century ACE. The force of tradition in Byzantine art is great. That forms, processes and techniques stem from the depths of Antiquity is irrefutable. Constantinople, capital of the Byzantine Empire and hub of world culture was connected by its very location to both Greece and Central Asia. It was in constant commercial and political contact with the most powerful dynasties of the East, particularly Persia. In the arts, we see influence across a vast area that incorporates both Greek and Eastern influence, which is appreciable at every turn.

The aquamanile was brought into the Christian Mediterranean world through the Byzantine Empire’s cultural connections with Sassanid Persia. Though the origins of the vessel can actually be traced outside Mesopotamia to ancient Cyprus. We have excellent examples of comparable bullshaped water vessels used for hand washing known as rythons dating 1550 BCE, which similarly bear rotund, stout bodies and short legs. Close contact with the Aegean and Mycenaean settlement in 1230 BCE resulted in the gradual hellenization of Cyprus and synthesis of cultures. Intermittent periods of Persian rule from 8th century onwards connected Cyrus and Persia. One begins to form an impression of the spread of influences throughout the ancient world at this time. However, rather than combine diverse elements, artisans proved truly innovative and made appropriated forms their own. Used to store water for hand washing over a basin, which was a part both of upper-class meals and the Christian Eucharist.

Terracotta Aquamanile in the Shape of a Bull - LO.851 Origin: Israel Circa: 400 AD to 600 AD Dimensions: 9” (22.9cm) high x 8.25” (21.0cm) wide

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Wood Standing Lion with Open Mouth - OF.131 Origin: Central Asia Circa: 900 AD to 1300 AD Dimensions: 5” (12.7cm) high x 5.8” (14.7cm) wide

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CLASSICAL

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This bronze figure of a bull most likely had cultic connections, and was no doubt an object of worship in the cult of a deity with bovine associations.

The range of time periods that this item may derive from lends it a number of possible connotations, from the Ptolemaic cult of Serapis to the Canaanite cult of El. Its limbs and its facial features are finely crafted, with an almost whimsical quality that belies its certainly sacred connotations. This image was a focus of reverence for those adherents who fashioned and employed this effigy.

The connotations to the bull are numerous in the ancient Mediterranean. The great temple at Memphis, Egypt, contained the enclosure of the Apis bull, regarded as the oracle “herald” of the god Ptah. The cult of Apis probably traces back to the Old Kingdom, and was later transformed in the Ptolemaic period into the cult of Serapis. Zeus was told to have transformed himself into a bull during his pursuit of Europa. In the Holy Land, the Canaanite ancestors of the Israelites drew a connection between the high god, El, and bulls, and it was in Old Testament times that graven images such as this one were forbidden to the Israelites, being reminiscent of the golden calf that the newly freed iIsraelites set up for worship during their time of doubt. All in all, in Classical Antiquity, the bull was a symbol of strength and fertility, and its connections with various pantheons and cultures were many. Regardless of what religious context this effigy derives from, it serves as a testament to the deep-set connection to bulls in the Mediterranean of Antiquity. This figure, whose exact derivation is still a mystery to us, most certainly carries with it the historical fingerprints of ancient peoples who looked upon it as a source of spiritual comfort and confidence amid the unpredictable world of early agrarian civilization.

Bronze Figure of a Bull - LO.933 Origins: Syria Circa: 600 BC to 300 BC Dimensions: 3.5” (8.9cm) high x 4.26” (10.8cm) wide

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This small and charming figurine of an animal leaping into action may once have been part of a small sculptural group, or an attachment on a bronze vessel. His face is particularly animated, his eyes and mouth wide in fear of whatever he is leaping away from. The sculptor’s attention to detail also extends to the surface of the animal, with a suggestion of fur being created by the small indentations covering his body. Even though he is not fully preserved, this figurine is delightful.

