CATALOGUE JANUARY - Asian Art Society

Saturday January 15th 2022

Online Catalogue XVI

JanUARY issue

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 /AsianArtSociety

Cover Image: Head of a Buddha presented by Farah Massart on p.70

Table of Contents INTERVIEW

4

CATALOGUE IRAN GHANDARA CHINA HIMALAYAS INDIA SOUTH-EAST JAPAN

20 26 30 46 54 70 96

4 - ASIAN ART SOCIETY

JANUARY 2022 - 5

Fig. 1 IIZUKA Rōkansai (1890-1958) Senju hanakago, ca. 1940-1955 Hōbichiku bamboo, rattan, chocolate vine skin and urushi lacquer 29.5 (h) x 22 x 19.5 cm Photo: Michel Gurfinkel © Courtesy Galerie Mingei – Paris

GALERIE MINGEI Galerie Mingei is dedicated to the ancient and contemporary decorative arts of Japan. It has been located in the heart of the Saint-Germain-des-Prés neighborhood in Paris for fifteen years and is run by Philippe Boudin and his daughter Zoé Niang. The gallery is well-known for its thematic exhibitions, individual artist shows and artist monographs. It has been an ambassador for the Japanese bamboo basketry used for ikebana floral arrangements in tea ceremonies, and Mingei is the most important European gallery that actively promotes this little-known art. The major international collections in this field put their faith in Galerie Mingei, and its activities involve a great deal of collaborative work and partnerships with European museums that include curatorial services, loans, and the promotion of our clients’ collections.

Contact: +33 (0)6 09 76 60 68 mingei.arts.gallery@gmail.com www.mingei.gallery

6 - ASIAN ART SOCIETY

You discovered the wabi sabi aesthetic in Japan in the course of your travels there and have had a gallery dedicated to the decorative arts of Japan in the SaintGermain-des-Prés district of Paris since 2014. Today you work with your daughter Zoé. How do you share the work? How is Zoé an asset for the gallery?

We actually held our first exhibition of Asian art over twenty years ago, and that was already on the rue Visconti in the heart of the Saint Germain-desPrés neighborhood. I acquired our current gallery space in 2014 and my daughter Zoé joined me after she completed her art history studies. I used to be an international correspondent, and I traveled around Asia for over fifteen years. I started by collecting for myself before I opened my gallery. Discovering Japan was a real aesthetic revelation for me and during my first trips through the Japanese archipelago I spent most of my time in the museums, temples and Shinto sanctuaries. I especially remember the Mingeikan in Tokyo where I was introduced to a kind of everyday aesthetic of great simplicity but simultaneously of a truly noble nature, expressed through choice of materials and quality of craftsmanship.

Zoé is now co-director of the gallery, and is notably in charge of handling all the aspects of communication that call for a new and modern approach in today’s times.

Is it still your dream today to organize an exhibition dedicated entirely to Iizuka Rokansai (1890-1958), "the Picasso of bamboo"?

We have several hundred bamboo works in our

collection, including a number of wickerwork pieces by the wonderful artist Iizuka Rōkansai (fig. 1). It is most likely a bit premature to present an exhibition devoted solely to his work here in Europe where the importance of his creations remains not very well understood and his following is limited. We thus decided on an intermediate approach, the year before Covid, by presenting a broader exhibition devoted to the entire Iizuka workshop (Hōsai II,Rōkansai, Shōkansai) and its disciples. The show met with great success and that has encouraged us to persevere with our efforts promoting the work of the founding fathers of the bamboo arts in Japan.

FOR SEVERAL YEARS NOW, FINE HANDIWORK AND CRAFTS HAVE BEEN INCREASINGLY APPRECIATED. HAVE YOU SEEN THIS INTEREST GROW SINCE THE ONSET OF THE PANDEMIC? The pandemic and ancillary events, like the lockdowns and especially the restrictions on travel, have given us the opportunity to put our relationships with the world and with art into a fresh perspective and to find new meanings and points of reference. There has undoubtedly been a renewal of appreciation for the work of the skilled hands of the craftsman-artist who has often been forgotten and even disdained in recent times, in an environment that favored a purely conceptual and “catch-all societal and political approach”. That’s why we have the following excerpt from the 1919 Bauhaus Manifesto by Walter Gropius engraved at the entrance of our gallery: "There is no essential difference between the artist and the craftsman.

The artist is but an exalted craftsman."

In 2018, we worked with Stéphane Martin, President of the Musée du Quai Branly - Jacques Chirac at the time, on the exhibition Fendre l’Air – Art of Bamboo in Japan, and we could never have imagined how much acclaim this show, on a subject that was after all very little-known in Europe, would be greeted with. This

JANUARY 2022 - 7

Fig. 2 IIZUKA Rōkansai (1890-1958) Teitei Towering Loftiness, ca. 1927-1934 Madake bamboo and urushi lacquer 52.5 (h) x 11 x 11 cm Ikebana by Ryu Kubota Photo: Aurélien Farina (Paper Tiger) © Courtesy Galerie Mingei – Paris

8 - ASIAN ART SOCIETY

JANUARY 2022 - 9

Fig. 3 TANABE Chikuunsai IV (1973 - ) Funagata hanakago Amatsukaze Heavenly Wind, boat-shaped flower basket Madake bamboo, yadake arrow bamboo and rattan 78 x 32 x 30.5 (h) cm Photo: Tadayuki Minamoto © Courtesy Galerie Mingei – Paris

10 - ASIAN ART SOCIETY

JANUARY 2022 - 11

Fig. 4 TANABE Chikuunsai IV (1973 - ) Hanamushin II Empty Mind Geometric design by Sawako Kaijima Madake bamboo & rattan 74 x 42.5 x 41 (h) cm Photo: Tadayuki Minamoto © Courtesy Galerie Mingei – Paris

12 - ASIAN ART SOCIETY

Fig. 5 TANABE Chikuunsai IV (1973 - ) Kuchiki Syouritsu Decayed Bamboo Stand Hōbichiku and kurochiku bamboo, rattan, bamboo root and urushi lacquer 48.5 x 54 x 147 (h) cm Photo: Tadayuki Minamoto © Courtesy Galerie Mingei – Paris

JANUARY 2022 - 13

seminal “founding” exhibition contributed substantially to the recognition of the skill of the bamboo weavers of Japan and certainly gave a boost to the market for their work.

You have become one of the leading experts in the field of bamboo basketry today. Can you tell us about how the rise of the tea ceremony acted as a catalyst for this art?

Galerie Mingei can indeed take pride in having contributed to the recognition of this little-known art in Europe. But credit must be given where credit is due, and it must go to the pioneering American museums, galleries and collectors who were the first to understand the importance of this art, traditionally associated with the tea ceremonies. Special mention must be made of Lloyd Cotsen, of his vision, and of his collection of some 2000 pieces of Japanese wickerwork, which is unique in the world and now has its home in the Asian Art Museum in San Francisco.

