Passion and Pursuit: The Billings Collection

PASSION AND PURSUIT THE BILLINGS COLLECTION

Acknowledgments

Contents

Because this book is a distillation of decades of work and research, we cannot possibly acknowledge all those friends, scholars, curators, collectors, and colleagues who have contributed to the publication you now hold in your hands, but be assured we are grateful (and might we add offer our love) to each and every one of you.

For David

In ancient China, the Imperial throne bestowed peacock feathers in recognition of meritorious service.

Our feathers of gratitude go to the many people who have assisted us in the creation of this book as well as those who have influenced our collecting adventure in so many creative ways.

To Amanda Quintin, personable, patient, and professional are only a few of the words to describe our phenomenal graphic designer whose impressive skills have brought this book to life. Her expertise and intuition have guided us as we navigated our way through the maze of details involved in creating and publishing a book.

To Rob Benchley, whose stunning photography has made our collection come alive. His digital wizardry is masterful and is only rivaled by his wit, sense of humor and acrobatic skills.

Those midnight rushes brought delight to us every night.

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Foreword xiii Preface xv Introduction xvi Dynasties and Periods

1. Ceramics

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2. Bronze

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3 Jade and Hardstone

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4. Textiles and Accessories

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5. Scholar’s Objects, Opium, and Snuff Bottles

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6. Tibet

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7. Organics, Currency, and Japan

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To Ian Golding, fellow collector and Tibetan scholar, whose intellectual support and companionship has been invaluable.

8. Not the Last Chapter

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To Miles Hankin, editor extraordinaire, who saved our essays at the eleventh hour.

To Melinda and Paul Sullivan, whose collecting spirit and friendship has encouraged and energized us from the moment we met—their magnificent book, Fired by Passion, continues to inspire us.

Bibliography 343

To Joanne Dearcopp, founder of Muse Ink Press, and cherished friend for over fifty years, always available for advice and support, and for generously sharing her knowledge of the publishing world.

To Steven Chait, for his continuing friendship, collecting guidance and gratitude for a heartwarming foreword.

To Tita Hyland for her scholarship and expertise as well as her quiet but firm discernment in curating our collection, and to her husband, Douglas, for his professional advice.

To Julie Jensen Bryan and Robert Bryan for their ongoing support of our many endeavors over the years.

To our expanding team at the Nantucket Historical Association— past, present and future.

Additionally many people have provided insight and wisdom in their areas of expertise as well as pointing out our mistakes and omissions. All the remaining errors are ours alone.

Finally, we must acknowledge the non-human and material objects that have played an integral part in the inspiration of this book. Some of them get leading roles, some smaller parts, but like many in the supporting cast, they are hidden behind the scenes— all are vital in telling this remarkable story.

Behind the Scenes

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Preface It has been our shared dream to write a book on our diverse and expansive collection in order to share it with a wider audience of fellow collectors as well as to educate anyone with an interest in Chinese art. These treasures have been acquired—one might say pursued—with a deep passion and respect for the past, and for considering each object in its historical context and place in the chronology of our collection. We are continually fascinated to learn the story that animates each artifact.

Fundamentally, collecting is a relationship between an object and the collector, and it has also informed and expanded our personal relationship. From the moment we met, we felt an instant bond and recognized that a confederacy of collectors had been established. Collecting has become our lifestyle—it is at the center of many of the activities we plan and places we visit as well as the friendships we have formed. Our collection is greatly enhanced by a vast library—we also learn from each one of the objects themselves.

Although we have come to collecting from different disciplines—David is self-educated and began collecting Chinese art on his own fifty years ago while Beverly benefited from growing up in New York City with a father who was a pioneer in the field of Chinese snuff bottles— we share similar tastes and a mutual eye when it comes to identifying objects that “speak to us.” One of our first acquisitions together in December 2012, just a month before we married, was the magnificent 1200 pound Buddha of Sarnath. This life-size statue was to set a benchmark for us in the category of “no place to put it, but we must have it!”

We seem to prove the familiar adage about collecting that there is always one more treasure yet to be discovered and invited into the home of a true collector. The very active and dynamic quality of collecting can take you to places you might not have imagined—it is the ultimate treasure hunt.

We invite you now to allow your imagination to expand as you explore our collection depicted within the meticulously designed pages of this book, which is the culmination of an extraordinary collaboration.