Hellenistic Bronze Animal - LK.117 Origins: Mediterranean Circa: 300 BC to 100 BC Dimensions: 3.5” (8.9cm) wide

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Hellenistic Terracotta Sculpture of a Fish - LO.552 Origins: Mediterranean Circa: 3rd Century BC to 1st Century BC Dimensions: 11.50” (29.2cm) wide

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One can hardly overstate the profound significance of the seas for the ancient peoples of the Mediterranean. For the Greeks situated in the insulated enclaves of Attica and the Peloponnese, the Aegean provided a lifeline to the myriad cultures on their periphery. A source of bountiful resources and inestimable wealth, the Mediterranean beckoned the Greeks to establish trade routes and colonies far beyond their rocky shores, proliferating Hellenic civilization in the West. In homage to Poseidon—the fearsome overlord of the oceans—Hellenic peoples created devotional icons expressing their gratitude for the abundant gifts of the ocean. This remarkable sculpture of a fish originates between the 3rd and 1st centuries BC, a period when the Roman Republic emerged as a major world power. Crafted in terracotta, the ancient artist has produced a stunning network of scales with a glossy, golden finish that echo the intricacy and detail of life. Nearly a foot wide, this charming sculpture survives as an enduring testament to the importance of the sea in the popular culture of Hellenic civilization, and continued earnestly in Mediterranean cuisine.

The ancient Greeks, like their modern descendants, were great sailors and fisherman.

Clearly, whoever created this extraordinary work, was intimately acquainted with marine life. Perhaps this handsome fish memorialized a prized catch—the ancient equivalent of a taxidermic trophy. As with so many treasures from the ancient world, original function is a matter of conjecture and for many artifacts we simply do not— nor likely ever will—understand their purpose. As a symbol, the fish has meant many things to many people. For the Christians, the fish represents an effervescent life force, a symbol of the spiritual world that lies beneath the world of appearances. Ancient peoples often associated fish with birds, as both creatures could astraddle the partition between heaven and earth. With the ability to produce an extraordinary quantity of eggs, fish also came to represent fecundity and cyclic regeneration. Across all cultures and epochs, the relationship between man and animal—civilization and nature—has been expressed in the most glorious works of human creation, like this endearing fish. It is a universal theme, an eternal condition as pertinent for the human race today, as for our ancestors eons ago.

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This horse is no wild stallion, but instead, its closely cropped mane and ornamental trappings alert us that this domesticated steed was the prized possession of a Roman nobleman. Perhaps it was the beloved horse belonging to the general of the Roman cavalry. Perhaps it was a racing horse that once ran laps around the competition in the Roman Hippodrome.

The horse is gorgeously rendered with loving details including the long arched tail. The breast strap is decorated with incised lines and has four knobs and a crescent pendant. The halter also has decorative knobs. The animal turns its head slightly to its right and has both forelegs raised slightly off the ground in an expert rendition of equine naturalism. The horse’s top tuft of hair and its ears are erect, and the tail is held to the right and attached to the hock of the right leg. This charming little sculpture reveals that mankind’s relationship to this invaluable creature is older than we might first suspect. In fact, there is little about the horse that would be out of place on a contemporary rendition.

Horses provided human civilization speed and strength, whether delivering messages to far off lands or defending the borders from invaders. Much of the security that allowed the ancient world to prosper was born on the back of mighty steeds such as this one.

Roman Bronze Sculpture of a Horse - X.0023 Origins: Mediterranean Circa: 2nd Century AD to 3rd Century AD Dimensions: 4.875” (12.4cm) high x 5.125” (13.0cm) wide

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PRE-COLUMBIAN

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The Colima are part of a group of archaeological cultures – known almost purely from their artworks – referred to as the Western Mexico Shaft Tomb (WMST) tradition. There are many distinct groups within this agglomeration, and their relationships are almost totally obscure due to the lack of contextual information.

All of the cultures encompassed under the WMST nomenclature were in the habit of burying their dead in socially-stratified burial chambers at the base of deep shafts, which were in turn often topped by buildings.

Originally believed to be influenced by the Tarascan people, who were contemporaries of the Aztecs, thermoluminescence has pushed back the dates of these groups over 1000 years. Although the apogee of this tradition was reached in the last centuries of the 1st millennium BC, it has its origins over 1000 years earlier at sites such as Huitzilapa and Teuchitlan, in the Jalisco region. Little is known of the cultures themselves, although preliminary data seems to suggest that they were sedentary agriculturists with social systems not dissimilar to chiefdoms. These cultures are especially interesting to students of Mesoamerican history as they seem to have been to a large extent outside the ebb and flow of more aggressive cultures – such as the Toltecs, Olmecs and Maya – in the same vicinity. Thus insulated from the perils of urbanization, they developed very much in isolation, and it behooves us to learn what we can from what they have left behind.

The arts of this region are enormously variable and hard to understand in chronological terms, mainly due to the lack of context. The most striking works are the ceramics, which were usually placed in graves, and do not seem to have performed any practical function (although highly decorated utilitarian vessels are also known).

