Asia Week, March 2012, by Epoch Times

MARCH 2012 • FREE

Expert Insight

Investing in Asian Art Asian Art Thrives in New York City The Secret Behind Traditional Art Event & Auction Guide With Map

We invite you to a special exhibition.

Masterpieces of Ancient Eurasian Gold, Silver & Textiles & Dreamstones by Dali's Masters

New York Spring Asia Week, March 16th - 24th, 2012 11:00am - 6:00pm The Fuller Building, 41 East 57th Street, Suite 1125, New York, NY 10022 Phone: 212-644-1103 - Email: info@tkasian.com

THE WORLD’S PREMIER DEALER IN SCIENTIFICALLY DOCUMENTED ASIAN ANTIQUITIES TKAA_EPOCH2012SPRINGASIAWEEK_REVISED_SPREAD.indd 1

TK ASIAN ANTIQUITIES Welcomes you to the year of the

Dragon!

The virtues of the year of the dragon are exemplified by this powerful gold torque with dynamic double dragons displaying exquisitely textured scales and details. This ancient masterpiece is of Scythian / Central Asian origin and dates from the 2nd Century BCE to the 1st Century CE.

New York 路 Virginia 路 China 855-266-9970 www.tkasian.com 3/10/2012 11:59:20 AM

INSIDE 5

Asian Art Thrives in New York City

Seeking antiquity in traditional Asian art

8 Influence & Inspiration

Korea’s place in Asian art history 10 The Secret Behind Traditional Art

The artist’s relationship between humanity and the divine

12 Investing & Collecting

Q&A with industry experts

Michael Teller, Jiyoung Koo, & Suneet Kapoor

17 Sneak Peek

A feast for the eyes 20 Auctions

A guide to the big auctions of the week 22 Events

A selection of events based

Details: Pair of Imperial Portrait Paintings 59 1/8” x 24 1/4” Shown at The Chicago World’s Fair, 1893

We look forward to seeing you at The Arts of Pacific Asia Show.

FINE JAPA NESE & ASIA N ART

March 21st - March 25th, 2012 Space G8 at The Market Suites at 7W New York 7 West 34th Street at 5th Avenue opposite the Empire State Building 917-623-2571

on traditional artworks

23 Map

Find galleries, auction houses,

and exhibitions

Cover Image Very rare and important massive gilt-bronze figure of Vairocana Ming Dynasty, 16th century. Seated in dhyansana on a large, separate gilt-bronze lotus base, with hands clasped in abhisekha mudra and the sole of each foot incised with the Wheel of Law and other auspicious emblems, wearing long, loose robes that fall in pleats and folds around the body and are open at the chest to reveal an incised wan emblem above the sash-tied dhoti, the broad face with a serene expression flanked by pendulous ears and ornate earrings, the hair in tight curls surrounding the usnisa which is obscured by a tall five-pointed crown cast in openwork with seated Buddhas on lotus bases and secured with tabs that trail down the shoulders, the crown with heavy encrustation, the figure retaining much of its original gilding 66¾ inches high overall.

Estimate: $2 million to $3 million. (Courtesy of Christie’s)

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Asian Art Thrives in New York City Seeking antiquity in traditional Asian art

By CHARLOTTE CUTHBERTSON Epoch Times Staff onfucius said: “I am not one who was born in the possession of knowledge; I am one who is fond of antiquity, and earnest in seeking it there.”

Collectors and curators of ancient art from Asia may find similar wisdom inherent in the artifacts created dur-

Two rare “famille rose” revolving brushpots, Qianlong mark and period, offered by Sotheby’s. Estimate: $80,000 to $120,000; and $120,000 to $150,000.

(Courtesy of Sotheby’s)

ing a time of reverence and devotion to Buddhas and other religious figures.

Asian art provides a glimpse into ancient civilizations, the changes in societies, and the heart of the craftsman. An ancient textile can outline the interactions and influence between neighboring nations. A painted Japanese screen gives insight into the journey Daoist Immortals took on their way to an important banquet. A golden

Buddha that once graced the halls of an Emperor will give away some secrets, but not all.

Through the years, admiration for Asian art has also carried political significance for Americans, wrote Warren I. Cohen in his 1992 publication “East Asian art and American culture: a study in international relations.”

Continued on page 6

ERIK THOMSEN GALLERY JADA_quarter1.pdf

3/7/12

Scenes from the Tale of Ise, Edo Period (1615 – 1868), 17th century, Japan Ink, mineral colors, gofun, gold and gold leaf on paper Detail from a two-panel folding screen · size: H 19 1/2” x W 57 1/2”

ASIA WEEK EXHIBITIONS: Japanese Paintings: Screens and Scrolls from the 17th through the 20th Centuries Gallery exhibition at 23 East 67th Street March 14 – April 27 JADA 2012: An Exhibition by the Japanese Art Dealers Association Ukrainian Institute, 2 East 79th Street March 2:28:09 PM 17 – 21, 2012

JADA 2012 march 17-21 ukrainian institute 2 east 79th street

Mika Gallery Erik Thomsen Asian Art C

M

Leighton R. Longhi Inc.

Y

CM

Sebastian Izzard LLC Asian Art

MY

CY

CMY

Koichi Yanagi Oriental Fine Arts

K

www.jada-ny.org Dedicated to the fine arts of pre-Modern Japan

A large 14th century Tibetan sculpture of Syamatara, a Buddhist goddess, offered by Bonhams. Pre-sale est. $150,000 to $200,000. (Courtesy of Bonhams) Continued from page 5 “In short, art collecting proved to be a significant form of intercultural relations, an important component of international history,” Cohen said of the period between 1784-1900.

“Americans might appreciate the beauty of Chinese and Japanese art, but they could not easily understand it before they acquired some knowledge of the larger culture of which it was a part.”

During the last half of the 19th century there was evidence of that cognizance occurring, Cohen wrote, when individual Americans and museums began collecting Chinese and Japanese artworks.

New York’s Uniqueness

Part of New York City’s place in history has been to tolerate and understand new cultures; to break down barriers and preserve what is at risk of being lost or destroyed.

To that end, the Asian art market in New York is one of the most important globally.

The city has been an important center for both auction houses and private dealers to be able to bring new material for new collectors, said James Lally of J.J. Lally & Co. Interest in collecting art has been high in New York for more than 150 years, said Steven Chait, vice president of Ralph M. Chait Galleries, Inc. “Some of the early big names— J.P. Morgan, the Rockefeller family,

Art collecting proved to be a significant form of intercultural relations, an important component of international history.

Warren I. Cohen

the Fricks, and others—looked to Europe as examples of high living. In manor homes they found beautiful porcelain, some works of art, along with furniture and old master paintings,” he said. “It filled a niche, people were interested, and it grew from that point.”

Chinese Art

In this century, geopolitical reasons influenced where, when, and how collectors were able to obtain Chinese art.

Most of the art exhibited in the United States has been coming out of China continuously, Chait said, but “a lot came out in the early 1900s and late 1800s with the collapse of the Chinese empire.”

China’s currency has never been a tradeable commodity—render-

SACRED SUTRAS AND PROFANE PLEDGES March 15th–24th 11-5pm

Blue and white quadrangular vase, decorated with scenes and calligraphy from the “Ode to the Red Cliff.” Kangxi mark and period, ca: late 17th century. Height: 20 1/4 inches. (Courtesy of I.M. Chait Galleries) ing artworks to be a most valued form of currency. When escaping China after communism seized power, many took with them any treasures they could carry.

Following the Great Leap Forward, the Cultural Revolution, and other mass attempts to wipe out traditional culture in China, most Chinese people lost their connection the value of ancient artifacts.