Contrary to common belief, this art of bamboo basketry for ikebana is intrinsically connected with the Senchadō, the Sencha tea ceremony, and with the bunjin, the Japanese literati who were so enamored by the culture of their counterparts, the Chinese scholars.

In the course of these tea ceremonies, Japanese scholars also practiced the art of ikebana. You keep this tradition alive by regularly exhibiting and photographing your bamboo works with ikebana creations.

These literati, or scholars, called the bunjin, practiced and still do practice a very wide variety of the traditional Japanese arts, including the art of the tea ceremony of course, but also those of incense, calligraphy and the ikebana. Their meetings, at which tea was only a catalyst for a broader artistic vision, were the starting points for the elaboration of a vision turned resolutely towards the simple yet complex beauty of nature expressed through delicately ordered floral arrangements presented in wickerwork bamboo receptacles.The original wickerwork artists,and especially these “founding fathers”, were also brilliant bunjin , like Tanabe Chikuunsai I (1877-1937), well-known

for his talents in the fields of ikebana and calligraphy.

It was thus natural for us to want to present and give new life to these bamboo works in the context of the ikebana creations for which they were originally designed. To that end, we have been working with Ryu Kubota, a Japanese ikebana practitioner who has been living in Paris for several decades and was trained in the Sogetsu School (fig. 2).

Is this touch appreciated by your collectors?

Many of our clients are not only collectors but fervent enthusiasts of different varieties of ikebana as well – like Sogetsu, Ohara and Ikenobō, the oldest school of Japanese floral arrangement. Éloge de la Lumière – In praise of light is on display till March 27 at the Baur Foundation in Geneva. Can you tell us more about this exhibition?

This exhibition is above all a kind of conversation, or dialog, between the works of major French artist Pierre Soulages, who just celebrated his 102nd birthday, and those of internationally acclaimed bamboo artist Tanabe Chikuunsai IV. The juxtaposition of Soulages’ “black light” with the transparence of Tanabe’s woven bamboo pieces takes us to another and very spiritual world. As the master has said, “Bamboo has knots, which are called yo in Japanese. These knots are considered to be the borders between different worlds… / … and the spaces between the knots represent the eternal world…”

Indeed – a world in which the connection between Soulages’ black and Tanabe’s bamboo enchants us.

Which artwork in this exhibition is your favorite and why?

The 35 works on display at the Baur Foundation were selected to illustrate the exhibition’s four themes: Light, Nature and the culture of the bunjin with which the Tanabe family has been closely connected for over a century. These works are the products of such different worlds that it is difficult to single out just one. But the following three works are certainly emblematic of the exhibition:

14 - ASIAN ART SOCIETY

JANUARY 2022 - 15

Fig. 6 TOSHIMASA Kikuchi (1979 - ) Geometrical Form - 012 Hinoki wood (Japanese cypress), urushi lacquer and pigment 2014 347 x 80 x 80 cm Photo: Tadayuki Minamoto © Courtesy Galerie Mingei – Paris

16 - ASIAN ART SOCIETY

Funagata Hanakago Amatsukaze (fig. 3) is a functional work for Ikebana in the shape of a boat called Celestial Wind. This 78 cm long wickerwork piece was made from several types of bamboo – madake which is the most commonly used type, susudake, or smoked bamboo, koyadake, or "ancient arrow" bamboo, enhanced with urushi lacquer by artist Takashi Wakamiya, and rattan.

The use of arrows in this work is a tribute to the artist's great-grandfather, Tanabe Chikuunsai I (1877-1937), who was one of the founding fathers of the bamboo arts and a prominent bunjin of his time.

Hanamushin II (fig. 4) is a creation that is representative of Tanabe Chikuunsai IV’s avant-garde approach, and was produced in collaboration with Sawako Kaijima, an architect and Associate Professor of design at the Harvard University Graduate School of Design.

Kaijima created a computer-generated shape based on the mathematical formula for the Enneper surface that Tanabe Chikuunsai IV then used much like architectural blueprints would be used to give material existence to what they illustrate.

Kuchiku Shōritsu (fig. 5), a very large scale work (147 cm high), is an homage to nature. It is made of hōbichiku and kurochiku bamboos and has a handle of decaying bamboo that is particularly appreciated for the expressiveness of its strange and distorted shapes.

A work with similar qualities by Tanabe Chikuunsai IV called Disintegrated Bamboo Daruma was the winner of the first Mingei Bamboo Prize, and he thus became the first recipient of this award created by Galerie Mingei in close cooperation with the Musée National des Arts Asiatiques - Guimet.

of his works. His materials include not only wood, but lacquer, traditional Japanese pigments, gold leaf and stone. Kikuchi especially distinguishes himself with his mastery of the dakkatsu kanshitsu technique, known as the hollow dry lacquer technique (fig. 6), which was widespread in the Nara Period (794-1185). The installation at the Asia Now show in 2020, and the one at the Carte Blanche show devoted to the artist’s work at the Musée National des Arts Asiatiques - Guimet in 2021, presented a series of geometrical forms inspired by mathematical models now at the Institut Poincaré, and made famous by Man Ray and Max Ernst in issue 1-2 of Christian Zervos’ Cahiers d’art in 1936 with twelve photographs of them by Man Ray. Kikuchi shows a special fondness for a surface studied in 1884 by German mathematician Theodor Kuen. The Kuen surface (fig. 7) has a negative curvature on which the meeting between two surfaces produces a pure line that imparts its formal tension to the sculpture. It is moreover a shape that is devoid of any organic life – truly a pinnacle of abstraction, freed of the usual preoccupations with mass and movement, which leads to a reconsideration of the traditional relationship between negative and positive space in sculpture.

Fig. 7 Your taste for contemporary Japanese art is not limited to bamboo works. You participated in the Asia Now fair showing an installation by the artist Toshimasa Kikuchi. Can you tell us more?

On account of his training in the restoration of old wooden sculptures, Toshimasa Kikuchi is connected above all with the tradition of Buddhist statuary. The level of virtuosity he has attained is evident not only in the quality of his figurative work in wood, but also in the variety of the artistic techniques he uses in the creation

TOSHIMASA Kikuchi (1979 - ) Kuen Surface - Needles Hinoki wood (Japanese cypress), urushi lacquer and pigment 2019 & 2020 Heights from 47 cm to 225 cm Photo: Tadayuki Minamoto © Courtesy Galerie Mingei – Paris

JANUARY 2022 - 17

18 - ASIAN ART SOCIETY

JANUARY 2022 - 19

JANUARY ART WORKS

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 are presented by categories, please check the table of contents. Feel free to ask the price if the artwork is listed with a price on request.