— Beverly and David Billings

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CHINESE DYNASTIES AND PERIODS BCE

AD

Neolithic Period

7000 – 1700

Sui Dynasty

581 – 618

Xia Period

2100 – 1600

Tang Dynasty

618 – 907

Period of Erlitou Culture

1900 – 1600

Five Dynasty

907 – 960

Liao Dynasty

907 – 1125

Song Dynasty

960 – 1279

Shang Period

1600 – 1027

Zhengzhou Phase

1600 – 1400

Anyang Phase

1300 – 1027

Zhou Period

1027 – 256

Northern Song

960 – 1127

Western Zhou

1027 – 771

Southern Song

1127 – 1279

JIn Dynasty

1115 – 1234

Eastern Zhou

770 – 256

Spring and Autumn Period

770 – 476

Warring States Period

475 – 221

Qin Dynasty

221 – 206

Han Dynasty

206 – 220

Western Han

206 – 9

Xin Dynasty (Wang Mang) Eastern Han

Detail from the Star Gods, Fig. 591

AD

9 – 23 25 – 220

Six Dynasty Period

220 – 581

Three Kingdoms

220 – 280

Western Jin

265 – 317

Eastern Jin

317 – 420

Liu Song

420 – 479

Southern Qi

479 – 502

Liang

502 – 557

Chen

557 – 589

Sixteen Kingdoms

304 – 439

Northern Wei

386 – 35

Western Wei

534 – 549

Northern Qi

550 – 577

Northern Zhou

557 – 581

Yuan Dynasty

1279 – 1368

Ming Dynasty

1368 – 1644

Qing Dynasty

1644 – 1911

Republic of China

1912 – 1949

People’s Republic of China

1949

CHINESE DYNASTIES AND PERIODS

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CERAMICS

China is one of the oldest known continuous civilizations. Woven into its history from the beginning is the story of Chinese ceramics. First with painted earthenware, then glazed stoneware and finally to the porcelain that is known worldwide to this day.

From the very first ceramic object they encounter, many collectors and admirers of Chinese ceramics experience an almost immediate attraction. The incredible diversity of forms, styles and painted decorations as well as the extraordinary glazes that have been developed by skilled Chinese potters are the essence of that attraction.

Due to the Chinese belief in the afterlife and their understanding that upon death the spiritual soul ascends to heaven while the corporeal soul remains in the tomb, a wide assortment of funerary ceramics has been created. These objects were in the form of watchtowers, granaries, wine storage vessels, censers, farm animals, horses, soldiers, camels and guardians along with a host of figures to entertain the deceased, such as dancers, storytellers, acrobats, drummers, and other musicians. This vast quantity of items placed in tombs was intended to satisfy the earthly needs of the deceased. If these needs were not met the departed soul would return and cause trouble for the surviving descendants.

In every day domestic life, ceramics included jars, tea bowls, ewers, plates, vases, censers and chargers. These were fashioned from earthenware, stoneware and finally porcelain, which was invented by the Chinese. In later dynasties, Chinese potters created a number of techniques and glazes to decorate the pieces which were made for aesthetic enjoyment as well as for practical use. Exporting ceramics became a driving economic endeavor for

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the Chinese, with the Imperial government tightly controlling the entire design and manufacturing process. Imperial porcelain —objects made for the exclusive use of the Imperial family— became a major category of ceramics, which was produced in the porcelain city of Jingdezhen, a tradition that continues to this day.

We believe that much of the allure to viewing and collecting Chinese ceramics lies in the fact that no special knowledge is required to fall in love with them. Although every admirer brings their own insights and reactions to the understanding of the genre’s form and function, the initial attraction can be universal.

We were first drawn to Han dynasty tomb objects for their exquisite detail and animated postures—whether jolly storyteller or energetic dancing figure. Being researchers by training, it was natural for us to follow the historic trail of ceramics from the Neolithic period through the Qing dynasty—the last Imperial dynasty—a period of over 5,000 years. As a result, the Billings Collection is dominated by ceramics and represents over half of this book.

During our collecting journey we have had endless opportunities to share and to educate, and we feel lucky to benefit from the same impulses coming from collectors, scholars, and dealers.

If one believes that the study of the arts is not a peripheral luxury, but rather a necessity to understanding people and civilizations, there can be no better place to begin than with Chinese ceramics.