When the Chinese regime lifted the ban to buy, sell, or collect Chinese art in the late 1980s, people who were very knowledgeable and eager collectors through the 1930s were able to once again become active in the market, said Lally.

“It was a combination of giving freedom to participate to a highly sophisticated group of people who had a long, long tradition of collecting in their past, were suddenly allowed the freedom to collect and were given economic opportunities to give them the ability,” he said.

Today, China itself can still be a difficult place for collectors to navigate, due to the Chinese regime’s political control of art, the laws of the land, and the import-export laws, said Henry Howard-Sneyd, Sotheby’s vice chairman for Asian Art. “New York offers a marketplace that is markedly different than in China,” he said. “In New York, the collectors know they will be well-received.”

The New York marketplace today is changing, with the surge of buyers from the Chinese.

“The new Chinese buyers dominate the market during Asia Week—not for all Asian art—but only for Chinese art,” said Lally. The new Chinese buyers focus their buying power on porcelain and white jade, and certain other areas of interest, he said.

“American and European buyers remain very important actors in the art market and sometimes are more dominant in different segments of the market,” said Lally.

145 West 58th St., suite 6D New York, NY 10019 tel. 212.585.0474 info@scholten-japanese-art.com www.scholten-japanese-art.com

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Influence Inspiration Korea’s place in Asian art history

The interactions between Japan, Korea, and China have played out in the artworks in the region.

By TARA MacISAAC Epoch Times Staff Akin to a fine cup of tea, the fresh leaves of China were steeped in the hot water of Korean culture and the brew poured into the dainty cups of Japan.

Geographically poised between China and Japan, Korea has played both a linking and influential role as a stronghold of Buddhist culture in East Asia that can be seen in the artworks of all three countries. These countries have a long history of devotion to Buddhism, and until the arrival of communism in the region, many artworks referenced Buddhist practices.

Buddhism has a unique place in Asian history as the single shared experience of most of the continent, said Robert Turley, president of the Korean Art Society in New York and Korean Art and Antiques. “Nothing else has equaled the degree to which it has affected Asian history and culture. So great is its presence in Korea that it is impossible to discuss Korean history and culture without considering Buddhism.”

Korean Buddhism exerted tremendous influence on the development of early Japanese Buddhism and paved the way for the all-out dominance of Buddhism in Japanese culture and art of subsequent periods,

Eastern Influences RUSSIA

CHINA KOREA YELLOW SEA EAST CHINA SEA

SEA OF JAPAN

JAPAN

said Henrik Sorensen in a 2010 piece titled “Korean Buddhism in the Far East.”

Korean monarchs and members of the ruling class from the 6th to the 14th centuries were patrons of the Buddhist religion, said Youngsook Pak, in the paper “Buddhist Art in Korea.” “[They] supported the creation of artistic and ceremonial objects and the construction of the most famous Buddhist monasteries and pagodas in Korea,” Pak wrote. “Buddhism lost these influential patrons during the Joseon Dynasty (1392–1910), but thereafter gradually permeated among ordinary folk, a change that is reflected in the country’s Buddhist art.”

Buddhist art in Korea has a particularly feminine flavor.

The strict Confucian rule of the Chosun Dynasty (1392–1897) was antagonistic to women, who sought refuge in monasteries. Although Buddhist art was officially banned during that period, Koreans continued to commission Buddhist works.

Celadons, a type of pottery derived from China and refined in Korea, are the Koreans’ masterpiece. Korean potters invented the potter’s wheel and developed their own aesthetics, which then became influential in Japan.

The perfection of the celadon peaked during the Koryo Dynasty (918-1392); through their simple shape but distinctive blue-green glaze, they became most prestigious.

The true color of the glaze is similar to that when one looks into cracked ice, described Sebastian Izzard of Sebastian Izzard Asian Art, LLC. “This was obviously a really elegant culture, and these are very elegant pieces,” Izzard said in a previous interview. “The furniture would have all been rosewood and they’re all dressed in white—it would have been pretty elegant.”

A lot of missionaries went to Korea and came back with celadons as gifts.

Korean artists also took Chinese landscape painting and

“Dragon Amidst Clouds,” artist unknown 19th century, Joseon Dynasty, Korea. Painting alone: 38 ½ x 28 in (97.8 x 71.1 cm). In Korean lore, the dragon is revered as a magical creature of unsurpassed power and vitality. Unlike the menacing, fire-breathing dragons of Western culture, the dragons of Asia are often benevolent deities.

(Courtesy of Kang Collection)

In 1978, when Kang was 12, his mother brought together the first collection of Korean art in a New York gallery.

added their own style. They focused on depth rather than confining the attention to the foreground. A common theme in the nation’s art is the tiger, which represents vigor and chivalry.

The influence of Korean art on the Japanese can be a sensitive topic, especially when pieces of national pride for the Japanese are attributable to Koreans.

Japan colonized the Korean peninsula from 1910 to 1945, and Koreans were often treated with condescension.

Heritage and Influence

Peter Kang, assistant director of Kang Collection Korean Art on Manhattan’s Upper East Side, learned to appreciate his

Peter Kang in the gallery (The Epoch Times)

ancestral heritage through the influence of his mother, a pioneer of Korean art collecting in New York.

Keum Ja Kang came to the United States in 1963 on assignment for a Korean publication as a photojournalist. She never went home. Instead, she settled in New York and got a master’s degree in Asian art history at Columbia University.

In 1978, when Kang was 12, his mother brought together the first collection of Korean art in a New York gallery. Three years later, the Metropolitan Museum of Art displayed a collection of 5,000 years of Korean art, sparking interest in his mother’s gallery and an appreciation of Korean art in

THROCKMORTON FINE ART

Ratnaketu Tathagata, artist unknown 1806, Joseon Dynasty, Korea.

Ink and color on paper. Height: 60 in. Here, he is depicted standing on a cloud with two hands joined in front his chest in a gesture of prayer. (Courtesy of Kang Collection)

New York City.

Maybe “gallery” isn’t the right word, Kang corrected himself. Centuries-old chests were stacked up in their living room, a treasure trove of hideand-seek spots for him and his brother—though the history and artistry of the pieces were lost on the young Kang at the time.

“Koreans are not perfectionists like the Chinese. It’s those imperfections that make Korean art what it is,” said Kang. He poured some green tea out of a white ceramic pot and gestured to stoneware urns at the two far corners of his gallery.

In the unpolished nature of the pieces, Kang says, “You can see the human touch, the human hand,” invoking the mystique of the ceremonial urns, of a funerary ritual thousands of years ago, ancient hands placing the pieces at a burial site.

Korean Art During the Chosun Dynasty (1392–1897), the best way to transcend one’s class was through government exams—which would help sort the scholars from the soldiers. The elite scholarly status of government officials was much sought after.

Families would put up in their homes screens painted to look like full book shelves.

The uniquely Korean pieces were meant to inspire youth to study, divide rooms, stop drafts, and bring good fortune. Symbols of longevity, good fortune, and scholarship were also painted on the screens, such as pomegranates or inkstones.

LIANGZHU Late Neolithic Jades

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A carved rhinoceros horn cup depicting the Eight Immortals. From the Qing Dynasty, estimate $180,000 to $250,000. Offered by Sotheby’s.

(Courtesy of Sotheby’s)

The Secret Behind Traditional Art

The artist’s relationship between humanity and the divine

I want to help preserve and move forward the best part of human civilization.

By XIA LUO Epoch Times Staff Dynasties and nations are remembered as much for their grand feats in art as anything else. Ancient Asian art is imbued with a sense of reverence for the divine—a quality that comes from the artist themselves, says Professor Zhang Kunlun.