It is possible that they were designed to depict the deceased – they are often very naturalistic – although it is more probable that they constituted, when in groups, a retinue of companions, protectors and servants for the hereafter. More abstract pieces – such as reclinatorios – probably had a more esoteric meaning that is hard to recapture from the piece.

The current piece falls within the Colima style, which is perhaps the most unusual stylistic subgroup of this region. Characterized by a warm, red glaze, the figures are very measured and conservative, while at the same time displaying a great competence of line. They are famous for their sculptures of obese dogs, which seem to have been fattened for the table. Colima reclinatorios are also remarkable, curvilinear yet geometric assemblages of intersecting planes and enigmatic constructions in the semi-abstract.

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Colima Terracotta Vessel in the Form of a Turtle - DK.037 Origin: Western Mexico Circa: 300 BC to 300 AD Dimensions: 6.25” (15.9cm) high x 10.25” (26.0cm) wide

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Colima Terracotta Vessel in the Form of a Duck DK.038 Origin: Western Mexico Circa: 300 BC to 300 AD Dimensions: 7.25” (18.4cm) high 70

Colima Terracotta Sculpture of a Dog - DB.032 Origin: Western Mexico Circa: 300 BC to 300 AD Dimensions: 8” (20.3cm) high

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Taino Stone Bird Celt - LR.034 Origin: Dominican Republic Circa: 1200 AD to 1500 AD Dimensions: 10.2” (25.9cm) high x 4.5” (11.4cm) wide

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This stone rabbit, created by the Aztec culture, has been carved to emphasize vertical patterns in the stone that closely resemble the gray fur of a rabbit. The size of the piece is nearly that of an actual rabbit, and has smoothly curved face, ears, and paws. The top of the work has a large, round bowl shape incised into it, allowing for the bearer to grind food (like a mortar and pestle) or to store an object.

Aztec stone sculpture is the culmination of a long Mesoamerican tradition in the carving of a variety of monuments and objects from stone— from ordinary volcanic rock to highly prized semiprecious stones such as jade. The tradition began with the Olmec peoples of the Gulf Coast in the second millennium B.C., and possibly earlier than this. Thousands of Aztec sculptures, ranging from intimately scaled, personal works to public monuments standing up to ten feet tall, were carved both in the round and as reliefs. Many still exist despite massive the Spaniards’ efforts at destruction of Aztec sculptures, considered to be heathen idols.

Aztec carvers used simple stone and hardwood tools, fiber cords, water, and sand to carve hard stones into works that ranged from barely hewn rocks to intricately detailed, superbly finished masterpieces.

Aztec Stone Rabbit - MT.264 Origin: Mexico Circa: 1250 AD to 1550 AD Dimensions: 5” (12.7cm) high x 9.5” (24.1cm) wide

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ASIAN

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As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic feuding ravaged the population. Despite this unrest the arts continued to flourish, as witnessed by this extraordinary powerful representation of a bull. The animal’s stance is assertive, with its four legs positioned firmly on the corners of the integral rectangular plinth. The head is raised, with the mouth slightly ajar, as if warning off a potential aggressor. The figurine is in excellent condition with traces of the original red polychromy in the mouth, nostrils and ears. The expertly modeled horns create a striking silhouette, contrasting with the sheer bulk of the bull’s body. There is considerable attention to detail in the modelling, especially the incised lines which add to the texture of the tail.

During this period sculptural effigies of domesticated animals were often interred in the tombs of the nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. Thus, logically, as we require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. This work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of its time. This bull effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace.

Northern Qi Painted Pottery Bull with Medallions - DL.2079 Origin: Hebei Province Circa: 550 AD to 577 AD Dimensions: 12.89” (32.7cm) high x 13.58” (34.5cm) wide

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As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic feuding ravaged the population. Despite this unrest the arts continued to flourish, as witnessed by this extraordinary powerful representation of a bull. The animal’s stance is assertive, with its four legs positioned firmly on the corners of the integral rectangular plinth. The head is raised, with the mouth slightly ajar, as if warning off a potential aggressor. The figurine is in excellent condition with considerable traces of the original red polychromy. The expertly modeled horns create a striking silhouette, contrasting with the sheer bulk of the bull’s body. There is considerable attention to detail in the modelling. Particularly striking is the elaborate harness with medallions, used to shackle this powerful animal.