20 - ASIAN ART SOCIETY

JANUARY 2022 - 21

01

Persian miniature depicting a 'fattailed' sheep

Iran 18th - 19th century Pigments and gold on paper, mounted as an album page with polychrome borders and a margin with a gold floral design Page: 22 cm x 33,5 cm Miniature: 10,5 cm x 14,1 cm Price: 5.000 euros

Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

This amusing portrait of a fat-tailed sheep belongs to the tradition of siyah qalam drawings that were fashionable during the Safavid period. The drawing has an Arabic inscription on the right, as well as the number 127, which may be a serial number or a date. If a date, this would indicate 1127 on the Muslim calendar (1715 AD). The inscription is barely decipherable. It could be an apocryphal reference to the Persian painter Reza Abbasi.

22 - ASIAN ART SOCIETY

02

PERSIAN MINIATURE DEPICTING A SHEEP Iran 18th - 19th century Pigments and gold on paper, mounted as an album page with polychrome borders and a margin with a gold floral design Page: 22,3 cm x 33,5 cm Miniatures: 9,5 cm x 12,5cm Price: 5.000 euros

Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

This unusual and amusing portrait of a sheep follows the tradition of the single-sheet siyah qalam drawings that were popular during the Safavid period. The drawing bears an Arabic inscription – ‘depiction of a captive ram’ – as well as the number 125, which could be interpreted as the year 1125 on the Muslim calendar (1713 AD). It could also be an album page number.

JANUARY 2022 - 23

24 - ASIAN ART SOCIETY

03 Jar with calligraphic design Iran, probably Kashan Second half of the 12th century Moulded ceramic decorated in lustre and cobalt Height: 32 cm Provenance Formerly in the Achille Clarac collection (Diplomat in iran in the 1930's) by repute it has been acquired in Teheran with Andre Godard beetween 1935 and 1937 Price: 12.000 euros

Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

This beautiful jar with molded decoration consists of an inverted pear-shaped body resting on a short foot.

The wide collar has two handles.

This type of design, molded in relief, was very sought after in Seljuk Iran. This jar is decorated with a large kufic calligraphy inscription and dotted lines forming a frieze at the shoulder. A thick layer of cobalt blue glaze covers the entire upper part of the jar. The raised patterns are highlighted by the fact that they retain a thinner layer of glaze, and therefore appear lighter than their outlines.

Most monochrome Iranian ceramics of this type are using a turquoise glaze. Cobalt blue glaze like this are making this piece a beautiful and rare example of medieval Iranian ceramic.

JANUARY 2022 - 25

26 - ASIAN ART SOCIETY

04 Monumental capital Ancient province of Gandhāra 3rd-4th century Schist Diameter: 20 cm x 89 cm Provenance: This piece comes from a private Japanese collection and was published in volume 2 (1990) of Gandharan Art written by Isao Kurita.

Price: 50.000 euros

Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com

An undeniable Hellenistic heritage This monumental sculpture is an impressive Indo-Corinthian capital, a word that shows the influence of Greco-Roman art on the artistic production of Gandhāra. The flat molded part - the abacus - is nicely decorated with two open lotuses figured on the corners and coming from wavy stems. Under this abacus, two large acanthus leaves with well-cut ends and delicate veins blossom under large volutes finely decorated with plant scrolls. This magnificent floral and vegetal decoration stands out for its incredible refinement.

The bodhisattva: a spiritual being of primary importance Other smaller acanthus leaves surround a bodhisattva in the center, forming a canopy above him. This bodhisattva, of a significant size, is typical of Gandhāran iconography, which places great importance on these spiritual beings "promised to an Awakening", the specific state of historical Buddha before their "Enlightenment".They are depicted as royal figures because the Buddha himself was a prince before he renounced this life and finally attained 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. Here, this bodhisattva is sketching the fear-allaying gesture (abhaya mudrā) with his right hand and may be holding a part of his garment with his other hand. Like the Buddha, he has a tuft of hair (ūrnā) between his brow bones and the usnīsa, the cranial protuberance incorporated into his bun: Both symbols of his omniscience. Sumptuous jewelry and drapes give Gandhāran bodhisattva a princely look, in the style of contemporary Kushan princes. These Kushan princes, who ruled the kingdom at that time, contributed with their donations to Buddhist

JANUARY 2022 - 27

28 - ASIAN ART SOCIETY

monasteries. So it is like a prince that this bodhisattva wears a moustache and is dressed in Indian style with a long scarf covering his left shoulder while the other is left bare. He has the precious and characteristic Indian jewelry: A first large, flat, articulated necklace; a second longer necklace with a rich pectoral;heavy earrings, and bracelets on the arm and wrist. It is also worth noting the remarkable care taken in the realization of the features of his face and his curly hair.

A work with an architectural function The Gandhāran monasteries had two types of areas: courtyards accessible to devotees and crowded with all sorts of ex-voto monuments, such as reliquary tumuli (stūpa) and chapels, and beyond that an area reserved only for monks. In the public areas, the door or niche surrounds could take the form of pilasters, topped by Corinthian or composite capitals. These architectural elements are also found in miniature on the many Gandhāran reliefs, juxtaposing decorative motifs and apologetic narrative scenes, and in which they separate the scenes and structure the representations. Here, on the top of our capital, mortises indicate that it must have been placed under an upper element, and one can imagine that it was embedded in the masonry, surmounting a column engaged in a wall.

JANUARY 2022 - 29

30 - ASIAN ART SOCIETY

JANUARY 2022 - 31

05

Painting of a Jesuit Priest in an Architectural Setting

Signature: Lang Shining (16881766) China Qing period (1644-1912) Late 18th/early 19th century Ink painting and mineral pigments Height: 133 cm Width: 38 cm Provenance: Art market, Portugal Price: 7.500 USD

Object Presented by: Alan Kennedy M.: + 1 646 753-4938 E: kennedyalan@hotmail.com W: www.alankennedyasianart.com

The standing figure in the long robe is a Jesuit priest, and next to him is a young acolyte holding a rosary.

The figure in European clothing holding a walking stick while standing on the portico of the Europeanstyle structure is presumably the building’s attendant.

All three of the Europeans in this painting have red hair. A pejorative Chinese language expression for a foreigner can be translated as “red-haired devil.”

Depictions of Jesuit priests in Chinese painting are quite rare, and these figures are probably sourced from European prints by the unknown Chinese creator of this work. The painting makes exaggerated use of the Western technique of single-point perspective, and the sky is painted in a Western style, with realistic clouds in a blue sky.

The Lang Shining signature was undoubtedly added in order to enhance the value of the painting. He was the most famous of the Jesuits artists working in the Chinese imperial atelier. It was a common practice in Chinese painting to write the signature of a famous artist on a work, even though it was not painted by a master.

32 - ASIAN ART SOCIETY

JANUARY 2022 - 33

34 - ASIAN ART SOCIETY

JANUARY 2022 - 35

06

Seated tiger

China Southern Song dynasty (1127–1279) Height: 5,5 cm Provenance: Nin Fung Hong, Hong Kong, on 10 January 1977 Publication: Morgan, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection, no. 44 Price on request

Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com

A creamy and russet jade model of a seated tiger, resting on its haunches and looking directly ahead, the large head with large almond-shaped eyes, bushy eyebrows and whiskers above a smiling expression, the ears pricked forward and long tail flicked up against its rounded back, the softly polished stone with russet streaks.