CERAMICS

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Fig. 42 detail

Fig. 43

Fig. 42 Standing Earthenware Storyteller or Entertainer

Fig. 43 Figure of Storyteller

A large Sichuan earthenware figure of an ‘Entertainer’ or ‘Storyteller,’ Shuochang Yong. The pot-bellied comic figure standing in an exaggerated pose, shoulders hunched, and head tucked down, as if acting out a humorous tale, gazing intently forward with his eyebrows raised and his tongue protruding from his mouth, his forehead wrinkled. His upper arms with arm bands one with bells. Holding a small circular drum tucked under his left arm and wearing a close-fitting cap surmounted with flowers and pigtails. His right hand grasping the waistband of his baggy pants which cover his feet except his toes.

Unglazed earthenware Sichuan figure of a storyteller in an active position, his left hand holding a drum his right hand ready to strike. Right arm with a strand of bells fastened around his upper arm.

The face gazing forward with an animated jovial expression, unusual hairdo with several pigtails and ribbons tied into the low hat.

Han Dynasty (206 BC – 220 AD) Height: 20 ½ Inch (52.2 cm)

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Han Dynasty (206 BC – 220 AD) Height: 8 ¼ Inch (21 cm)

Fig. 42

CERAMICS

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Fig. 203 Glazed Processional Tomb Group A glazed processional tomb group comprised of ten glazed stoneware figures, six with musical instruments, four bearing the covered palanquin, a covered sedan chair. With an additional two riders on horseback and two small, glazed figures of dogs.

Processional Group Figures and Palanquin: Ming Dynasty (1368 – 1644) Pair of Riders on Horseback: Tang Dynasty (618 – 907) Fig. 113 Pair of Glazed Small Dogs: Tang Dynasty (618 – 907) Fig. 115 Height: (Palanquin): 12 Inch (30.4 cm)

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BRONZE

The emergence of bronze ware forms a crucial chapter in the history of civilization. Although the Chinese were not the first to enter the Bronze Age, they enjoy a unique position because of the great variety of innovative bronze ware that has been unearthed across their vast territory. These artifacts provide a window into the art and culture of ancient China.

Many of the most beautiful bronze ware pieces were cast specifically to accompany the deceased in the afterlife. Royalty and nobility used these elaborately decorated vessels to make offerings of food and drink to ancestors, deities and spirits. Ritual bronzes possess a remarkable dignity and create a bold impression due to their sophisticated design and manufacturing process.

Copper was the earliest known metal to have been used by humankind. As early as the Neolithic Age, ancient people discovered and used copper for small accessories and knives although it was not hard enough to be used in a wider range of applications. Later, when smelting was mastered and tin or lead added to increase hardness, bronze was produced. The processed metal was easier to cast and resistant to abrasion. It was used in manufacturing weapons, craftsmen’s tools and household utensils. This was the beginning of the long period of the Bronze Age in China, which started around 2000 BCE.

The intricate decoration, not to mention the very weightiness, of Chinese bronze ware exudes gravitas. The designs express a patterned cosmos open to interpretation by both scholar and collector. The elaborate symbolism enlivening the surface of many vessels offers us a code to explore the past, embellished with the rich colors and patina of centuries of oxidation.

The discovery and use of bronze offered new opportunities for artistic creation. In contrast to Bronze Age cultures of other countries and regions, ancient China attached great religious and political significance to its bronze ware. The mystery and complexity of patterns and the abundance of inscriptions on bronze ware held a spiritual meaning that artwork created from different materials could not achieve.

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When the Emperor Qianlong (r. 1735 – 96) ordered a compilation of records of all bronze ware collected by the Imperial court, the result was so vast that it encompassed over forty volumes. Today these bronzes provide us with a visual vocabulary that describes a way of life, an idiom that evolved along with culture and society.

Bronze ware lures the admirer to examine and decipher these ancient and authoritative objects, appreciating their enduring history.

BRONZE

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Fig. 314

Fig. 315

Fig. 317

Fig. 314 Gilt-Bronze Mandorla Fragment

Fig. 317 Bronze Seated Buddha

A cast bronze fragment of a mandorla in high relief with a ‘Treasure Mongoose’ standing atop of an elephant on its hind legs disgorging a shower of jewels from its open mouth. A moonstone is mounted on the mandorla, indicating its importance. A mandorla is an almond-shaped halo of light enclosing the whole of some sacred figure.