During this period sculptural effigies of domesticated animals were often interred in the tombs of the nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. This bull effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace.

Northern Qi Painted Pottery Bull - DL.2080 Origin: Hebei Province Circa: 550 AD to 577 AD Dimensions: 13.7” (34.8cm) high x 14.9” (37.8cm) wide

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Sui Dynasty Painted Pottery Horse with Long Saddle - DL.2071 Origin: Shaanxi Province - ‘Xi’an’ Circa: 581 AD to 618 AD Dimensions: 9.8” (24.9cm) high x 10.6” (26.9cm) wide

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Despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the golden age attained during the Tang Dynasty. Perhaps their most significant project was the construction of the Great Canal, an enterprise that facilitated the movement of people and goods across great distances, leading to the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution. The rulers of the Tang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui. The important influence of the horse throughout the history of China cannot be underestimated.

Considerable efforts were expended in importing faster, stronger breeds from Central Asia (as opposed to the local Mongol Pony), crucial to the survival of the empire. In sculpture, painting and literature, horses were frequently glorified as distant relatives of sacred, mythological dragons. The adoration of the horse is most evident in the burial art which adorned the tombs of wealthy members of the social elite. This charming example of a white painted pottery horse with red highlights probably represents the prized possession of a noble aristocrat. It is exceptional for the care lavished on the unusually long saddle and the ornaments which hang from its trappings. The large eyes and downcast head suggest that this is a gentle animal which served its owner loyally. Surely this horse, crafted with loving care and attention to detail, was admired as much in life as it is today in its sculptural form.

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Early Tang Painted Pottery Seated Camel with Detachable Saddle - DL.2069 Origin: Shaanxi Province - ‘Xi’an’ Circa: 618 AD to 907 AD Dimensions: 6.1” (15.5cm) high x 11” (27.9cm) wide

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“The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.”

This quote by Guo Pu dates to the 3rd Century A.D. and reveals the extent to which the Chinese adulated camels. For the Chinese, these creatures symbolized the wealth and luxury that resulted from trading on the Silk Road. Commerce across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandize into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh deserts of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and maintain its own nutrients, surviving for months without fresh supplies of water. The government kept vast herds of these invaluable creatures, presided over by civil officials, for hauling their precious commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of Tang China, carrying both traders and their goods directly into the markets. Likewise, Tang artists began to create charming representations of these prized creatures as mingqi in order to symbolize continued wealth and prosperity throughout the afterlife.

During the Tang Dynasty restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual’s social rank. In spite of the limitations, a striking variety of tomb furnishings have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians, etc. - were buried with the dead in order to provide for the afterlife.

This sculpture of a camel is a gorgeous example of the refined artistry of works that they were never meant to be seen by the living. This recumbent camel has paused for a moment before returning to its arduous journey. The fully detachable saddle is packed high with goods including rolled carpets possibly from Central Asia. A fur blanket with engraved tufts of hair tops the bundle. The camel’s head is held high in the air, as if getting ready to stand. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of Ancient China. This fine unglazed example would date back to the early Tang period, i.e. 7th century AD, when unglazed pottery figurines were still preferred to the later sancai glazed earthenware.

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Tang Dynasty Painted Pottery Walking Camel - DL.2072 Origin: Shaanxi Province - ‘Xi’an’ Circa: 618 AD to 907 AD Dimensions: 17.38” (44.1cm) high x 13.38” (34.0cm) wide

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‘The camel is an unusual domestic animal; it carries a saddle of flesh on its back; swiftly it dashes over the shifting sands; it manifests its merit in dangerous places; it has a secret understanding of springs and sources, subtle indeed is its knowledge.’ --Guo Pu, 3rd Century AD. For the Chinese, camels symbolized commerce and it is associated to wealth, largely concentrated on profits though trading on the Silk Road. Trade across this extensive network of paths and trails brought prosperity, foreign merchants, and exotic merchandise into China. However, the dusty trails of the Silk Road were an arduous journey through the rugged mountains and harsh desert of Central Asia that could only be traversed by the two humped Bactrian camel. This remarkable beast was able to withstand the scorching heat of the desert and maintain its own nutrients, surviving for months without fresh supplies of water. The government kept vast herds of these invaluable creatures, presided over by civil officials, for hauling their precious commodities across the Silk Road. These exotic creatures were a common sight in the cosmopolitan cities of Tang China, carrying both traders and their goods directly into the markets. Likewise, Tang artists began to create charming representations of these prized creatures as mingqi in order to symbolize wealth and prosperity in the afterlife.