For a Song dynasty white jade seated tiger in the same style from the Joan Barrow Collection, see Bluett & Sons, Oriental Art, 1988.

36 - ASIAN ART SOCIETY

JANUARY 2022 - 37

38 - ASIAN ART SOCIETY

07

Chinese qilin

China Yuan dynasty (1279–1368) Height: 9,7 cm Publication: Morgan, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection, no. 57 Maudsley (ed.), Art & Imitation in China, p. 154, no. 41 Price on request

Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com

A dark-and-pale grey jade model of a qilin, the beast seated upright looking directly ahead and chest protruded, with large bulging eyes and bared teeth, a large ruyi-head form nose and overhanging brow below a short single horn curled upward on top of the head flanked by finely detailed swept-back mane, the scaly body with flamiform details to the haunches and long knobbly tail flicked up over its back, the claws powerfully defined, the highly translucent stone with strong dark-grey patches.

For an earlier Tang dynasty example of a dragon seated in a similar pose carved from a similar stone, see Fung (ed.), Exquisite Jade Carving: Figures, Animals, Ornaments, p. 98, no. 74; for a Five Dynasties|Song period jade seated mythical lion in a similar stone, see Rasti Chinese Art Ltd., October 2014: Works of Art, pp. 20-21, no. 18; and for another Five Dynasties|Song period jade qilin seated in the same stance, see Knapton Rasti Asian Art Ltd., November 2012: Ceramics and Works of Art, p. 8, no. 5.

JANUARY 2022 - 39

40 - ASIAN ART SOCIETY

JANUARY 2022 - 41

42 - ASIAN ART SOCIETY

08

Chinese blade/axe

China Ming dynasty (1368–1644) Height: 7,9 cm Publication: Morgan, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection, no. 73 Price on request

Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com

A dark-brown, russet and grey jade blade or axe, the flattened implement with a double-dragon terminal, the conjoined animals lying back to back above a thin double band of vertical lines, the plain body with a wide band of studded motifs between rope-twist borders, the translucent stone with darker patches to one side and lighter variegations on the other.

JANUARY 2022 - 43

44 - ASIAN ART SOCIETY

JANUARY 2022 - 45

46 - ASIAN ART SOCIETY

09

Konchog Bang

Tibet 18th century Ground mineral pigments on cloth 72 cm x 48 cm Provenance: Private UK collection Publication: Himalayan Art Resources (himalayanart. org), item no. 88593.

Price on request

Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

An important text narrated by the great Indian pandit Atisha explicating the essential practices of the early Kadam tradition of Tibetan Buddhism describes Konchog Bang as an Indian prince. Therein, Atisha describes his foremost disciple as an incarnation of the Great Compassionate One, Avalokiteshvara, and Kongchog Bang’s story is one of his previous lives.

After refusing to marry the wife his father selected for him, prince Kongchog Bang encounters a Buddhist saint in the sky before him who advises him to go to the land of Uddiyana where he will find the dakini Sangwa Yeshe and bring her home as his betrothed.

After a treacherous journey riddled with demons he must battle he finds the dakini in the company of Guru Vimala and thousands of other dakini. There, he learns he will be reincarnated as Tibetan King Songtsen Gampo and Sangwa Yeshe will take the form of his Chinese wife.

The Secret Wisdom dakini (labeled ‘Sangwa Yeshe’ in Tibetan) floats in the upper right corner of the composition and Guru Vimala (labeled ‘Lama Drima-med’) floats in the upper left holding a vajra and a bell. An inscription in Tibetan Ume script on the back of the painting makes reference to both figures: By the compassionate moon rays of Vimala Guru and Guhya Jnana, Nurturing the lily garden, Ripening the beings of the land of Uddiyana; To the One Lord Konchog Bang I pray! (translation by Jeff Watt) The present painting comes from a well-known thirteen-painting compositional design representing Dalai Lamas and their pre-incarnations. The original designs took the form of woodblock images which were likely created at Narthang, where the thirteenth century Kadam Legbam (the aforementioned source of Konchog Bang’s identity), which began as an oral teaching, was recorded by the ninth abbot Khenchen Nyima Gyeltsen (1225-1305). However, this painting is not only a display of that standard iconography, but of the careful hand of a seasoned thangka painter whose skill is apparent.

Compare the present painting to a nineteenth-century iteration of this composition in the Rubin Museum of Art (acc. C2006.66.332), which lacks the nuances of color and the capturing clouds displayed in the present composition.

JANUARY 2022 - 47

48 - ASIAN ART SOCIETY

JANUARY 2022 - 49

10

Śiva NaTarāja

Nepal Late 16th century Golden copper Height 26 cm Provenance: Private collection, France Price: 4.000 euros

Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com

The work represents Śiva dancing within a halo of flames, resting on a lotiform base. Dressed in a dhoti, a long cloth wrapped around her body, the deity is also adorned with numerous ornaments. The pose of the arms and legs is dancing. The left arm, in particular, is in the 'elephant trunk' posture, indicating her foot, where the devotee can kneel to receive divine grace.

This figure is identified as a representation of Śiva Naṭarāja, one of the five forms of the god. It is an epithet of Śiva who performs a cosmic dance, that of creation and destruction.

The flames symbolise the successive cosmic cycles. The posture is dynamic, graceful, revealing the effervescence of the dance. It seems to stand out from its ogive-shaped frame, characteristic of Himalayan art.

The work is richly ornamented, and is distinguished by its sense of detail, as well as the work executed by the craftsman on the metal. The remains of gilding adorn the piece with beautiful reflections, giving it a remarkable decorative aspect. Thus, this beautifully crafted piece does not fail to seduce the eye.

50 - ASIAN ART SOCIETY

11

White Tara

Nepal 18th century Gilded bronze (the figure in cast bronze, the base worked in the repoussé technique) Height: 22 cm Width: 18 cm Price: 9.500 euros

Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

Representations of Tara, a protective goddess whose key virtues are compassion and mercy, often combine spirituality and sensuality. They are recognisable by the flower held in her hand. This kind of sculpture is used as a focal point during meditation, and is generally placed in temples alongside its companion, the bodhisattva Avalokiteshvara, or Padmapani – literally, ‘he who holds a lotus’.

This beautiful bronze Tara is a product of the Kathmandu Valley, dating back to the 18th century. Sitting in the padmasana position, she is represented bestowing a benediction: her left hand is in surya mudra, while her right hand is held low and open towards the sky in vara mudra, offering a blessing. She is richly dressed and bejewelled, and her intricate headdress is decorated with floral motifs and large earrings. She is seated on a lotiform base and holds in her left palm the stem of a lotus that blooms into a flower by her shoulder, an iconography that is specific to representations of the White Tara.