“If an artist has pure thoughts they can create a good piece and it has a good impact on people,” Zhang said. Today, he says, art has lost its way. Zhang is one of contemporary China’s

most accomplished sculptors.

He has served as director of the Sculpture Institute of the Shandong Art Institute of China and specializes in oil painting and Chinese painting, as well as sculpture.

His vision is to rekindle the purity that allowed artists of the past to flourish in their craftsmanship.

“Artworks have a very big influence on humankind, on people,” Zhang said. Art is the mirror of a society, while morality is the compass by which it takes direction, he said. “Human

morality can also influence art creation.”

“Art has to have its own law and balance, the right proportion, and good structure of the human body—and it must be beautiful,” he said. True art must have a good concept first and foremost. Exceptional technique follows, and good composition completes the fundamental requirements, Zhang says.

Many of the concepts chosen for ancient artworks were based on scenes of Gods and Buddhas, while the artists’ reverence for

their deity was the motivation for perfection.

Works of art emanate the meaning behind them, says Zhang. “People don’t believe bad things have bad results, and good things have good results anymore,” he said. “It’s the same with art. People don’t believe Gods and Buddhas exist, so they do anything they want.”

Half a century ago, Michelangelo spent his lifetime creating masterpieces devoted to his belief in God. Every stroke seems to carry his respect and yearning for heaven. Every

A heavenly maiden sculpted by Zhang Kunlun. (Courtesy of Zhang Kunlun)

KooNewYork’s Spring 2012 exhibition Portraits and Pantheons in Korean Art provides a rare opportunity to view extraordinary portraits of court officials, juxtaposed with images of Buddhist monks and deities from late Joseon Dynasty (1392-1910AD).

Portraits & Pantheons in Korean Art March 14th–24th, 2012 Professor Zhang Kunlun shares his wisdom on the relationship between the artist and spirituality. (The Epoch Times)

stroke emphasized a holy and pure mind and a renouncement of worldly attachments.

Monks used to spend their lives creating artworks that connected them to the divine, showing full devotion toward the heavenly scenes they created. Zhang does the same through Falun Gong, an ancient Buddhist practice that gives him the wisdom to revive the ways of the ancients within the modern world.

“Human society has its own

standards, but the universe has its own standards,” he said. “I want to help preserve and move forward the best part of human civilization.”

Zhang Kunlun is the recipient of many awards, and has participated in many exhibits in China and around the world.

He or his works appear in Who’s Who in the World, The Encyclopedia of Outstanding Chinese, and Collected Works of the World’s Sculpture, among other publications.

Exhibiting At Mark Murray Gallery 39 East 72nd Street, 5th Floor (at Madison Avenue) New York, NY 10021 Mon–Sun 10am–6pm Otherwise by appointment

917.744.5797

Opening Reception Tuesday, March 13th, 2012 6–8pm Artist Talk: Park Jihyun Friday, March 23rd, 2012 2–3pm

info@koonewyork.com

www.koonewyork.com

Collecting Investing

“If heaven is the way we saw it tonight, count me in!”

—Nathaniel Kahn, Emmy- and Academy Award-nominated filmmaker

Expert Insight: Michael Teller

M

ichael Teller, founder and president of TK Asian Antiquities, has handled thousands of ancient artifacts from China over the past 30 years. A leading authority on Chinese antiquities, Teller has developed comprehensive scientific research to authenticate and restore artifacts.

Below, Teller offers his insights to investors and those new to Asian art.

How would a new investor get started?

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The first thing would be to determine three things about the investors themselves.

One, how much money do they have to spend? Two, how long do they want to hold the investment? Three, whether it’s coming out of a cash flow situation over a period of time or out of an existing pool of money.

There are different ways to increase the value of what you have, even without a change in the market. You do that primarily by providing a provenance displayed at various museums, loaning it to a museum, having it published in catalogues, having articles written about it, some new science provided on it.

For example, we had one giltsilver bowl that we were offering in the gallery for $175,000 about a year and a half ago. We had it for almost half a year with some mild interest in it. But we had a student working on the history of the iconography and a few other things involved with the rather unusual pattern that was on the bowl. It turned out to be historically important [to do with the Elixir of Immortality] and the only other existing one, in worse condition, was a very important piece in a Chinese museum. We immediately raised the price to $475,000 and it sold immediately.

You try and get the best you can get—whether forming a collection or buying a single piece—in the price range you have available and to the style you are buying.

One of the things that’s very stable is when you get something that’s highly documented in terms of authenticity, in terms of publishing, and in terms of historical consequence.

For example, something made for a king or queen or emperor, by someone famous—you almost can’t do better than that.

Something of great historical consequence, undeniable authenticity, condition, and the rarity factor—all of these count.

But if you can throw in beauty along with it … you have an even broader market.

Something of great historical consequence, undeniable authenticity, condition, and the rarity factor— all of these count.

What is undervalued in your particular field?

There are certain art forms that become popular, or start a growth cycle, for geopolitical reasons.

Japanese art was a Western market, but now it’s taking off because Chinese buyers are involved.

The Dali Dreamstones—a millennia-old art form using natural marble in a remote area in Yunnan Province. This is what the nobility searched for, for over a thousand years.

Even the lowest level of material was what they used to build the steps to the Forbidden City.

The actual art found that’s done in dreamstone work

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requires a certain type of intuition that only a few talented people have; it’s not a skill you can learn, it’s a talent.

This was basically an art form that was lost in the 20th century because of World War II, then the civil war after that, then the Cultural Revolution. Almost all the scholarship was lost and almost all of the major pieces were destroyed.

Those pieces are absolutely breathtaking, visceral, emotionally evocative, visually pleasing.

It’s an art form that about 150 people in the world are trying to preserve, but there are only about 12 masters left.

Prices have gone up 60-70 percent this year. You can buy [dreamstones] from under $1,000 now and one or two have sold for over $1 million.

Generally in the $1,500 to $50,000 range, you can get some of the best pieces in the world from the world’s leading masters.

How stable is Asian art as an investment? Has the Asian buyer had an impact—coming into the market to buy?

From 1929 to 1986—including going through the wars—internationally, the fastest growing and most stable of all international investments was Chinese art.

In the earlier years China was not a buyer at all. [Traditional art] was representative of the anti-revolutionary forces—it was representative of dynastic China—therefore it was evil. The Bronze collection in the Shanghai museum was in the foundry ready to be melted down.

Without any contribution from China, Asian art was the most stable of all investments.

Now, we have to add to that equation the behemoth that is China right now, becoming the single major buyer of that art.

How do you vet items?

This is one of our quests, our missions, as a business in this profession. We’re the only dealers in the world that have a laboratory on the premises of state-of-the-art equipment.

Authenticity has to be done with a combination of connoisseurship and science. Most everyone that sells it, they give you a time frame for how long the authenticity lasts.

Go to a place that will give you a guarantee, period. And preferably one that has some scientific basis for what they say.

We have a 100 percent guarantee—it’s the ethical thing to do.

I would say, get your documentation, get a guarantee, and

A very rare glazed figural pillow from the Northern Song/ Yuan Dynasty, 12th–14th century, offered by Christie’s.

Estimate: $25,000 to $35,000.

(Courtesy of Christie’s)

then don’t worry about it too much.

What are the pitfalls for new investors to watch out for?

Buy the very best you can buy, but get a guarantee.

One of the things that’s happened so much, it’s probably 80 to 90 percent of what’s on the market today in Tang Dynasty sculpture is where they’ve taken the fired bricks from the tombs and then cut them up and recarve them into forms to put fantastic new details on things.

If you X-ray it you will see it’s a bunch of re-carved plaques put together with straight cutlines.