Cast gilt bronze figure of the seated Buddha in bhumisparsha Mudra, raised on a double bronze base. A vajra to the front of the Buddha.

Qing Dynasty (1644 – 1911) 18th Century Height: 5 3/8 Inch (14.5 cm) Provenance: Christies, London

Sino Tibetan 15th Century Height: 2 ½ Inch (6.5 cm)

Fig. 318 Gilt Bronze Figure of Milarepa

Fig. 315 Bronze Sakyamuni Buddha

A cast gilt bronze figure of Milarepa his right hand extended to his ear. Milarepa was a Tibetan master, yogi, and poet who led an inspiring life of spiritual progress and human accomplishment.

His story exudes timeless themes of evildoing and redemption, perseverance in the face of many hardships, and dedication to the path.

A cast gilt bronze figure of Sakyamuni Buddha. Seated with draped robes, down cast eyes and in the bhumisparsha mudra position on a double-lotus base with beaded rim.

Ming Dynasty (1368 – 1644) Height: 6 ¾ Inch (17.3 cm)

Sino Tibetan 15th Century Height: 5 ½ Inch (14 cm)

Provenance: Collection Gerry P. Mack, NYC Parke-Bernet, NYC, prior to 1960

Fig. 319 Gilt Bronze Figure of Lama Kyavajra

Fig. 316 Gilt Ram’s Head Finial

A cast gilt bronze figure of the Lama Kyavajra (Sakyavajra). The base with an inscribed “I pay Homage to the life image of the best jewels, Kyavajra.” Intricately and highly detailed engraved and incised design of draped robes, silver eyes. In his left hand the treasure vase. To the sealed base an engraved double vajia.

The finial is finely cast and engraved as a ram head with eyes and brows above a large mouth, above the heart-shaped ears and horns.

It is presumed that this finial was commissioned for the hilt of a dagger of an elite official.

Han Dynasty (206 BC – 220 AD) Height: 1 1/8 Inch (3.2 cm)

Fig. 318

Fig. 316

Fig. 319

Sino Tibet 16th Century Height: 3 ¾ Inch (9.5 cm) Provenance: Christies, London

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JADE AND HARDSTONE

Known as the “stone of heaven,” jade is associated with long life and immortality. As early as 6000 BCE, the ancient Chinese have acknowledged the gem for its unique beauty and durability. By 3000 BCE, jade became the sole gemstone for the royal families. The “Sons of God,” as the emperors were called, began using jade for their official seals starting with the Qin Dynasty in 221 BCE. No Chinese emperor could govern without the Imperial Seal.

And battles were fought for possession of this royal jade object because it conferred upon the owner the divine right to rule. As the Chinese saying goes: “Gold has value, but Jade is invaluable.”

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More precious to the Chinese than any other substance, jade was prized for its luster, its translucence and for its colors. The Chinese believed that the stone’s retention of coolness is further proof of its unchanging and auspicious nature.

Predating the Chinese embrace of jade and ever since people found that they could shape stone by striking a softer one with a harder one, art has been sculpted from rock. Many reliefs and statues were carved into the limestone or sandstone walls of caves throughout China, Southeast Asia, and particularly India. Schist was also sculpted widely across Southeast Asia including in the Gandahara region in what is nowadays northwest Pakistan.

JADE AND HARDSTONE

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JADE PRINCESS

In the Han Dynasty, all jade was the property of the emperor. Anyone caught owning or trying to sell jade without permission could be executed. Admired for its beauty, grace and purity, jade was also prized for its practicality when being sculpted into different objects large and small.

Fig. 370 Overview

And then, jade had an ultimate attraction. In death it was believed (and still is by many today) that the gem possesses properties which protect the body from decay and ward off evil spirits. Thus the few and most fortunate were interred in full bodysuits made of small jade tiles held together with gold thread.

In ancient China, death was believed to be a continuation of life. Burial tombs of the wealthy and powerful were arranged as elaborate afterlife arenas, complete with security forces, servants, entertainers and others, made of earthenware, bronze and precious stones. For centuries, grave robbers would routinely break into the tombs and loot the valuable contents.