Newar artists were renowned for their excellent mastery of bronze, and especially the lost wax technique. The artists from this region generally used a high volume of copper in their bronze alloy, resulting in the famous russet tone that is often visible on the backs of sculptures.

JANUARY 2022 - 51

52 - ASIAN ART SOCIETY

JANUARY 2022 - 53

54 - ASIAN ART SOCIETY

The majesty of Sūrya

12 Sūrya Head Bangladesh Gupta period 4-6th century Terracotta Height: 21 cm Provenance: French private collection Price: 15.000 euros

Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com

The god Sūrya, god of the Sun, is probably represented here. He wears a serene, subtle indolent expression, while his full lips seem to be smiling in a knowing way. Heavy eyelids fall over his almondshaped eyes, surmounting a straight, thin nose.

Despite the absence of some of its attributes, these features are characteristic of the representation of Sūrya during the Gupta period, as are the well-drawn curls that frame his round face. A richly ornamented diadem surmounts the god's head, giving him a majestic aura that was once underlined by a nimbus, which only a part has been preserved from the ravages of time. The left earring is also preserved, a testimony to the care given to ornamentation in the Gupta period.

The Golden Age of Indian Art The Gupta period is often referred to as the golden age of Indian art. The important development of art and literature, as well as the emergence of numerous regional workshops, gave rise to a taste for ornamentation, as well as for the refined character of representations. Terracotta became a material of choice for artists, as this head of Sūrya shows.

Terracotta was given a major decorative role, particularly in the ornamentation of temples and stupas, which were entirely covered with sculptures, pillars and lintels. Terracotta is used for both secular and mythological representations, and this work belongs to the second category, bearing witness to the know-how of Bangladeshi artists.

A witness to Gupta art In fact, Gupta art has often come down to us in religious form; this is probably due to the quality of execution and the particular care given to this type of work. This representation of the Sun God is a virtuoso demonstration of Gupta art and its codes of beauty. The softness of the features and their atypical elegance is characteristic of this period, as is the richness of the ornamentation and jewellery. The use of terracotta, which gradually declined thereafter (with the exception of the Bengal region), is also very characteristic of this period. The degree of preservation of this work should also be emphasised, despite the apparent fragility of the terracotta.

JANUARY 2022 - 55

56 - ASIAN ART SOCIETY

JANUARY 2022 - 57

58 - ASIAN ART SOCIETY

JANUARY 2022 - 59

13 A leaf from a Panchatantra Series (or ‘Panchakhyana’ Series) Mewar, India Circa 1725 Opaque watercolor heightened with gold on paper Image: 19 cm x 18 cm Folio: 33 cm x 26,5 cm Provenance: Private collection.

Bonhams New York, 11 September 2012, lot 124.

Christie’s New York, 27 September 2017, lot 251.

Price on request

Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

The Panchatantra is an ancient Indian collection of interrelated animal fables connected by a larger story. There is a version of the Panchatantra in almost every major language in India, as well as many adaptations from all around the world. This leaf comes from a Jain recension of the Panchatantra, called the Panchakhyana Series. These tales, largely following anthropomorphised animals, are meant to impart earthly wisdom on how to conduct one’s life.

The painting here is depicted in a continuous narrative in which successive episodes of the story are shown together in a single picture. The rural landscape, a vibrant yellow background split by a flowing river, contains three scenes. The first scene, on the left of the river, depicts an archer in red robes kneeling in wait with a resting bull. In the second scene to the right, the same archer is seen greeting two men in a bullock cart. The figure in orange is likely the protagonist of the narrative, while his companion holding the whip is the cart driver. Finally, in the lower register, the figure in the orange robe meets with another man, just as richly dressed as he.

The fact that he sits on a mat, while the other does not, signifies his rank and importance.

Compare the color palette, strokes, and figural profiles of this painting to those of another circa-1725 illustrated Panchatantra folio at the Los Angeles County Museum of Art (acc. M.90.160.2).

60 - ASIAN ART SOCIETY

14 A Maharishi on a Terrace Bikaner Circa 1700 Opaque watercolor heightened with gold on paper Image: 25,4 cm x 18,4 cm Folio: 30,5 cm x 23,5 cm Provenance: Private American collection Price on request

Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

This fine painting depicting an unidentifiable maharishi appears to be from the same set as circa-1700 Bikaner painting of Prithvisimha at worship; a promised gift to the Norton Simon Museum published in Pratapaditya Pal’s Painted Poems, Pasadena, 2004, p.

18-19, cat. 74. As stated by Pal: “The painting is executed clearly, in a markedly different style from the pictures generally attributed to Bikaner early in the century.

The pictorial touches evident in the handling of the internal space and the more realistic narrative strategies are derived ultimately from the Mughal tradition, which was introduced at the court, probably by Mughal-trained artists, during the reign of Karan Singh (1631-84). It was likely painted after the Karan Singh period” (see ibid). This stylistic approach is also reminiscent of that in the earlier Brahma and Narada paintings attributed to Bikaner, providing the possibility of an earlier date.

JANUARY 2022 - 61

62 - ASIAN ART SOCIETY

JANUARY 2022 - 63

15

MULTI STRAND TURQUOISE AND AGATE NECKLACE Burma Pyu dinasty 8th century Length: 18 inches per strand Provenance: Private German collection Price: 12.000 USD

Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

A multistrand necklace made from micro beads in turquoise, gold, carnelian and etched agate.

64 - ASIAN ART SOCIETY

16 Buddha Shakyamuni Bihar, Northeastern India Pala period 11th century Black basalt 68,6 cm x 36,3 cm x 16,5 cm Provenance: Private New York collection, since the 1990s.

Publication: Himalayan Art Resources (himalayanart.org), item no. 7676.

Price on request

Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

A small canopy surmounts this stele of the historical Buddha Shakyamuni donning a crown given to him by the buddhas of the ten directions. Floral motifs fill the upper third of this perfectly balanced composition: binding the beaded strands that comprise the buddha’s halo, decorating each of his ears and his crown, and stylized into triangular ornaments flanking his head.

Florets float on either side of a finely carved aureole which appears like a gathering of beaded garlands, naturally curved with the strands in rotation.

A bronze figure of Shakyamuni from Bihar, made in the early eleventh century, at the Metropolitan Museum of Art (acc. 1987.142.319) bears a close resemblance to the present sculpture in terms of iconographic interpretation and the Buddha’s physical proportions. The Sarnath-style diaphanous sanghati with a double hem and articulated undulations at either side as well as the bronze’s now-missing inlaid ornaments flanking the buddha’s head are patent stylistic similarities.