Mingqi were works of art specifically created in an ancient Chinese custom for interment in the tombs of elite individuals in order to provide for their afterlife. Some of the most beautiful works of Chinese art were excavated from such tombs, and this sculpture of a camel is a perfect example of the refined artistry dedicated to such works despite the fact that they were never meant to be seen by the living.

Traces of original polychromy survive on this friendly looking animal, fashioned with large eyes and a raised head. This sculpture reveals the Tang Dynasty’s respect and admiration for this beast of burden, so essential to the prosperity of ancient China.

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After the fall of the T’ang Dynasty, a period of unrest and war ensued, finally ending with the establishment of the Song Dynasty. The Song era was considered a time of consolidation for Chinese culture. Traditional text were reanalyzed and reinterpreted, bringing forth a revival of Confucianism peppered with new ideas. Once again, civil scholars became more influential than their military counterparts. This was an era of peace, where technology and innovation flourished. Trade now focused on the seas, since the Silk Road had since been cut off. The Song viewed themselves as the culmination of two thousand years of Chinese culture. However, splinters began to emerge among the various ethnic groups that had been unified under the T’ang. As these ethnic rivalries began to grow, the government became fractured as officials began to oppose each other, allowing the Mongols from the north to invade and conquer.

Although best known for their philosophical contributions, this sculpture of a crab attests to the rich artistic tradition that flourished under the enlightened rulers of the Song Dynasty. Carved from precious agate, this crab holds its claws up to its mouth as if nibbling on its latest catch. Each of the multiple legs is individually articulate, contributing to the illusion that this creature might scatter away, sideways of course. With beady, round eyes, the crab stares back at us unsure whether to run and hide or continue eating. We can picture this sculpture once decorating the imperial palace of Song Dynasty. Clearly the stunning artistry of the carving would have awed all who saw it. Likewise, finding this effigy of a sea creature inside the royal residence would have delighted the onlooker. Such a work, treasured both for its form as well as its material, would have been a luxury only afforded by the royals themselves or high-ranking officials within the court. Today, it continues to inspire us with its beauty and history that only increase with time.

Song Agate Sculpture of a Crab - PF.6213 Origin: China Circa: 960 AD to 1279 AD Dimensions: 1.25” (3.2cm) high x 5.625” (14.3cm) wide $25,000.00

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Since the very dawn of civilization, the bull has held an important place in the rituals of men. Sacred bull images have been found in the palaces and temples of Crete, Turkey and Persia. The Egyptians worshipped the Apis bull and the animal figured prominently in the cult of the god Mithra. In Hindu belief, the bull Nandi is the sacred vehicle of Shiva, and is sometimes considered the incarnation of the god in his fertility aspects.

This splendid statue depicts a magnificent kneeling bull adorned with necklaces and a bell. We would never mistake this for an ordinary animal. Something in his dignified and regal air makes his divine status immediately apparent. This can be traced back to the Indus Valley Civilization, where dairy farming was the most important occupation, thus explaining the appearance of various artefacts indicating a deity much like Shiva.

The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of the Garbha Griha (sanctum sanctorum) of every Mandir (Hindu temple) dedicated to Shiva. It also explains why the word “nandi” in the Tamil language is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called “vrisha”, which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva Indian Sculpture of the Bull Nandi - PF.1399 Origins: India Circa: 12th Century AD to 13th Century AD Dimensions: 10.625” (27.0cm) high

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Ming Dynasty Painted Female Lion - DL.1001 Origins: China Circa: 1368 AD to 1644 AD Dimensions: 12.2” (31.0cm) high x 11.8” (30.0cm) wide

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The Fu Lion, or Fu Dog as it is also known, is a ubiquitous symbol that has been employed repeatedly throughout the history of China. Sometimes referred to as the “Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China date to the Han Dynasty (206 B.C.-220 A.D.).

Then it disappeared from Chinese art until it was resurrected during the cultural revival experienced during the Tang Dynasty (618-906 A.D.). While lions are not native to China, works of art with lion imagery from other civilizations were imported into China as gifts for the Emperor. The Fu Lion was brought into China with the arrival of Buddhism, where it became associated with the more familiar dog during assimilation. The lion is a sacred creature in the Buddhist pantheon and the Fu Lion was believed to be a companion of the Buddha.

