November catalogue: World Art Society

Monday November 20th 2023

Online Catalogue IX

NOVEMBER issue

WHO WE ARE The artworks are presented with a full description and corresponding dealer´s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress.

In order to guarantee the quality of artworks available in the catalogues, pieces are validated by all our select members, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence.

Feel free to ask the price if the artwork is listed with a price on request and request high resolution images.

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Cover Image: Painting by Waseem Ahmed presented by H. Edward Gallery on p. 60

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Amal Lin Amal Lin (b. 1992) is a Taiwanese artist currently based in Canada. Her work is heavily influenced by traditional Persian miniatures. Her devotion to this style flourished during her studies at the University of Jordan as well as receiving her MA of Traditional Arts at the Prince’s Foundation School of Traditional Arts in London. This can be seen within her vast collection, consisting of landscapes, architecture, flora, and fauna, all of which follow the traditional methodology in impressive detail. The smaller sizes of these works do not inhibit the viewer from immersing themselves in her imagery. In fact, Lin’s impressive artistic abilities dominate each of her compositions, creating endless details from small floral elements to subtly painted stars that allow the eye to endlessly search. The classical framework of her artwork is brought into a contemporary light as the work is influenced by the artist’s own journey of recovering from a severe eating disorder. For Amal Lin, the practice and creative process of her work is equally as important as the final image she creates. From producing her own mineral pigments, crafting the composition, and adding in details, it becomes a meditative, immersive process. Much like the therapeutic effects of her art making, the viewer finds a similar catharsis as they delve deeper into her vivid, exploratory imagery.

Amal Lin's ""Self Love Wonders"" is one of six works from her second year in the MA program

at the Prince's Foundation School of Traditional Art. Lin employs techniques from traditional Persian miniatures, such as composition, motifs, and the creation of her own natural pigments and gold leaf, to visually reflect her spiritual journey.

Among the six major works, ""Self Love Wonders"" marks the final stage, revealing an imaginative utopic world. The composition features a colorful natural landscape with lush flora extending beyond the gold leaf border at the center of the painting. The trees and flowers surpassing the border convey a sense of acceptance and growth.

In the center of the composition, a white peacock grounds the work and peacefully coexists with the wildlife, further affirming the artist's selflove and worth. Beyond the symbolism in Lin's work, the artistic process is equally vital. From making her own pigments to the intricate and detail-oriented technique, Lin immerses herself in this creative process, achieving a meditativelike state. Recognizing the significance of her artistic method allows viewers to appreciate the fine details as well as gain insight into Amal Lin's spiritual and artistic evolution.

Additional Notes to be considered for the article: - This piece was specifically highlighted at the Prince’s Foundation for Amal Lin’s artist page: (https://princes-foundation.org/school-oftraditional-arts/degreeshow2021/amal-lin).

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Self Love Wonders 2021 Pigment and color on hand dyed paper, framed 38 cm x 27,5 cm Price on request

Artwork presented by: H. Edward Gallery T.: +1 (646) 753-2819 E.: hedwardgallery@gmail.com W.: www.hedwardgallery.com

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Daniel Eskenazi

Raised in a family that has been collecting and dealing in Asian art since the 1920s, Daniel Eskenazi has a strong interest in both ancient and contemporary Chinese art, from which he draws his inspiration. Exposed to the best artistic and intellectual achievements of Asia from a young age, it is through this mix of cultural, religious, and philosophical influences that his sensibilities have been formed. A sophisticated self-taught photographer, Eskenazi has been creating photographic works since the early 1990s. Eskenazi’s most recent photography work is based on the philosophical process that leads one’s self to be intimately connected with the spirit of nature; in Chinese we call this li, the inner law or spirit of things, or as the German poet Schiller put it: ‘It’s the spirit which builds for itself a body.’ Side by side, his photographic images bring together natural forms as a means to trigger both man’s elemental reactions to imagery, as well as raise questions of the metaphysical.