The present sculpture is carved in the black igneous rock of Northeastern India typically used in Pala-period stone sculpture. A close comparison of crowned Shakyamuni in a lighter gray basalt, featuring a cylindrical coronet with carved florette at the base of each crown petal, triangular floral elements on either side of the Buddha’s head and billowing ribbons beneath them, can be found at The Indian Museum in Kolkata (acc. 6574). The Kolkata example, however, is seated in the earth-touching posture. This standing image of the historical Buddha Shakyamuni possesses an engaging quality that the seated image does not, as he displays the abhayamudra or ‘gesture of fearlessness’ with his left hand.

JANUARY 2022 - 65

66 - ASIAN ART SOCIETY

17 Illustration to a Rasikapriya series: Krishna Enthroned Kangra, attributed to Purkhu, India Circa 1820 Opaque watercolor heightened with gold on paper Image: 25,7 cm x 17,2 cm Folio: 32,4 cm x 21,9 cm Provenance: Royal Mandi collection.

Private English collection.

Price on request

Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

The present painting depicts a sakhi conveying a message to Krishna from Radha, mediating between the two on some matter of love. Krishna sits against an orange bolster cushion on a celadon green throne. He wears a vibrant saffron jama and is adorned in jewels– on his head is his signature peacock feather crown.

In the background two lovebirds gaze at each other across the foliage which is interspersed with pointed cypresses–a symbol of Krishna’s passion for Radha. Storm clouds lined in gold descend on the scene, perhaps reflective of some turbulence forming between the fabled lovers. A line of black Braj Bhasa above reads “pat ini ko vachhan shri Krishna prati” (“conveying a message to Shri Krishna”), folio number ‘262’ in the upper left corner, the reverse with ‘10ll.’

The verso is inscribed with a verse from the Rasikapriya in alternating red and black script: Having loved her, why is it that you are involved with other women? Do not confuse brass with gold. Even if Saraswati teaches a crow, it cannot sing as sweetly as a cuckoo. Those who like a mango cannot be satisfied with a tamarind. Do desist from your misdemeanours. 12.29 (translation by Dr. Harsha Dehejia)

JANUARY 2022 - 67

68 - ASIAN ART SOCIETY

JANUARY 2022 - 69

18

Gilded and inlaid chanting fan from a senior monk

Burma Circa 1920 The frame is of carved teak wood and the body of the fan is of lacquered woven bamboo strips Width: 37 cm Height: 45 cm Weight: 1,336 g Provenance: Private UK collection Price: 2.900 euros

Object Presented by: Farah Massart M.: +32 495 289 100 E.: art@famarte.be W: www.famarte.com

This large fan from Burma is gilded and inlaid with glass backed with a foil of silver, in green and blue color. The shape is inspired by the simple palmleaf fans afforded to novice and less senior monks.

This is a ceremonial fan used by a senior monk while chanting or reciting prayers from memory during temple and monastic ceremonies. The fan was used to shield the face of the monk so that he could fully concentrate on reciting the chants. Similar fans used in Thailand tended to have a straight handle and were held upright. This type from Burma has a thick wavy handle to allow the weight of the fan to be held by the monk’s thigh.

70 - ASIAN ART SOCIETY

19 Exceptional Head of Buddha Thailand Ayutthaya period 15-16th century Bronze Height: 32 cm Provenance: Richard and Sabine de G., Lausanne, Switzerland Price: 23.000 euros

SOLD

Object Presented by: Farah Massart M.: +32 495 289 100 E.: art@famarte.be W: www.famarte.com

This outstanding large head of Buddha from the Ayutthaya Kingdom of central Thailand has elegant upswept eyes that reserve only a narrow opening for a downcast gaze.

Finely modeled with incised chin, bow-shaped mouth, the heavy-lidded eyes cast downward and gently arching brows, flanked by pendulous earlobes, the hair in tight snail-shell hair curls over the ushnisha.

The ears are pointing upwards. A very fine hairband in heartshape separates the hair from the forehead. Some remains of lacquer and gilding. Originally the eyes were filled with mother of pearl.

During the fourteenth through sixteenth centuries, Thailand's Ayutthaya kingdom became one of the most powerful forces on mainland Southeast Asia.

Continuing the artistic trajectory set forth under the Sukhothai, the Theravada polity sponsored the production of Buddha images fashioned in a new distinct style. The faces display a curvilinear contour with the hairline extending towards the sinuous browline accentuated by elongated ears flared at the upper and lower tips. The eyes, extending evenly across the width of the face, are three-quarters closed to endow the figure with a sense of serenity that is at once inwardly directed and also engaged with the world.

JANUARY 2022 - 71

72 - ASIAN ART SOCIETY

JANUARY 2022 - 73

74 - ASIAN ART SOCIETY

20

Seated Buddha on his throne

Thailand Chiang Saen period (14-16th century) Circa 15th century Gilt bronze with natural green patina Height: 25,5 cm Price: 22.500 euros

Object Presented by: Farah Massart M.: +32 495 289 100 E.: art@famarte.be W: www.famarte.com

A gentle bronze image of the Buddha, seated in virasana on a pedestal decorated with open work lotus flower design, characteristic of this period. His fingers are of equal lenght, not displaying the muscular body, the short neck and the full round face of the earlier classic images. His face with full lips and open eyes inlaid with mother-of-pearl is soft, meditative and serene. The chin is accentuated by an engraved round line.The conical usnisha is rising to an elegant flame finial. He wears a broad sash over his left shoulder and a robe that reaches to his ankles. The bronze is covered with a nice green patina and remains of gilding.

JANUARY 2022 - 75

76 - ASIAN ART SOCIETY

JANUARY 2022 - 77

78 - ASIAN ART SOCIETY

21

Figure of a female deity

Cambodia Angkor Vat period 12th century Tested by Ciram, dd 03/04/2013, n° 0313-OA-71R-1 Hard grey sandstone Height: 53,5 cm Provenance: Asian-African Museum Geneva 1980 (inventory No AMA-4958/2 is present on the back of the figure); written document which states the provenance is available Price: 26.500 euros

Object Presented by: Farah Massart M.: +32 495 289 100 E.: art@famarte.be W: www.famarte.com

This standing female deity is a classic example of Angkor Vat-style sculpture, produced during the 12thC. She has a very aristocratic face with a slight smile, full sensuous lips, open incised eyes and ridged brows. She is wearing a long pleated sampot with finely delineated folds, folded over at the waist and the lower edge of the central pleat opens into a rimmed fish-tail at the front, typical of the Angkor Vat style. The sampot is secured by a ornamented belt with pendants, hidden beneath the drapery fold in front, but clearly visible on the back.

She is fully adorned with armlets, a multi-strand necklace which follows the form of the breasts and bud shaped earrings. The finely carved diadem is tied at the back and surmounted by conical chignon cover.

The royal aristocratic presence with a sense of grandeur is typical for the Angkor Vat period. The intention was to overwhelm the viewer by the omnipresence of the deity.