While sculptures of Fu Lions originally stood guard outside Buddhist temples, by the time of the Ming Dynasty, when this work was created, the lions had lost most of their religious significance and were placed outside the entrances to homes and palaces out of custom. Even today, many monumental public buildings are decorated with lion figures standing guard at the base of the stairway. This female lion uses her front paw to trample a demon. This traditional gesture symbolizes the lion’s authority over evil spirits that might have tried to infiltrate the temple or palace. The delicate colouring, in tones of red, blue and yellow is particularly fine. The lion’s wide open mouth and protruding tongue have been expertly sculpted. The care lavished on this magnificent creation is also apparent in the swirling motifs, achieved through the use of incised lines, that decorate the plinth.

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Ming Glazed Terracotta Architectural Sculpture of a Dragon Fish - TF.035 (LSO) Origins: China Circa: 1368 AD to 1644 AD Dimensions: 35.25” (89.5cm) high x 25” (63.5cm) wide (It is a match for TF.033 and TF.034)

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This astonishing piece is a dragonfish, a symbol of good luck, prosperity and success in Chinese society.

Its remarkable features are unrelated to those of the taxonomically-valid “dragon-fish”, and instead reflect an agglomeration of features in the same way that “foo dogs” resemble lions; it possesses a fusion of dragon-like and leonine characteristics, fused into an arresting whole and painted in vivid polychrome colours. The function of the piece was unlike the majority of ceramic Chinese sculptures – which were “mingqi” objects designed to accompany their owner into the hereafter as tomb attendants – but instead were used as decorations for the roofs of public buildings (especially temples) in the same way as M’ing Dynasty polychrome wall panels. For this reason, the piece has been thoroughly and intensely glazed. It can, however, be disassembled into its main constituent parts, and has been mounted on a specially-designed stand. It is a match for TF.033 and TF.034.

Established in 1368, the M’ing dynasty was founded by Hong Wu, one of only three peasants ever to rise to imperial pre-eminence. His attitudes towards rule reflected his own past, with considerable emphasis on agricultural production, an aversion to trade, a massive expansion of military power and spending a fortune on defences (notably the Great Wall). This philosophy, while partly reflexive, was based loosely upon Confucianism, with which China had had a love-hate relationship for much of the preceding millennium. Despite his prejudices, the inevitable effect of Hong Wu’s policies was stability, and with it the rise and rise of the middle classes. While in many respects a martially vigorous and ascetic time, the enormous wealth generated by agricultural surpluses led to an unexpected flowering of arts under the patronage of what was essentially the nouveau riche, who liked to surround themselves with artworks including lacquer work, paintings, prestige ceramics and sculptures both for this life and for the hereafter (mingqi). Many public-minded personages sponsored temples and other important buildings, which were often decorated with pieces such as this.

This is an extraordinarily rare, beautiful and ornate piece of M’ing Dynasty art.

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Ming Glazed Terracotta Architectural Sculpture of a Dragon Fish - TF.034 (LSO) Origins: China Circa: 1368 AD to 1644 AD Dimensions: 33.5” (85.1cm) high x 21.5” (54.6cm) wide (It is a match for TF.033 and TF.035)

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Ming Glazed Terracotta Architectural Sculpture of a Dragon Fish - TF.033 (LSO) Origins: China Circa: 1368 AD to 1644 AD Dimensions: 35.75” (90.8cm) high x 26” (66.0cm) wide (It is a match for TF.034 and TF.035)

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Nandi the bull-calf is the mount or vehicle of Lord Shiva. As Shiva’s most devoted disciple, his image is often placed directly opposite Shiva’s shrine in Hindu temples. Regularly honoured by worshippers with offerings of flowers and incense, sculptures of Nandi are often touched in the hope that devotees will be able to imitate the strength of his devotion to Shiva. It is not known when these two deities first came to be associated but there is a long history of devotion to bulls in Asia. The early civilisation of the Indus Valley in particular (c. 3000-2000 BC) clearly held the bull in high veneration- producing images in stone and terracotta. In Sanskrit Nandi means ‘joyfulness’ or ‘He who gives joy.’ This refers to the emotions experienced by the devotee in the presence of Shiva.