Buyer should beware, but it’s very straightforward. Most of the tests can be done fairly quickly and are relatively inexpensive—less than $1,000 for everything. They’re all worth doing. Especially if it’s an investment, and one of consequence.

Where do you see the market going in the next five years?

I would say we’re looking particularly at things that are at the higher end.

You’re looking at very strong growth.

Asian art has always been huge in the Western world but now you have a market that’s more than doubled. And it’s probably going to double again within that period you’re talking about. And certain fields will go even more.

In five years I would think the dreamstones would go up between 300 and 1,000 percent.

And things like the ancient gold and silver artifacts, whether they’re Central Asian, Southeast Asian, or Chinese—but particularly Chinese—any of those sources will be particularly strong.

Michael C. Teller IV, founder and president of TK Asian Antiquities (Courtesy of TK Asian Antiquities)

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Collecting Investing

Expert Insight: Jiyoung Koo

A

lover of beauty and Korean art, Jiyoung Koo resonates with collectors of fine art. Her expertise and “client comes first” approach has cemented Koo as a go-to person for curators and collectors.

She does not promote a strictly investing perspective with fine art, but, she says, “I do strongly feel that art has and continues to retain value, so in that sense may be considered ‘investment-worthy.’”

Akin to monetary investments, the art market is prone to fluctuations—sometimes dramatic ones. An important question to bear in mind is: How would you feel if the cash value for the work decreases?

“Investing really is not for everyone, since it’s not without risk if one’s primary goal is to make a profit monetarily within a short, prescribed time period,” Koo said.

Jiyoung Koo has 21 years of experience, expertise, and insight working in Asian art, at Sotheby’s for 10 years and as a dealer at Koo New York for another 11 years— and counting. Below, she offers her insights to investors and those new to Asian art.

How would a new investor get started?

By defining the interest subject clearly, then studying it, researching it, and seeing it firsthand as much as possible.

One should visit as many as possible of the following: galleries, museum exhibitions, and auction sales rooms. Each of these venues provides insight into quality works and opportunities to meet experts and read their writings on the works.

In particular, sales rooms, and some galleries and dealers, allow for object handling as well as critical training for the (collector) investor’s eyes.

Speaking with the vast array of specialists will allow one to determine who is truly a recognized, well-respected expert by peers in the field.

Simultaneously, one must be global in perspective and

Important Blue and White Porcelain Jar With Dragons and Tigers

keep up with external events, especially economic, and flow in various regions.

Look for art where there is sufficient supply and demand in the past, present and foreseeable future (the last being the most critical for an investor).

What is undervalued in your particular field?

In the Western market for Korean antiques of high quality, works are far less available as compared to works from China, India, and Japan due to collecting habits of previous generations, wartime destruction of artwork, and legal availability of works outside Korea.

Those external factors, aside from the myriad factors related to the actual artwork itself— authenticity, quality, condition, etc.—are also important to buying and selling practicalities.

In my particular field of specialty, Korean art—antiques

It goes without saying that authenticity is naturally of foremost importance. through contemporary—I think contemporary ceramics are undervalued, as well as some women artists active today.”

How stable is Asian art as an investment?

Asian art can be “volatile” just as with all things, like financial investments or cultural trends. Ever-increasing prices for works in certain fields will not or cannot continue

Joseon Dynasty (18th century).

Decorated with the rare combination of confronted dragons and tigers framed by two flaming jewels and scalloped clouds within a wide panel occupying the upper half of the jar, the lower body painted with four auspicious-character roundels representing longevity, good fortune, well-being, and peace separated by attenuated clouds within narrow line borders, the short neck painted with foliate scroll between blue lines; the jar of ovoid form with broad shoulders sloping inward toward the foot, the unusually expressive painting rendered in underglaze cobalt blue in controlled lines of medium and deep blue and even washes below a transparent overglaze of conspicuous smoothness and sheen. (Courtesy of Christie’s) 13½in. (34.1cm.) high.

Price: Estimate on request.

indefinitely on the upward trajectory.

Timing and expertise is everything. For example, after 2000, Chinese contemporary art rose immensely and quickly with prices leapfrogging multiple times within months.

Another example would be modern and contemporary Indian art.

Prices for blue-chip artists remain in demand whilst other works have stabilized in acceptable ranges that the international market has set.

Internet, online bidding, and expanded travel to and from Asia by Western- and Asianbased resident investors make any market global. One can’t forget this.

How do you vet items?

It goes without saying that authenticity is naturally of foremost importance.

For a collector, I strongly believe one should buy what/ who one likes. But, for an investor-type mindset, I would recommend that one must keep to the direction/goal one sets.

An investor should not forget the following—will what one buy be strong in the secondary market when it is time to sell?

Supply and demand and trends in collecting will determine what the price will be, but one can work toward better grounding if one learns about the field one will concentrate on.

What are the pitfalls should new investors watch out for?

Being caught up too early to purchase competitively without proper advice, knowledge, and training. One can’t be over eager. Patience is needed in the internationally competitive market one must engage and compete with. One needs guidance. Securing and trusting the advice of the right person is key, as that advisor needs to have good eyes, reputation, etc.

What’s new and exciting?

The re-examinations of early modern periods of

Jiyoung Koo, owner/principal of KooNewYork.

(Courtesy of Jiyoung Koo) artistic production throughout Asian art, ranging from India to China to Korea to Japan, for example. The 1850s through 1950s hold many works that one can start to study and invest in for the future.

In the 1970s and 1980s, for instance, 1750s-to-1850s Chinese Imperial wares were quite affordable and now are exceptionally high priced as seen in major and minor auction houses.

Where do you see the market going in the next five years?

The next five years should see the continued rise in the Chinese and Indian art fields—both antique and contemporary.

One can see blue-chip contemporary Chinese art had a leveling of price from 2000 to now. However, the antique market continues to rise. For Korean art, the blue chip artists and exceptional masterpieces will hold value and should continue to rise due to supplies, especially in the West.

Has the Asian buyer had an impact—coming into the market to buy?

Absolutely. China- and India-based investors

One must be global in perspective and keep up with external events, especially economic, and flow in various regions.

have increased the upward volatility in the last five-plus years. Much akin to how Japan- and Korea-based collectors impacted the 1990s market for these respective regions’ works, the Indian and Chinese art markets are undergoing a similar market adjustment.

S E R E N E G L A Z E S, ELEGANT FORMS A Select Exhibition of Early Chinese Ceramics

Rare Cizhou stoneware meiping vase, with ‘sgraffiato’-carved white glaze China, Northern Song dynasty (960—1127 CE), 11 ½ inches (29.2 cm) Exceptional Pair of finely carved and painted pottery ‘Fat Ladies’ China, Tang dynasty (618—907 CE), 21 7/ 8 inches (55.5 cm)

3 East 66th Street, #2B, New York, NY 10065 646 524 6808 (PH/FX) jyang@courageandjoy.com

MARCH 16–30TH, 2012. 10 AM–6PM; OTHERWISE BY APPOINTMENT

16

Collecting Investing

Expert Insight: Suneet Kapoor I Classical Indian ndian and Himalayan arts are close to Suneet Kapoor’s heart. He is the latest generation of Kapoors to specialize in museum-quality Indian miniature paintings and Himalayan statuary.

Kapoor Galleries is a family business founded in 1975 by Ramesh and Urmil Kapoor.

After studying Indian art at the School of Oriental and African Studies, Suneet is carrying on the family tradition.

Below, he offers his insights to investors and those new to Asian art.

How would a new investor get started?

Visit galleries, museums, and talk to experts in their respective fields. As with anything, one should invest time and energy before taking the plunge and beginning collecting of any sort.

Luckily, there will be many experts in various fields of Asian art on hand during Asia Week New York, as well as the breadth of expertise available at the numerous highly renowned cultural institutions in the area.