JADE BURIAL SUIT FOR HIGH–RANKING FEMALE For centuries, jade burial suits were believed to be only legend. It was incomprehensible that even rulers were so wealthy they could have their bodies covered with the precious gem. However, in 1968 researchers announced the discovery of a tomb with two largely intact jade burial suits as described in old texts.

Since jade was off limits, the tomb looters would pick out the gold wire from the burial suits and discard the tiles. Later it became easier and quicker to burn the burial suit to recover the melted gold. In response, in 223 AD, Emperor Wen of the Wei Dynasty ordered that the production of jade burial suits be stopped, in order to discourage looters.

The looting of burial suits meant that the tiles themselves were broken and scattered around the tomb. Few if any complete examples remained. Fewer still were those who later understood the purpose of thousands of small damaged jade tiles, each one with tiny holes in the corners.

Fig. 370 Hand detail

Jade burial suits were first referred to in literature around AD 320, although there is recent archaeological evidence of their existence over a millennium before. However, their existence wasn’t confirmed until 1968, when researchers announced the discovery of a burial site described in old texts. It was a sensation in China and around the world.

2,798 jade tiles. Each drilled with a small hole at each corner enabling attachment or “sewing” together with gold thread. Each knot tied on the underside. At the chest, a double phoenix carved in relief on the tiles, indicating the body suit was made for a very high-ranking female.

The suit made in twelve sections: face, head, torso front and back, arms, gloves, leggings, and feet, then fitted around the corpse. Additional jade pieces shaped to cover the mouth, plugs to fit the eyes, nose, ears and other orifices.

In a vast tomb carved out of rock were found the bodies of Liu Sheng, a Prince of the Han Dynasty (205 BCE – 220 AD) and his consort, Princess Tou Wan. The bodies had been covered from head to toe in suits of finely carved jade pieces, held together by wires of gold-figures of exquisite beauty and craftsmanship. These were the first jade burial suits to be recovered essentially intact. On examination it became clear that the tiles found discarded and damaged in other tombs had in fact once been part of similar jade burial suits.

It is estimated that it would have taken an expert jadesmith of the Han Dynasty ten years to make the jade burial suit, using tools and techniques known to have been available at the time.

Han Dynasty or later Length: 69 Inch (172 cm)

Fig. 370 Top of head detail

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JADE AND HARDSTONE

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TEXTILES AND ACCESSORIES

No culture has appreciated and taken seriously the art form of textiles for as long as the Chinese—and silk is the defining material in Chinese fabrics. It is considered to be naturally beautiful as well as lightweight and strong. Silk is produced from the cocoons of silkworms, the ancient Chinese having fully domesticated these insects by the fourth millennium BCE. The oldest piece of silk cloth found anywhere was in China and dates to roughly 3600 BCE. Archeologists have also found silkworm cocoons at Chinese Stone Age sites.

Some Chinese fabric was woven on looms, some was knit, some embroidered with ornate designs and others had patterns such as dragons and mythical creatures woven in to ensure good fortune and longevity. Textile colors of gold, yellow and red were used to indicate wealth, status and divine favor.

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Often created with as much artistic reverence as silk, cotton was introduced around 200 BCE and provided a stable source of cheaper material.

For the Chinese attire was never a casual matter. Personal ornaments were worn both as decoration and as a sign of rank indicating one’s position in China’s rigid social hierarchy. Members of the imperial court, high officials, wealthy ladies and scholars wore splendid robes of silk. Ladies of a high rank also wore stunning pieces of gold or silver, set with pearls, precious stones and kingfisher feathers. Elegant ornamentation enlivens their elaborate attire.

One look at an ancestor portrait testifies to the significance and history that textiles and accessories have in Asian culture.

TEXTILES AND ACCESSORIES

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HATS

Fig. 402

Fig. 403

Fig. 402 Unusual Double-Tiered Hat Box for Winter and Summer Court Hats The official hats were regarded with the greatest respect. When not in use, the hat was kept in its own case. The surviving hat boxes are mostly of high quality, a reflection of the care with which the hat was regarded.

This wooden well-fitting double tiered hat box could accommodate both a winter and a summer court hat.