This basalt carving depicts a recumbent bull and may have been placed at the entrance to one of Shiva’s temples. The legs are all folded beneath the body and the animal has a wonderfully benign and peaceful expression. The ears are long but the horns are barely out. This is in accordance with Nandi iconography which refers to him as a calf. The tail is folded back against the body and the whole figure rests on an oval plinth with a lightly incised lotus leaf design. The animal is heavily adorned with a quadrangular jewelencrusted rug across its back, a string of heavy bells around the neck and circular beads strung around its emerging horns. The degree of naturalism is truly outstanding. This is an exceptional opportunity for all serious collectors of Hindu art.

Ming period bronze figurine of a dragon - SF.101 Origin: China Circa: 1368 AD to 1644 AD Dimensions: 4.15” (10.5cm) high x 3.50” (8.9cm) wide

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DECORATIVE

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Neo-Classical Sculpture of a Horse Head - LF.007 Origin: Europe Circa: 19th Century AD Dimensions: 9.75” (24.8cm) high x 15” (38.1cm) wide

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Lapis Lazuli Sculpture of Two Owls - SP.610 Origin: Germany Circa: 1900 AD to 1950 AD Dimensions: 4.25” (10.8cm) high 120

Lapis lazuli came mostly from the eastern mines of what is now Afghanistan, and its rarity made it extremely desirable. The kings and queens of Mesopotamia had their cylinder seals carved of lapis; the Egyptians made their most precious amulets from it. So eager were the Egyptians for objects made from lapis that they created an imitation paste from the ground stone. During the Renaissance, the rich ultramarine of the great master paintings was also made from powdered lapis, brought overland on arduous journeys that took years. Besides its appealing loveliness, the gem is thought to have curative powers and is used as a remedy for fever, gall- stones, sleeplessness and above all, melancholy.

Lapis Lazuli Sculpture of a Tiger and Cub - CK.0649 Origin: China Circa: 20th Century AD Dimensions: 5” (12.7cm) high x 10” (25.4cm) wide

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Jade Sculpture Depicting Chickens - CK.0514 Origin: China Circa: 20th Century AD Dimensions: 11.25” (28.6cm) high x 11” (27.9cm) wide

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Jade (pronounced “yu” in Chinese, and meaning “the most beautiful stone”) was considered a royal gem in Ancient China from the earliest dynasties up until present times, and is inextricably woven into ancient and modern Chinese culture. The use of jade (nephrite) in China dates beck some 8,000 to 12,000 years, and was an integral part of commercial, religious and ceremonial life throughout this region. Although the finest jade was reserved for the Imperial courts, the use of jade in everyday life crossed all socioeconomic boundaries.

Most of the “jade” used in China prior to the 17th and 18th centuries was nephrite - also known as “Ming Jade.” Although most westerners don’t consider jade to be a “precious” gemstone, jade was invaluable to the Chinese people of ancient times. In ancient China, jade was held in much higher esteem than other precious gemstones or metals such as gold and silver. There is an ancient Chinese proverb that says: “gold is estimable, but jade is priceless.”

So revered was jade that during the Han Dynasty (206 BC—220 AD) Chinese nobility was buried in a ceremonial suit made of pieces of jade, called appropriately a “Jade burial suit” (yu yi, or “jade suit”). According to the Book of Later Han, the type of wire used was dependent on the station of the person buried, with the emperors using gold thread; princes, princesses, silver thread; sons or daughters of those given silver thread, copper thread; and lesser aristocrats, silk thread. Ordinary citizens were forbidden to be buried in jade suits.

Early Chinese jade carving motifs were influenced by Buddhism and Taoism, with each representation having a unique meaning. Popular motifs were the deer symbolizing high official ranking, a duck symbolizing ‘love,’ bamboo for ‘lofty conduct,’ the fan indicating ‘benevolence,’ and lotus ‘holiness.’ The cabbage is a popular motif even today, used to bring wealth or prosperity into the home.

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Jade Sculpture Depicting Goldfish CK.0639 Origin: China Circa: 20th Century AD Dimensions: 13.125” (33.3cm) high x 8” (20.3cm) wide

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Lavender Jade Sculpture of an Elephant - CK.0517 Origin: China Circa: 20th Century AD Dimensions: 8.75” (22.2cm) high x 16.5” (41.9cm) wide

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Jade Sculpture Depicting Pigs - CK.0513 Origin: China Circa: 20th Century AD Dimensions: 9.25” (23.5cm) high x 13.25” (33.7cm) wide

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Ming Glazed Terracotta Architectural Sculpture of a Dragon Fish - TF.035 (LSO)

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London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

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