What is an example of a piece of art and a price you would recommend?

I would recommend a lovely Indian miniature from the Pahari Hills, created in the 18th century, as these are becoming harder to find and exemplify the zenith of Indian miniature painting.

Price of course depends on the quality, condition, and rarity of the work; that is, is it from a rare loose-leaf manuscript or from a series of paintings which were widely dispersed in the art market?

We focus on the classical and ancient arts of India, Nepal, and Tibet. The overwhelming majority of works from our specialty are done by anonymous artists.

What is undervalued in your particular field?

Classical Indian art has been and continues to be greatly undervalued compared to other classical Asian arts.

However, in recent years, the market prices have risen due to new collectors in the field as well as the difficulty specialists have in sourcing good-quality works with exceptional provenance.

art has been and continues to be greatly undervalued compared to other classical Asian arts.

How stable is Asian art as an investment?

Asian art as an investment is a wonderful complement to a well-diversified portfolio of investments. I suggest that one purchase works from a wellrespected specialist in their field of choice, judging the artwork both on importance and beauty.

As I say, buy what you love and you shall never regret the purchase.

Given our gallery’s experience over the last 37 years operating in New York, we have seen prices rise steadily, whereas certain other sectors have seen “speculators or investors” artificially inflate the pricing struc-

ture; and consequently when the financial markets tumble, these speculators are the first to abandon this portion of their portfolio and at times cause a drop in the respective market.

How do you vet items?

We rely on our experience. Kapoor Galleries Inc., founded by Ramesh Kapoor, who is still actively involved in each work, has been a leader in the field of Indian art for over 50 years, having operated a gallery in New Delhi from the mid 1960s until 1975 when he emigrated to New York and founded Kapoor Galleries in March 1975.

Based on these invaluable years of experience, we vet items based on their quality of work, rarity of subject matter, condition, and overall aesthetic beauty.

What are the pitfalls for new investors to watch out for?

New or young collectors need to be mindful that they are dealing with reputable and knowledgeable specialists, who have developed their expertise and can help them build a collection which represents their taste.

What’s new and exciting?

It has been a very exciting year for Indian miniatures, specifically the Reitberg/Metropolitan shows, along with some landmark sales of distinguished private collections, such as the Stuart Cary Welch collection last May. These grand exhibitions, in coordination with exquisite material available to the collecting community after such a long time has heightened interest

Suneet Kapoor (L) and his father Ramesh from Kapoor Galleries, Inc. (Courtesy of Suneet Kapoor)

from seasoned collectors, museums, specialists, and intrigued new collectors to the field of Indian painting as well.

Where do you see the market going in the next five years?

A focus on higher quality works continues to be the trend, and I see this only developing further in the future.

“Younger” collectors continue to develop their eye, focusing on more important and rare works.

Has the Asian buyer had an impact—coming into the market to buy?

In our field, both the Chinese and Indian affluent collector has had an impact. As our field caters to both realms, via the focus on Indian and Himalayan arts, we have seen collectors, curators, and dealers from China and India in New York for the last five to six years.

The Chinese have been very aggressively buying works of Imperial manufacture, as well as important Himalayan bronzes from both private galleries and auction salesrooms.

The Indian collecting community has focused primarily on modern and contemporary art from South Asia; however, there has been a steady “crossover” to classical Indian art, both painted and sculptural works from a small select group of discerning collectors.

A highly important copper alloy group of Shiva and Parvati: Somaskandamurti from South India, Chola Period.

Estimate: 600,000 - 800,000 USD (Courtesy of Sothebys)

17

A finely chased Song Dynasty (960-1279) openwork gold twin fish pendant made in the shape of a stylized lotus petal.

(Courtesy of J.J. Lally & Co.)

Earthenware jar from the Yayoi Period (ca. 300 B.C. to A.D. 300), offered by JADA member Mika Gallery. (Courtesy of Mika Gallery)

An imperial gilt-bronze archaistic temple bell (bianzhong). Kangxi mark and period, (1715), offered by Sotheby’s. Estimate: $500,000 to $700,000 (Courtesy of Sotheby’s)

Sneak Peek

Journey through splendid treasures of traditional Asian art. Artwork will be showcased at auctions and galleries during Asia Week New York 2012, from March 16 to 24.

“Scenes From the Tale of Genji” (detail). Ink, mineral colors, and gold on paper with gold leaf. Edo Period, 17th century, offered by JADA member Erik Thomsen Asian Art. (Courtesy of Erik Thomsen Asian Art)

An 11-foot-wide painted Japanese screen, anonymous (19th century), “Daoist Immortals on Their Way to Xiwangmu’s Banquet,” ink, color, and gold on silk. Offered by Christie’s.

Estimate $60,000 to $80,000. (Courtesy of Christie’s)

Carved detail of pot, shown in a continuous scene.

A superbly carved Chinese spinach jade brush-pot, offered by I.M. Chait. Estimate: $40,000 to $60,000. (Courtesy of I.M. Chait)

19

A silvery bronze octalobed mirror with cranes from the Tang Dynasty (618–907), offered by Christie’s. Shown at actual size of 8 1/8 inches wide. Estimate: $100,000 to $150,000. (Courtesy of Christie’s)

Detail of one crane

Detail of the mountain scene

Asia Week MONDAY, MARCH 19

Tuesday Continued

BONHAMS

Fine Japanese Works of Art Auction: 1 p.m.

Viewing: March 16: 10-5 p.m., March 17: 12-5 p.m., March 18: 12-5 p.m., March 19: 10-5 p.m.

Indian, Himalayan, and Southeast Asian Art Auction: 2 p.m.

Viewing: March 16: 10 – 5 p.m., March 17: 12 – 5 p.m., March 18: 12 – 5 p.m.

SOTHEBY’S Modern and Contemporary South Asian Art Auction: 10 a.m.

Viewing: March 16: 10 – 5 p.m., March 17 & 18: 10 – 6 p.m.

DOYLE NEW YORK Asian Works of Art Auction: 10 a.m.

Viewing: March 16: 10 – 5 p.m., March 17: 10 – 5 p.m., March 18: 12-5 p.m.

TUESDAY, MARCH 20 BONHAMS Fine Chinese Snuff Bottles Auction: 10 a.m.

Viewing: March 16: 10 - 5 p.m., March 17: 12-5 p.m., March 18: 12 – 5 p.m., March 19: 10-5 p.m.

CHRISTIE’S The Doris Wiener Collection Auction: 10 a.m. & 2 p.m.

Viewing: March 16-20: 10-5 p.m., March 18: 1-5 p.m.

SOTHEBY’S Fine Chinese Ceramics and Works of Art Auction: 10 a.m. & 2 p.m.

Viewing: March 16 & 19 10-5 p.m., March 17 & 18 10-6 p.m.

I.M. CHAIT Chinese Ceramics & Asian Works of Art Auction: 2 p.m.

Viewing: March 16 to 20, 10 a.m to 6 p.m. and March 21, 10 a.m. until auction start or by appointment.

The Epoch Times Difference Freedom of the press and humanity are the foundation of The Epoch Times; our beginnings hailed from a great need to provide uncensored news to a people immersed in propaganda and censorship in China.

Having witnessed events like Tiananmen Square and the persecution of the spiritual group Falun Gong, and at a great risk to themselves and their loved ones, a group of Chinese-Americans started publishing The Epoch Times in the Chinese language in the United States Some reporters in China were jailed, and some suffered severe torture.

Integrity and truthfulness in reporting, together with the stories that really matter, are fundamental to The Epoch Times. The first English edition launched online in 2003 followed by print in 2004. Our beginnings have instilled in The Epoch Times staff an unwavering commitment to objective reporting and socially responsible business practices, as well as respect for human rights and freedom.