Fig. 400

Fig. 400 Informal Ladies Hat, Liang Patou, with Cross Piece, Bianfang

Qing Dynasty (1644 – 1911) 19th Century Height: 17 1/2 Inch (44.5 cm)

An unusual headdress, called a liang patou, was worn by Manchu women for non-official occasions. It was a very elaborate affair, with the batwing-like shape made of false hair, or black satin, arranged over a frame which was anchored with hairpins to the natural hair. Literally meaning ‘two handfuls of hair,’ the hair itself was originally set and shaped this way. During the nineteenth century, hair was replaced by black satin because it was more practical and easier to keep in order. This headdress, mounted on a red silk covered wire base, is shown with a gilded silver crosspiece, or bianfang; in the foreground a second bianfang made of carved jade.

Fig. 403 Official Winter Court Hat, Chao Guan An indispensable article of court dress worn for countless daily rituals connected with routine administration, as well as for grand ceremonies attended by the emperor himself. The two main types of Qing official hats were winter and summer hats. This winter chao guan is fur-trimmed, with a gilt knob indicating a seventh rank official.

Qing Dynasty (1644 – 1911) Length (Hat): 16 ¾ Inch (42.5 cm)

Qing Dynasty (1644 – 1911) Diameter: 9 1/2 Inch (23 cm)

Provence: Luther Carrington Goodrich (1894 – 1986)

Fig. 404 Official Summer Court Hat, Chao Guan

Fig. 401 detail Young Manhu woman wearing liang patou head-dress.

In conical form, this sunshade, or cool hat, is made from finely woven split bamboo, with a thin brocade rim. It is lined with silk gauze, and has a stiffened sweatband sewn inside. The gilt knob indicates a seventh rank official. The manufacture of official summer hats was a highly skilled craft that was passed down from generation to generation.

Qing Dynasty (1644 – 1911) Diameter: 12 Inch (31 cm)

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Fig. 401

Fig. 404

TEXTILES AND ACCESSORIES

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SCHOLAR’S OBJECTS, OPIUM, AND SNUFF BOTTLES Chinese scholars were painters and calligraphers, and equally adept at all aspects of the literati culture that included reading and writing poetry, history and classical fiction.

Objects in the studio of the scholar included the tools and treasures essential for their pursuits: brushes, ink stones, water droppers, table screens, fingering pieces, toggles, figurines and scholar’s rocks. More than mere utensils, these objects possessed a finely honed aesthetic sensibility along with the highest degree of technical precision. An object existed for its function, but also had to be simple in its aesthetic and grace. To Chinese scholars this simplicity brought them closer to the spirituality of nature.

The perfect scholar’s studio in its simplicity is referred to as having wenya or literary elegance. Many of these revered objects are related to the four scholarly pursuits which include writing calligraphy, painting, playing the seven-stringed qin and the strategy game qi.

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For students and collectors, scholars’ objects are the physical embodiment of China’s most elite intellectuals and their pursuits.

The seeking of pleasure and beauty in its many forms was a distinguishing characteristic of the Chinese scholar, who was well served in this pervasive and engaging quest.

While the vast majority of Chinese opium smokers were working class men of little means, the use of opium, known as the “joy plant,” spread throughout all strata of Chinese society including the merchant, literati and scholar classes. For the wealthy habitué with a desire to impress, there were highly ornate and specialized tools including pipes, trays, pillows, lamps and containers.

The use of snuff in the late Ming and Qing dynasties gave rise to the snuff bottle, made of an immense variety of materials from earthy turquoise to imperial porcelain. In addition to its primary practical use, a superbly made and smooth bottle also served as a fingering piece for the fortunate holder.

China has a lengthy history of scholar’s art that spans over 2000 years and it holds an important place in the field of Asian art.

With the implementation of official qualifying examinations, scholars rose to prominence during the Sui Dynasty (581 – 618).

Their status was further enhanced during the Song Dynasty (960 – 1279) when the imperial court officially sanctioned the literati way of life.

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Fig. 461

Fig. 461 Three Peach Bloom Glazed Scholar’s Objects

Fig. 462 Brush Stand and Duan Ink Stone

(Left) Small brush washer, wide mouth raising to a slightly everted lip covered in dark reddish peach bloom glaze, white foot rim.

Well carved large wood brush stand, for a scholar’s desk, holding a group of assorted brushes from carved dragon pegs supported by two central writhing dragons facing outward with opened mouths.

(Center) Glazed Compressed form brush washer (tanglua xi), wide mouth peach bloom glaze to interior, white foot rim.