JANUARY 2022 - 79

80 - ASIAN ART SOCIETY

JANUARY 2022 - 81

82 - ASIAN ART SOCIETY

JANUARY 2022 - 83

22

A GOLD AND DIAMOND RING Bali 19th century Diameter: 1,7 cm Weight: 8,1 gr Size: US6 Provenance: Markbreiter collection Price:

SOLD

Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

84 - ASIAN ART SOCIETY

JANUARY 2022 - 85

86 - ASIAN ART SOCIETY

JANUARY 2022 - 87

23 Ganesha East Java, Indonesia 11th - 12th century Bronze Height: 19 cm Price: 16.000 euros

Object Presented by: Pascassio Manfredi M.: + 33 (0) 642195423 E.: pascassiomanfredi@orange.fr W.: www.pascassio-manfredi.com

88 - ASIAN ART SOCIETY

JANUARY 2022 - 89

24 Saro dalinga Golden earrings Nias Indonesia 19th century or earlier 14 cm x 5 cm Price: 3.000 euros

Object Presented by: Pascassio Manfredi M.: + 33 (0) 642195423 E.: pascassiomanfredi@orange.fr W.: www.pascassio-manfredi.com

90 - ASIAN ART SOCIETY

JANUARY 2022 - 91

92 - ASIAN ART SOCIETY

25

A GOLD ALLOY MAMULI WITH PELICANS Sumba, Indonesia 19th century Height: 2 cm Provenance: Private German collection Price: 4.300 USD

Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

In the Lesser Sunda Islands, in eastern Indonesia, gift exchange forms a significant practice before marriage. Mamuli are beautifully crafted diamondshaped pendants that are important items of gift exchange during marriage ceremonies. They are given by the bride’s family to the groom’s. This one is decorated with a pair of rather curious looking pelicans. Mamuli are typically made from gold or gilded silver with granulated and braided wire decorations of highly intricate design that may feature animal or human figures. Some particularly old and valuable mamuli are considered family heirlooms and are rarely exchanged. Ordinary ones are passed down from generation to generation for each successive marriage.

JANUARY 2022 - 93

94 - ASIAN ART SOCIETY

JANUARY 2022 - 95

26

A GOLD MAMULI WITH STYLISED BOATS East Sumba, Indonesia 19th century Height 2 cm Provenance: Private German collection Price: 4.000 USD

Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

The mamuli shape is directly associated with fertility, but within the Sumbanese animistic belief system there is also the recognition of the dualistic nature of things.

96 - ASIAN ART SOCIETY

JANUARY 2022 - 97

27

Karamono utsushi hanakago

Flower basket in Chinese style Omori Chikuyusai Nagoya, Japan Dated: Shōwa 38 (1963) Madake bamboo & rattan 40,1 cm (h) x 21 cm x 16,2 cm Price on request

Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Shikibako, written by Matsuo Fusensai, Matsuo school Tea master, whose dates were 1899-1980. otoshi Written on the box Top: Shikibako (& otoshi) written by Matsuo Fusensai (1899-1980), Matsuo school Tea master Back: Karamono utsushi, tetsuki hanakago, Shokaken denrai o utsusu, Chikuyusai saku (This is made in Chinese style, copied from a collection at the Shokaken, made by Chikuyusai) A piece of paper on the side of the box: Chikuyusai saku, Sekido Shokaken denrai karamono utsushi tetsuki hanakago, Fusensai kakitsuke (This is made by Chikuunsai, copied from a collection at the Sekido Shokaken (1823-1900) collection, written by Fusensai)

There is little known about Omori Chikuyusai who was active in the Showa period, Nagoya. Some of his works date from the 1960s and authenticated by tea masters such as Matsuo Fusensai (1899-1980) and Kobori Sokei (1923-2011).

Similar hanakago in “Baskets: Masterpieces of Japanese Bamboo, 1850-2015 – The NAEJ Collection”

98 - ASIAN ART SOCIETY

JANUARY 2022 - 99

A gilt-bronze repoussé figure of Amida Buddha (Amitābha) in jō-in (meditation mudra) seated on a lotus base, with a wood stand

28 Amida Buddha Japan Nambokucho/Muromachi period 14th - 15th century Gilt bronze Height: 16 cm (figure) and 3 cm (Stand) Provenance: Collection Dr. Franz Haniel (18831965), then by decent via the family estate.

Price: 9.800 euros

Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com

This figure was originally mounted as a Kakebotoke (hanging Buddha), which are generally circular votive plaques symbolising mirrors which represent the sacred body of kami (Shinto deities).

They originate from the practice of Shinbutsu-shugo (syncretism of kami and buddhas) which was established in the Heian period. One of the few forms of Buddhist art unique to Japan, they can be found both at Shinto shrines and Buddhist temples and are presented as offerings to safeguard the compound and to ensure the prosperity of the Buddhist faith. In the Buddhist context they were hung from the eaves above the main entrance to an Image Hall, or above the frieze rail between the outer and inner sanctums of the shrine for the deity that protected the temple compound. They may also be used to represent hibutsu (hidden Buddha) which are not generally on show to the public.

Belief in Amida as Lord of the Western Paradise rose in popularity during the late 10th century. Based primarily on the concept of salvation through faith, it was not only a religion which appealed to a broad range of people, but also a direct assertion of piety against the dogmatic and esoteric ritual of the more traditional Tendai and Shingon sects. In Amida’s Western Paradise the faithful are reborn, to progress through various stages of increasing awareness until finally achieving complete enlightenment.

For examples of kakebotoke see: Anne Nishimura Morse et. Al. eds., Object as Insight, Japanese Buddhist Art and Ritual, Katonah Museum of Art, p. 46-47, pl. 9/10.

Nara National Museum, Bronze Sculpture of the Heian & Kamakura Periods (Special Exhibition), (Kyoto, 1976), p.

49-53 For more about kakebotoke and further examples, see Naniwada Toru, Nihon no bijutsu (Art of Japan), No. 284 Kyozo to Kakebotoke (Votive Buddhist mirrors and plaques), (Tokyo, 1990).

For details, visit http://japanesescreens.com/catalogue/religious-objects/7785/

100 - ASIAN ART SOCIETY

JANUARY 2022 - 101

102 - ASIAN ART SOCIETY

29 “Never Aging, Eternal Spring” (Furō chōshun)

Kiyomizu Rokubei V (1875-1959) and Yamada Kaidō (1870-1924). Stamped underneath with potter’s mark.

Signed on the bowl’s wall: Kaidō Comes with original, double-inscribed wooden box Bowl with Pine and Rose Decor Japan Taishō period 1919 Iron-oxide painting on stoneware with gohonde glaze Height: 8 cm Diameter: 18,6 cm Inv. No. 21.003 Price: 5.800 euros

Object Presented by: Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com

When speaking about Japanese pottery, Rokubei is possibly one of the most famous names within the Kyōto ceramic sphere. With over 240 years of history and currently working in its eight generation, the family were most influential in the development and survival of Kyō ware. One of the secrets of their success possibly lies in the continuous active involvement in Kyōto’s art circles.