Visit us online at www.TheEpochTimes.com

Chinese Black Pigment Painted Ivory Snuff Bottle, offered by Doyle New York.

19th century. Height overall 4 3/8 inches.

Estimate: $1,200–1,800.

(Courtesy of Doyle New York)

Chinese Red Pigment Pa offered by Doyle New Y Late 19th century. Heigh Estimate: $1,200-1,800.

(Courtesy of Doyle New

Auctions WEDNESDAY, MARCH 21

Thursday Continued

CHRISTIE’S

Luminous Perfection: Fine Chinese Mirrors from the Robert H. Ellsworth Collection Auction: 2 p.m.

Viewing: March 16-21: 10-5 p.m., March 18: 1-5 p.m.

South Asian Modern & Contemporary Art Auction: 10 a.m.

Viewing: March 16-20: 10-5 p.m., March 18: 1-5 p.m.

Indian and Southeast Asian Art Auction: 2 p.m.

Viewing: March 16-20: 10-5 p.m., March 18: 1-5 p.m.

Japanese and Korean Art Auction: 2 p.m.

Viewing: March 16-20: 10-5 p.m., March 18: 1-5 p.m.

SOTHEBY’S Indian and Southeast Asian Works of Art Auction: 10 a.m.

Viewing: March 16-20 10-5 p.m., March 17 & 18 10-6 p.m.

THURSDAY, MARCH 22 CHRISTIE’S Auspicious Treasures for Scholars & Emperors: Selections From the Robert H. Blumenfield Collection Auction: 10 a.m.

Viewing: March 16-21: 10-5 p.m., March 18: 1-5 p.m.

ainted Ivory Snuff Bottle, York. ht overall 4 1/8 inches.

w York)

Fine Chinese Ceramics & Works of Art (Parts I & II) Auction: 3 p.m. & March 23: 10 a.m.-2 p.m.

Viewing: March 16-21: 10-5 p.m., March 18: 1-5 p.m.

SOTHEBY’S Fine Classical Chinese Paintings Auction: 10 a.m. & 2 p.m.

Viewing: March 16 & 21: 10-5 p.m., March 17 & 18: 10-6 p.m.

ONLINE AUCTION iGAVEL Asian, Ancient and Ethnographic Works of Art Preview of exhibition: March 16-20: 10-4 p.m. & by appointment www.iGavelAuctions.com

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Chinese Polychrome Pigment Painted Ivory Snuff Bottle, offered by Doyle New York.

Late 19th century. Height overall 4 inches.

Estimate: $1,200–1,800.

(Courtesy of Doyle New York)

212.239.2808 ext. 112

Asia Week Event Highlights Friday, March 16

Saturday, March 17

39 Korean Traditional “Nubi” Workshop Newark Museum 10 a.m.–5 p.m.

With artist Kim Haeja. Traditional Korean quilting, nubi, a revered ancient sewing method and treasured expression of Korean cultural heritage, is deeply rooted in both practicality and the aesthetic beauty of simplicity.

40 Symposium: “The Dragon and the Chrysanthemum: Collecting Chinese and Japanese Art in America from the 18th to the 21st Century” The Frick Collection 10:15 a.m.–1 p.m. & 2:30–6 p.m.

Topics discussed will range from the China Trade, passionate Gilded Age collectors, dealers such as C. T. Loo and Joseph Duveen, and shifting trends of collecting Chinese and Japanese art after World War II. 41 Special Sale Event: Scholars’ Rocks from the Collection of Kemin Hu, AsiaStore, Asia Society 12:30–4 p.m.

Personal appearance by Kemin Hu Naturally formed stones in surprising shapes and textures, these scholars’ rocks offered a point of focus for contemplation prior to writing poems or painting.

41 Lecture and Reception: “In Honor of Doris Wiener” Asia Society 4 p.m.

With Vidya Dehejia

36 Lecture: Masters of the Ming and Qing: Chinese Paintings and Calligraphy at Sotheby’s 4 p.m.

With Arnold Chang 36 Lecture: Sotheby’s The Ramayana: An Essential Part of Collecting Indian Miniatures 5 p.m.

With Dr. Catherine Glynn Benkaim in association with publisher Éditions Diane de Selliers to celebrate the launch of Valmiki's "Ramayana," illustrated with Indian miniatures from the 16th to the 19th century.

Tuesday, March 20 45 Lecture and Book Signing: Things Chinese: Antiques, Crafts and Collectibles, China Institute 6:30–8pm With Ronald G. Knapp

Sunday, March 18 41 Symposium: “The Future of the Past–Collecting Ancient Art in the 21st Century, Asia Society” 10 a.m.–noon Presented by Asia Society & The American Committee for Cultural Policy Museum directors and curators and leading collectors and dealers will discuss how specific current situations illuminate and give direction to cultural property policy as a whole.

Monday, March 19

42 Lecture: “Making Madurai: Temple Arts in Early Modern South India” The Metropolitan Museum, Bonnie J. Sacerdote Lecture Hall 6 p.m.

With Crispin Branfoot The ancient city of Madurai seen today owes a great deal to the Nayakas, who ruled over the far south of India for two centuries until 1736. Examine the architecture, sculpture, and painting of this period.

41 Performance: Javanese Wayang Kulit ShadowPuppet Theater of Indonesia, Asia Society 8 p.m.

Performed by Purbo Asmoro, “dhalang.” Accompanied by full Javanese Gamelan Orchestra.

Javanese wayang kulit, or traditional shadowpuppet theater, is one of the world’s great theatrical traditions. This three-hour performance will include an informal atmosphere allowing audiences to move around and see the performance from both sides of the “kelir” or shadow screen.

Tickets: www.asiasociety.org

48 Gala Benefit and Dinner: Asia Society Celebration of Asia Week The Plaza Hotel Fifth Ave. at Central Park South 6:30–11 p.m.

The evening includes an elegant dinner in the Grand Ballroom, dancing, and the presentation of Asia Society’s Distinguished Collector Award.

Tickets: www.asiasociety.org/asiaweekbenefit

Tuesday, March 20 43 Gallery Tours and Talk with Curators: Rubin Museum 5–8 p.m.

Curator-led tours of "Masterworks: Jewels of the Collection and Casting the Divine: Sculptures of the Nyingjei Lam Collection"; plans for future exhibitions with Chief Curator Jan Van Alphen.

46 Preview opening: Arts of Pacific Asia Show 6–10 p.m.

The Market Suites at 7W New York Tickets: www.newyorkartsofpacificasiashow.com

An elaborate openwork and repoussé-decorated Buddhist stupa-form Reliquary, formerly in the collection of J.T. Tai, which bears a dedicatory inscription including a Chinese reign date corresponding to A.D. 986.

(Courtesy of J.J. Lally & Co.)

A buff sandstone figure of Salabhanjika, India, Madhya Pradesh, Khajuraho, 11th century. Offered by Christie’s. Estimate: $250,000 to $350,000. (Courtesy of Christie’s)

Wednesday, March 21 46 Arts of Pacific Asia Show Wednesday–Saturday, 11 a.m.–7 p.m.

Sunday, 11 a.m.–5 p.m.

Through March 25

Thursday, March 22 47 Gallery talk Brooklyn Museum* 2 p.m.

Curator of Asian Art Joan Cummins leads a free tour of highlights from the Museum's collection of Asian Art.