(Right) Peach bloom glazed porcelain water coupe, of compressed globular form rising to a short neck and raised on a short foot, the exterior covered in a mottled red with green ‘ripened’ areas to the body, Kangxi period.

In the foreground, a carved Duan inkstone of tapered oval form, rounded corners, the smooth sunken palette emptying into a crescent shaped ink pool. The top and one side carved with three sinuous dragons amid swirling clouds, two characteristic circular inclusions forming the ‘pearls.’

Qing Dynasty (1644 – 1911) 18th Century Diameter (Largest): 4 ¾ Inch (12.2 cm)

Qing Dynasty (1644 – 1911) Length: 10 ¼ Inch (26 cm)

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Fig. 462

SCHOLAR’S OBJECTS, OPIUM, AND SNUFF BOTTLES

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TIBET

The landscape and geography of Tibet are integral to understanding and appreciating Tibetan art. Isolated and enigmatic, it is a society wedged between the Himalaya and India. The introduction of Buddhism from the south was an enormous influence on traditional Tibetan nomadic culture and deep devotion profoundly marks its art and aesthetics.

Buddhism began in the 6th century BCE when Siddhartha Gautama started preaching about suffering, enlightenment and rebirth in India. Siddhartha was antagonistic to images of himself and used multiple and diverse symbols to illustrate his teaching.

There are eight auspicious symbols of Buddhism: the precious parasol, the white conch shell, two golden fish, the knot of eternity, the vase of great treasures, the victory banner, the lotus flower and the eight-spoked wheel.

Paintings are the treasures of Tibetan art and culture. Often religious in theme, and employing unique techniques and pigments, these include the famous Thangka painting, ancient rock painting and magnificent frescos and murals.

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wealth, health and longevity. Buddhists believe that commissioning an image bestows merit on the donor as well as to all conscious beings.

Much of Tibetan art was made as an aid to Buddhist meditation, including sculptures of divine or real life religious figures such as the Dalai and Panchen Lamas. The art of Tibet uses figuration and representational images to express abstraction and the image becomes the basis to encourage the presence of the divinity in the mind of the worshipper. Images in temples and household shrines also remind lay people that they too can achieve enlightenment.

Large necklaces, wide cuff bracelets and heavy earrings in bold styles of silver and gold are characteristic of the Tibetan style and are influenced by the aesthetics and craftsmanship of north India.

Artwork is an integral part of Tibetan spiritual practice and process. It contains a visceral energy that is more easily felt than explained.

Images were commissioned for any number of reasons, including celebrating a birth, commemorating a death, and encouraging

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Fig. 525 Lacquered Iron Altar Lamps A pair of Tibetan lacquered iron lamps, each rustically cast with flattened wide disk-shaped base, with short rim, rising in a narrow column terminating at the base of a bulb shaped oil basin, with three triangular points equally spaced around lip of lamp.

Tibet. 19th/20th Century Height: 9 1/8 Inch (23.2 cm)

Fig. 526 Unusual Tall Ceremonial Bronze Altar Butter Lamp Ceremonial oil lamp supported on a raised circular beaded step base with floral decoration rising to a waisted platform supporting the outstretched rear legs of four sinuous horned makara sea-monsters standing upright with outstretched front legs holding the base of a bell-shaped stem cup. The stem cup and stand with incised scroll decoration. The makaras’ heads in upturned position, with detailed eyes, ears, and snout. The flared cup acts as a butter reservoir for the lamp. Symbolic of the sacred flame, and used to illuminate altars.

These lamps were filled with yak, cow or goat butter, which fueled burning cotton wicks.

Fig. 525

Tibet. 20th Century Height: 10 Inch (25.5 cm)

Fig. 527 The Thousand Buddhas Thangka Gouache on linen The central figure, Amitayus, the Buddha of Eternal Life, seated in vajrasana on a lotus throne, both hands in dhyanamudra supporting an amrta-kalasa, an ambrosia-filled vase, topped by the flower of the Ashoka tree, symbolizing the elixir of immortality. Also known as Amitabha, one of the five Cosmic Buddhas of Esoteric Buddhism — the mystical interpretation and practice of the belief system founded by Siddhartha (c. 563 – 483 BCE), the Nepalese prince who was to become the Shakyamuni Buddha after renouncing his birthright and eventually achieving enlightenment after years of begging, abstinence from earthly pleasures, and meditation.