All Rokubei potters were friendly with some of the most important artists of their time. Kiyomizu Rokubei V, born 1875, studied painting under Shijō master Konō Bairei (1844-1895) and later together with Takeuchi Seihō (18641942). As a potter, he apprenticed with his father, Rokubei IV (1848-1920), who is famous for his subtle collaboration works with Tomioka Tessai (1837-1924) and Kamisaka Sekka (1866-1942), as seen, for instance, in a bowl from 1910 with orchid and mushrooms by Rokubei IV and Tessai in the National Museum of Asian Art, Smithsonian (F2020.4.1a-g). Rokubei V successfully continued these collaborations and moved on to the following generation.

The bowl presented here was painted and inscribed by Tessai's talented student, Yamada Kaidō.

Kaidō, born in 1870 as Tomosaburō in Fukui prefecture, has been an influential figure in his own right. He was involved in the establishment of the Japan Literati Painting Institute (Nihon Nanga-in) together with Tajika Chikuson (18641922) and Ikeda Keisen (1863-1931) and known as one of the three famous painters from Fukui, called the “Three Dōs” (Fukui Sandō).

This bowl, used for serving sweets within the seventeenth-century Chinese-inspired tradition of brewing steeped tea, was named Furō chōshun, which can be literally translated as “Never aging, eternal spring.” The name refers to the two plants that are shown on the bowl: the pine tree, a symbol for longevity, and a white rose, known in Japan for its endless flowering throughout the year and which is therefor a symbol for devotion and long-lasting beauty.

In Ikebana, the Japanese art of flower arrangement, this unique combination of pine and white roses is used for New Year ceremonies and for welcoming the early spring.

In his inscription, Kaidō also describes a late afternoon on such a clear spring day when he painted the bowl in his studio under pine trees: “On a spring day in 1919, in my hut, protected by pines under dyed clouds.”

JANUARY 2022 - 103

104 - ASIAN ART SOCIETY

JANUARY 2022 - 105

106 - ASIAN ART SOCIETY

JANUARY 2022 - 107

30

Fukukai Hanakago

A Bountiful Sea Tanabe Chikuunsai II (1910-2000) Japan Showa 51 (1976) Shichiku (purple bamboo) 12 cm x 31,5 cm x 29 cm Provenance: Tomobako, otoshi and Shiori (a leaflet detailing Tanabe Chikuunsai II’s activities and achievements up to Showa 51) Furoshiki cloth with “Chikuunsai” seal Price on request

Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Tanabe Chikuunsai II was the son of Tanabe Chikuunsai I and was based in Osaka and Sakai. He was the second artist of the Tanabe dynasty to bear the name of Chikuunsai which means "bamboo cloud".He was famous for his Chinese-style baskets, sometimes called bunjin kago (the scholar basket). Until the middle of the 19th century, locally made baskets were not signed, probably to distinguish them from more expensive imported baskets.

On the death of Chikuunsai I, he assumed the name of Chiukunsai II. He changed his style, leaving the karamono baskets a bit heavy, for more open baskets such as In 1952 he received the Tokusen Prize and the Asakura at the Nitten's 8th Exhibition, and in 1959 he won the Osaka Prefecture Arts Prize, and in 1981 the Japanese government promoted him to 4th place in Zuiho. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the name of Ichikusai. Remained active as an advisor to the Nitten, Nihon Shin-kôgei Bijutsu Kyokai Association, and permanent director of the Osaka Kôgei Kyokai Association.

108 - ASIAN ART SOCIETY

JANUARY 2022 - 109

31

Gama (toad)

Signed Bunchō hitsu and Sealed Gagakusai Hanging scroll Japan Edo period 19th century ink on paper Scroll: 201 cm x 70 cm Painting: 119 cm x 50,5 cm Price: 2.800 euros

Tani Bunchō (1763-1840), gō (art names): Bun’ami, Gagakusai (lit. ‘painting-study-studio’), Ichijio, Muni, Shazanrō, Shōsō.

Bunchō was born into a samurai family in Edo (modern day Tokyo); the son of Tani Rokkoku (17291809), a well-known poet and vassal of Lord Tayasu, a descendant of the Tokugawa Shogunate.

Bunchō first studied Kanō painting under Katō Bunrei (1706-82) and Kitayama Kangan (1767-1801) before moving on to study nanga with Watanabe Gentai (1749-1822) and Kushiro Unsen (1758–1811).

He studied various styles including ukiyo-e and the Chinese school but is generally considered a nanga painter, although his work is wildly eclectic. He was also famous for his realistic portraits. Bunchō was one of the most important painters of his period with a tremendous influence on his contemporaries.

In some instances in Japanese legend and art gama (toads) and kaeru (frogs) are interchangeable. However, it is the long lived, terrestrial toad that is most closely associated with myth and magic.

Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com

Japanese legend tells of Gama Sennin, also known as Kosensei, a wise old man with a hunched body and a warty face who wanders the land with his toad companion, who teaches him the secret powers of herbs, including the secret of immortality. This tale is similar to a Chinese legend involving a wandering wise man called Liu Hai and his three-legged toad companion Ch'an Chu. The toad knows the secret of eternal life and, for his friendship reveals the secret to the wise man.

In many ancient Chinese tales and legends, the toad is a trickster and a magician, a master of escapes and spells; he is also the keeper of the real, powerful secrets of the world, such as the secret of immortality. It is such ascribed powers that undoubtedly led the Chinese, and later the Japanese, to associate the toad with Taoists who seek to develop these talents.

110 - ASIAN ART SOCIETY

JANUARY 2022 - 111

112 - ASIAN ART SOCIETY

JANUARY 2022 - 113

32

Hanakago (Flower basket) Suzuki Gengensai (1891-1950) Susudake smoked bamboo, Tomobako & otoshi 52 cm x 17 cm x 12 cm Price on request

Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Suzuki Gengensai came from a line of basketmakers and craft artists in the Kansai area and he was active between 1930 and 1950. Gengensai (also known as Gangansai) was deeply involved in tea ceremony, hence he was especially known for traditional Chinese style baskets for Sencha Chinese leaf tea ceremony. Perhaps he was more concentrated in that area than any other well-known Kansai basketmaker of his time.

114 - ASIAN ART SOCIETY

JANUARY 2022 - 115

33

Uroko-ami, Suehiro Hanakago

“Fish-scale” plaiting, “Expanding Prosperity”, flower basket Tanabe Chikuunsai II (1910-2000) Circa 1944-1955 Bamboo madake, rattan & urushi lacquer, Tomobako & otoshi 43,5 cm (h) x 16,5 cm x 16,5 cm Price on request

Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Similar hanakago in “Baskets: Masterpieces of Japanese Bamboo, 1850-2015 – The NAEJ Collection”

116 - ASIAN ART SOCIETY

JANUARY 2022 - 117