Asia Week Around the City DEALERS 1. Arnold Lieberman 311 East 72nd St., Suite 6F 2. Carlo Cristi Arader Galleries 1016 Madison Ave., 4th Floor 3. Carlton Rochell Asian Art 121 East 71st St., 2nd Floor

5. China 2000 Fine Art 434A East 75th St.

9. Erik Thomsen 23 East 67th St., 4th Floor

13. J. J. Lally & Co. 41 East 57th St., 14th Floor

6. The Chinese Porcelain Company 475 Park Avenue at 58th St.

10. Francesca Galloway Leslie Feely Fine Art 33 East 68th St., 5th Floor

14. Joan B. Mirviss, Ltd 39 East 78th St., 4th Floor

7. Dai Ichi Arts, Ltd Hollis Taggart Galleries 958 Madison Ave., 3rd Floor

11. Galerie Christian Deydier Friedman Vallois LLC 27 East 67th St.

8. Dalton Somaré Pace Gallery 32 East 57th St., 7th Floor

4. Chambers Fine Art 522 West 19th St.*

23

15. Joe-Hynn Yang, Courage & Joy, Inc. 3 East 66th St., 2B

12. Hiroshi Yanagi Oriental Art Arader Galleries 1016 Madison Ave., 2nd Floor

16. John Eskenazi Ltd Adam Williams Fine Art & Moretti Gallery 24 East 80th St.

17. John Siudmak Asian Art C.G. Boerner Gallery 23 East 73rd St. 18. Jonathan Tucker Antonia Tozer Arader Galleries 1016 Madison Ave., 3rd Floor 19. Kaikodo 74 East 79th St., Suite 14B 20. Kang Collection Korean Art 9 East 82nd St., Suite 3A 21. Kapoor Galleries 1015 Madison Ave.

90 89

22. KooNewYork Mark Murray Gallery 39 East 72nd St., 5th Floor

88

37

87 86

86 st

23. Littleton & Hennessy Asian Art 724 Fifth Ave., 4th Floor

CENTRAL PARK WEST

19 2 14 27 18 21 32

79

YORK AVE.

1ST AVE.

80

2RD AVE.

81

3RD AVE.

24

82

LEXINGTON AVE.

83

PARK AVE.

5TH AVE.

16

MADISON AVE.

28

42 20 26

79 st

78

5

75

17 22 25

73 72

3 71

40

41

72 st 1

36

10

68

9 12 15 33

66

29. Pace Prints 32 East 57th St., 3rd Floor

67

45 65

30. Ralph M. Chait Galleries, Inc. 724 Fifth Ave., 10th Floor

64 63

31. Scholten Japanese Art 145 West 58th Street, Suite 6D

62 61 60 59

48

31 AVENUE OF THE AMERICAS

30 29 13 8 23 49 34

6

58 57

27. Nancy Wiener 39 East 78th St., Suite 603 28. Oliver Forge and Brendan Lynch Ltd 9 East 82nd Street, Suite 1A

70 69

CENTRAL PARK SOUTH

25. Michael Hughes LLC Asian Art Mark Murray Gallery 39 East 72nd St., 5th Floor 26. Michael Woerner Oriental Art Ltd Tambaran Gallery 12 East 82nd St., 2nd Floor

76

7

24. M. Sutherland Fine Arts, Ltd 55 East 80th St., 2nd Floor

77

74

7TH AVE.

COLUMBUS AVE.

85 84

57 st

32. Susan Ollemans Oriental Art Valentina Gallery Inc. 960 Madison Ave., 2nd Floor

56

33. Zetterquist Galleries 3 East 66th St., 1B

55 54 53

AUCTION HOUSES 34. Bonhams 580 Madison Ave., between 56th & 57th Streets 35. Christie’s 20 Rockefeller Plaza, at West 49th St. 36. Sotheby’s 1334 York Ave. at East 72nd St. 37. Doyle New York 175 East 87th St. between Lexington & 3rd Ave. 38. iGavel, Inc. 229 East 120th St. between 2nd & 3rd Ave.* 49. I.M. Chait Fuller Building, 595 Madison Ave. 6th Floor

SPECIAL EVENTS 39. Newark Museum 49 Washington St., Newark, NJ 07102* 40. The Frick Collection 1 East 70th St. between 5th & Madison Ave. 41. Asia Society and Museum 725 Park Ave. (at 70th St.) 42. The Metropolitan Museum 1000 Fifth Ave. at 82nd St. 43. Rubin Museum 150 West 17th Street between 6th & 7th Ave.* 45. China Institute 125 East 65th St. between Lexington & Park Ave. 46. Arts of Pacific Asia Show The Market Suites at 7W New York 7 West 34th St. at 5th Ave.* 47. Brooklyn Museum 200 Eastern Parkway Brooklyn, NY 11238* 48. Plaza Hotel Fifth Ave. at Central Park South

52 51 50

35

49

* Does not appear on map

21

For a full list of events during Asia Week New York, visit www.asiaweekny.com

TK ASIAN ANTIQUITIES Presents: • A SPECTACULAR DOUBLE EXHIBITION •

Masterpieces of Ancient Eurasian Gold, Silver & Textiles & Dreamstones by Dali's Masters

New York Spring Asia Week, March 16th - 24th, 2012 11:00am - 6:00pm The Fuller Building, 41 East 57th Street, Suite 1125, New York, NY 10022 Phone: 212-644-1103 Email: info@tkasian.com

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HISTORY’S CROWNING ACHIEVEMENTS

•

Although purportedly found in northwest China, it is highly probable that this rare and exceptional gold wreath was used in another culture highly influenced by Rome and Greece and dates to approximately the 2nd century CE.

New York · Virginia · China 855-266-9970 www.tkasian.com 3/10/2012 12:26:41 PM

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ART AS AN ASSET CLASS

•

FACT S: • The most stable and fastest growing international investment from 1929 to 1986 was in Asian antiques.

• Fine Asian antiques have increased in price between two and three hundred percent over the last three years. The rarest and finest have increased at an even higher rate.

• The artifacts that combine beauty, high technical expertise and historical consequence have the broadest market.

• Currently, important ancient Asian artifacts that have a relationship to the famed “Silk Road”, from the Middle-East to China and Mongolia, are among those that have the most stable values.

• Scientific analysis using the appropriate combination of tests by world class authorities should be considered integral to major purchases.

• Unlike investments that yield roughly comparable financial rewards, antiques and fine arts enhance one’s life and nourish one’s spirit.

•

Detail of one of four striding goats crafted in high relief on a extraordinary silver cylindrical cup attributed to the 1st half of the 1st millennium BCE. The silver goat vessel was purportedly recovered in northwestern China, not far from Turkmenistan, in an area known to have been influenced by the Achaemenid Empire.

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3/10/2012 1:29:49 PM

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Silver amphora with zoomorphic handles

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Stylistic elements such as horizontal fluting and full-body zoomorphic handles are related to Achaemenid art from around the 5th century BCE. Rams and goats were particular favorites among the animal decorations on vessels and other art from this advanced culture. Movement of goods along the extensive trade routes of the era resulted in the introduction of Achaemenid influences on the art of other cultures far from the Persian homeland.

New York · Virginia · China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 2

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AUTHENTICATION

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FACT S: • To obtain reliable and meaningful authentication, a single test, even with the appropriate science, is usually insufficient information for true authentication. Analytical requirements are different for each medium and each individual artifact.

• Read the small print. Most dealers and auction houses will state, in writing, that they are not responsible for true due diligence or in, some instances, even negligence. They do not take full responsibility for anything they or their associates either say or write about an artifact.

• “Feelings” are not legally binding and even the opinions of experts, unless backed by the most relevant scientific analysis, should have no place in a financial transaction or authentication procedure.

“Divination” and “consensus opinion” are the antithesis of reliable authentication.

• Meaningful authentication generally requires an accurate analysis of condition. It is absolutely necessary to know the extent of any replacement or “restructuring” of an artifact.