Apart from the “thousand buddhas” symmetrically arranged throughout the thangka, the central figure is surrounded by a circle representing the wheel of life and the wheel of law, its rainbow colors symbolizing the aura of compassion, wisdom, balance, and timelessness of enlightenment.

In Buddhist cosmology, a kalpa is the period of time that it takes for an entire universe to appear, evolve, and disappear, and during each kalpa one thousand Buddhas will appear to teach human beings how to achieve enlightenment — the Buddha Shakyamuni being the fourth in the present kalpa.

The one thousand manifestations of the Buddha is one of the more common motifs in Buddhist art. The strong symmetrical composition of the thangka is a hallmark of paintings from the Kumbum Monastery which is second in importance to Lhasa that housed 3,500 monks in four monastic colleges before the Chinese invasion in 1958. It now has approximately 400 monks in permanent residence and is still a repository of Tibetan art and culture.

Tibet. 18th/19th Century Height: 52 Inch (132 cm)

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PASSION AND PURSUIT: THE BILLINGS COLLECTION

Fig. 527

TIBET

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ORGANICS, CURRENCY, AND JAPAN The use of material from nature imbues an object of art with an inherent energetic force amplified by its sensory qualities. The texture and energy of a large piece of wood can be felt thru the bulk and heft of a superbly carved Buddha or a slender ivory ruyi.

Other materials include lacquer and even feathers.

The term lacquer is used for a number of hard and potentially shiny finishes applied to materials such as wood or metal. Asian lacquer ware which may be called “true lacquer,” are objects coated with the treated, dyed and dried sap of trees (resin), applied in several coats to a base that is usually wood. This dries to a very hard and smooth surface layer, which is durable, waterproof and attractive in look and feel. The objects can be further decorated with painting, inlaid with shell and other materials, carved or even dusted with gold.

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Numismatics, the study or collection of currency, including coins, tokens and paper money, offers a rich history of Asian people and civilizations. Apart from commercial transactions, ancient coinage also served as a rich source of propaganda, with images reinforcing the government or leadership. The Kushan Empire (ca. Second Century BCE to Third Century CE) enjoyed a strategic location and control of the immensely important Silk Road. Its currency offers bold examples of a fascinating society, and during this period some of the first representations of the Buddha ever appeared on coins.

The art of Japan bears the mark of extensive interaction with and reaction to outside forces. Buddhism, which originated in India and developed throughout Asia, was the most persistent vehicle of influence. It provided Japan with an already well-established iconography and also offered perspectives on the relationship between the visual arts and spiritual development.

ORGANICS, CURRENCY, AND JAPAN

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CURRENCY

Han Dynasty 186 BC

Song Dynasty 1008 AD

Xin Dynasty 14 AD

Han Dynasty 73 – 49 BC

Xin Dynasty 14 AD

Tang Dynasty 621 AD

Tang Dynasty 758 AD

Five Dynasty 907 – 960 AD

Song Dynasty 976 – 983 AD

Song Dynasty 1017 – 1021 AD

Song Dynasty 1036 AD

Song Dynasty 1068 – 1077 AD

Song Dynasty 1078 – 1085 AD

Song Dynasty 1086 AD

Song Dynasty 1094 AD

Song Dynasty 1102 AD

Song Dynasty 1107 – 1110 AD

Song Dynasty 1111 AD

Jin Dynasty 1157 AD

Ming Dynasty 1640 AD

Qing Dynasty 1662 – 1722 AD

Qing Dynasty 1736 AD

Qing Dynasty 1796 – 1820 AD

Qing Dynasty 1821 – 1850 AD

Qing Dynasty 1905 AD

Republic of China 1912 – 1920 AD

Republic of China 1941 AD

Song Dynasty 995 – 997 AD

Qin Dynasty 481 – 221 BC

Fig. 565 Assemblage of Chinese Coins

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A broad selection of coinage representing various periods and dynasties of China. Spanning the Warring States Period (481 – 221 BCE) through the Republic of China (1912 – 1949), including examples from most of the intervening dynasties. Spade and knife blade shaped coinage, along with the more traditionally shaped round coins, most with square holes in the center. This selection represents the wide diversity of design and materials of ancient Chinese coinage.

ORGANICS, CURRENCY, AND JAPAN

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