Each Minute, Every Hour VIII 2017 Archival print on photo rag 140 cm x 89 cm Edition of 5 + 2AP Price on request Artwork presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com

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Ding Guiling

Colourless crystal, with some icy flaws, ink and water-colours; with a flat lip and recessed, flat, elongated-oval foot surrounded by a protruding, convex, elongated-oval footrim; painted on the inside with two scenes of fairies, one with Xiwangmu, Mother goddess of the West, standing on a cloud, holding a tray with a vase of lingzhi, a ewer of elixir, and two peaches on a leafy branch, her young male attendant nearby holding over his shoulder a severed, leafy branch with two massive peaches, inscribed above 癸丑年丁桂 玲作於京 Guichounian Ding Guiling zuoyu jinshi (‘Made by Ding Guiling at the capital in the guichou year’) with one seal of the artist, 印 yin (‘seal’), the other with Chang’e, Goddess of the Moon, dancing on clouds, the moon behind her with five further female immortals, two dancing, in a lunar landscape with her palace in the background.

Immortal Women Painting: Ding Guiling, Chinese Arts and Crafts Workshop, Beijing, 1963 Bottle: 1750-1880 Height: 5,76 cm Stopper: jadeite (enhanced colour) Price on request Provenance: Hartman Rare Art, New York, 2013 Hugh Moss (HK) Ltd Pavilion, London Artwork presented by: Pavilion, London T.: +44 (0) 7523 018239 E.: info@paviliongallery.com W.: www.paviliongallery.com

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Fang Zhaoling Fang Zhaoling (1914 – 2006) was one of the most prominent Hong Kong ink artists of her time. Her works take strong influence from calligraphy, which she explored in depth as a child.

Also known as Lydia Wong, Fang Zhaoling was born in Wuxi, Jiangsu Province, China in 1914.

She initially studied bird and flower painting under Chen Jiucun and landscape painting under Qian Songyan. In her teens, Fang travelled to the United Kingdom to study. As a result, she received her education in both Chinese and Western systems and was proficient in the terms and ideas used in each mode of thought.

This formative time spent abroad allowed her to traverse cultural boundaries with more ease, perhaps informing the universal appeal and themes touched upon in her work. Indeed, her practice can be seen as a clear attempt to locate opportunities for development within the tradition of Chinese ink painting, but without ever losing its original language or sentiment.

In 1953, after moving to Hong Kong, she became a student of Zhang Daqian, revered master of Chinese ink painting. Later closely studying works by Qi Baishi, Fang adopted a more free and energetic style, increasingly apparent in her more recent works. The 1960’s – 70’s saw her travel to Brazil and California, continuing to paint alongside Zhang and taking part in numerous overseas exhibitions. Fang Zhaoling passed away in 2006.

Top right to top left: 期求龢平，創作和平頌畫幅多幀。以陝西窯居百姓 生活為題材，繼續繪製畫幅十數幀。一九八六年梁 溪方召麐。 Hoping for peace, created many paintings of Ode to Peace with the cave people of Shanxi as subject. Continued to paint more than 10 pieces.

Liangxi Fang Zhaoling 1986.

Top right to bottom right: 值丙寅虎年又世界和平年，時客港島 Hoping for peace, residing in Hong Kong at the year of Bingyin, Tiger year also the year of World Peace.

New Year Celebration / Dwelling Alone 迎春 With two seals of the artist ‘召麐’, Pictorial Seal 1986 Ink and water colours on xuan paper Hanging scroll: 59,2 cm x 47,9 cm Price on request Provenance: The Artist Private collection Poly Auction, Hong Kong, Fine Modern Chinese Paintings and Calligraphy, 5 October 2014, lot 558 Hugh Moss (HK) Ltd Pavilion, London Artwork presented by: Pavilion, London T.: +44 (0) 7523 018239 E.: info@paviliongallery.com W.: www.paviliongallery.com

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Hasuda Shugoro (1915-2010) Hasuda Shugoro was born in Kanazawa City, Ishikawa Prefecture and in 1928 entered the Ichikawa Prefectural Industrial School before continuing his studies at the Tokyo School of Art, graduating in 1938. He was invited to exhibit at the 5th Nitten (The Japan Fine Art Exhibition) in 1949 where his work received special recognition and in 1953 he received Nitten’s prestigious Hokuto prize and in 1959, he was awarded the Mombudaijinsho, a highly regarded prize given by the Minister of Education.