• The combination of connoisseurship and science should be a requirement on all major purchases.

Exquisite gold and garnet Sarmation scent bottle.

Circa 2nd century BCE to the 1st century CE. Size: 3 5∕16” High

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Dragons stride and phoenix soar against openwork bands of scrolling foliage on this detailed Five Dynasties / Liao Dynasty (c. 907 - 1125 CE) gold perfumer. The highest level of craftmanship, the use of solid gold (22k) and the dragon and pheonix motif speak to a royal provenance.

ANALYTICAL PROCEDURES PERFORMED ON THE TWO PRECEEDING GOLD ARTIFACTS:

• Uranium, Thorium 4-Helium Dating • • Tool Markings, Construction and Patination Studies • • X-Ray Fluorescence • • Radiography • • Optical Microscopy •

New York · Virginia · China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 4

3/10/2012 1:30:01 PM

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TK Asian Antiquities Presents

•

The world’s finest en suite set of Eastern Han Dynasty gold artifacts known.

The Imperial “Swimming Dragon” Suite This incomparable set utilizes the most complex and intricate craftsmanship known to the Chinese goldsmiths in antiquity. The finest execution of granulation, filigree, repoussế, inlay and other demanding techniques adorn virtually every surface. Both the micro and macro views of these creations are absolutely inspiring. Even fragmentary single pieces of this style have been accorded National Treasure status in other nations.

The supreme delicacy required in the construction can almost be overlooked because of the boldness of the design and the liveliness of the subject matter.

A multitude of baby dragons cavorting amidst waves and clouds with their very impressive elders is so delightfully charming that the magnitude of the historical importance and technical genius is almost forgotten.

Note: All photos shown here of the “Swimming Dragon” suite are details of a few of the artifacts in the set.

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The importance of these historical artifacts is indisputable. Extensive inscriptions on the vessels lead us much further along in unraveling many mysteries of ancient Asia. Examples include descriptions which pinpoint the important workshop where the suite was created. The debate over where objects of similar design and construction were made is now certainly narrowed.

Precise dates of ancient artifacts is also unusual and generally confined to objects of consequence. The date inscribed here is Jianwu 24, which equates to 49 C.E. This was the last year of the reign name for the first, and arguably the most important Emporer of the Eastern Han Dynasty.

Additionally, there are names of several of the craftsmen involved in producing these exceptional artifacts. These names have also appeared on a few other important vessels of the same period but not in solid gold.

These few artifacts are in the collections of The National Museum of China. Five high ranking officials who oversaw the craftsmen while they created these exquisite artifacts are also listed on multiple vessels. Other characters describe actual gold weights, and pairs are also noted in the inscriptions.

New York 路 Virginia 路 China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 6

3/10/2012 1:30:06 PM

Even given this already extensive and illuminating information provided in the incisced inscriptions, perhaps the most desirable section is on the largest object in this magnificent suite. Here it is designated as having been made for Imperial use. Not a gift or to be used as tribute, this set was created for the Son of Heaven.

This is the year of the Water Dragon. Dragons are the mightiest of signs. It favors the bold for success in finance, great deeds and innovation. Dragons are unafraid of challenges and unafraid to take risks. They prefer to do things on a grand scale, but Water Dragons are more apt to listen to or include others in their pursuits of prosperity and greatness.

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Given the historical consequence and uniqueness of the “Swimming Dragon” suite, TK Asian Antiquities has enlisted the services of the world’s leading archaeometric scientists in gold dating, construction and tool marking analysts who specialize in noble metals and TK’s own extensive scientific facilities. Together, analysis of virtually all parts of the collection have provided unequivocal evidence as to the suites authenticity.

Unfortunately, due to the value and exceptional desirability of the “Swimming Dragon” suite, TK Asian Antiquities does not have the ability to show the set in a public display.

While our natural inclination is to provide an exciting visual and visceral experience, along with historical relevance to all parties, we most regretfully must restrict viewing and inspection to a limited audience by appointment only.

The Imperial “Swimming Dragon” suite is priced at $100,000,000 US

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3/10/2012 1:30:11 PM

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AN ANCIENT CHINESE SAYING

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“The river that does not have stone will not be clear, the garden that does not have stone will not be beautiful, the room that does not have stone will not be elegant and the person who does not have stone will not be eminent.”

New York · Virginia · China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 10

3/10/2012 1:30:15 PM

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INVESTMENT IN AN ANCIENT ART FORM

BY CONTEMPORARY MASTERS

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THE REVIVAL OF THE CHINESE “DREAMSTONE” • How would you like to invest in an art form that appeals to virtually all socio-economic, educational and age related demographics? (All recent exhibitions have been received with the same awed reponse by all.)

• How would you like to travel back in time to the early days of the Impressionists or Picasso to purchase their artwork? (An equivelant opportunity now exists.)

• Would you like to have the largest and finest selection of acknowledged masters to choose from. (That ability is now available.)

• Would you like to have unforgeable written documentation, by the world’s experts, of the status and ranking of your purchase, which is then registered in an international database? (These security measures are available today.)

Dali “Dreamstone” art, demanded as tribute by Emperors for more than a millennia was lost in the twentieth century. Currently, the inhabitants of Dali in conjunction with The International Dali Dreamstone Association (I.D.D.A.) are reviving this extraordinary phenomena. TK Asian Antiquities is proud to be their greatest advocate and promoter in the western world.

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3/10/2012 1:30:13 PM

Image Size: 9 1∕2” H x 14” W Translated from the calligraphy on the obverse of the Dreamstone.

Collected from the Cang Mountain in Dali Prefecture,Yunnan Province by Master Revealer Fu Chun Tang in 2009.

I.D.D.A. awarded “Diamond” ranking

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The viewer should be aware that no photographic or man-made imagery can accurately convey the true magnificence of beholding original Dreamstones. The examples shown here are a limited sampling of the virtually infinite palettes and effects to be found in Dali Dreamstones.

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3/10/2012 1:30:18 PM

Image Size: 7 3∕4”H x 7 1∕4” W Translated from the calligraphy on the obverse of the Dreamstone.

Collected from Youyan County in Liaoning Province by Master Revealer Yang Like in 2011.

I.D.D.A. awarded “Platinum” ranking

New York · Virginia · China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 12

3/10/2012 1:30:19 PM

Image Size: 12 3�4” H x 14 ¹�2” W Translated from the calligraphy on the obverse of the Dreamstone.

Collected from the Cang Mountain in Dali Prefecture, Yunnan Province by Master Revealer Fu Chun Tang in 2010.

I.D.D.A. awarded “Platinum” ranking

Currently, the price range of Dali Dreamstones in both Western and Eastern markets, is between $1000.00 to over $1,000,000 US. The full spectrum of palettes, • sizes and condition from various quarries combined with the fame and talents of • the few remaining Master Revealers are becoming increasingly rare.

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3/10/2012 1:30:22 PM

Image Size: 21” H x 8¹�4” W Translated from the calligraphy on the obverse of the Dreamstone.

Collected from the western slope of the Cang Mountain in Dali Prefecture, Yunnan Province by Master Revealer Li Xian Long in 2010.

I.D.D.A. awarded “Platinum” ranking

New York · Virginia · China 855-266-9970 www.tkasian.com 2012_SpringAsiaWeek_EPOCHTIMES_15Page.indd 14

3/10/2012 1:30:25 PM

Image Size: 23 3�4” Diameter Translated from the calligraphy on the obverse of the Dreamstone.

Collected from the Cang Mountain in Dali Prefecture, Yunnan Province by Master Revealer Yang Jun in 2011.

I.D.D.A. awarded “Platinum” ranking

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3/10/2012 1:30:28 PM