Hasuda participated in founding the Gendai Kōgei Bijutsuka Kyōkai (Creative Crafts Association) in 1961 and became an assistant professor at Tokyo University of the Arts in the same year.

The following year, two of his pieces, with their instantly recognisable architectural form, were chosen as official gifts for the prime minister of West Germany and also the president of Mexico.

Hasuda received several commissions for large public sculptures and executed them following his philosophy of creating sculpture which interacts with its architectural environment.

In 1976 Hasuda founded Nihon Kinzoku Zōkei Kenkyūjyo (The Japan Metal Sculpture Institute) and in 1980 his work was included in the exhibition Japanischen Metallbidner at the Museum fur Kunst und Gewerbe, Hamburg, Germany. Hasuda received the Japanese Order of Cultural Merit in 1991 and is considered one of the leading Post-war sculptors of Japan.

This piece is accompanied by a certificate of authentication. The certification states thirty examples of this work were made.

Works by the artist can be found in the collections of: Ishikawa Prefectural Museum of Art, Great People of Kanazawa Memorial Museum, Kanazawa; 21st century Museum of Contemporary Art, Kanazawa; The National Art Museum of Modern Art, Tokyo; Yamanashi Prefectural Museum of Art, Hiroshima Prefectural Art Museum, Museum of Contemporary Art Tokyo.

A hakudo (white bronze) flower vessel Japan Circa 1987 34 cm (h) x 8,5 cm (w) x 8,5 cm (D.) Price: 6.800 euros Tomobako (original box) inscribed: Lid: Hakudo Ichirin-ike (White bronze vase for a single flower) Lid interior: Shūgorō Seal: Shūgorō Artwork presented by: Gregg Baker Asian Art T.: +32 468 00 56 85 E.: info@japanesescreens.com W.: www.japanesescreens.com

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Momoko Takeshita

Momoko Takeshita Keane was raised in the ancient capital of Kyoto, Japan, and grew up surrounded by the many traditional crafts of that city. One day, when she was young, she found a piece of old roof tile lying on the ground. She was fascinating by clay as a material — its ability to be shaped and fired.

She studied to be a potter in the famous kilntown of Shigaraki at a time when few women were to be found as apprentices there and then spent a couple years in the Kyoto Laboratory of Traditional Crafts learning many aspects of traditional glazes and clay bodies. After that, She went out on her own, starting her own studio in Kyoto and in Ithaca (USA). But, it’s still clay, simply clay, that fascinates her.

All these works were made in the US between 2014 and 2019, while Momoko was living in Ithaca, NY. The works are all tebineri (coil-built) forms, not wheel thrown. Once complete, yet while the clay is still soft, Momoko textures the surfaces. The ones with vertically scratched lines were treated with bamboo and metal tools, while the teapots and the work called Fissure, were stippled with a stiff brush. They were then fired for 3-5 days in an anagama (wood-fired

kiln). None of the works were glazed. All the surface coloring is the result of the natural wood ash that builds up in the kiln.

About the works entitled Embrace, this series has been very well received. Pieces from the series were accepted to five of the most important contemporary ceramic/craft competitions, including these: Smithsonian Craft Show, 2016 Taiwan Ceramics Biennale, 2016 Triennale of Kogei in Kanazawa, Japan, 2017 International Ceramics Festival, Mino, Japan, 2017 Korean International Ceramic Biennale, Gyeonggi, 2019 Embrace Made in Ithaca NY Ceramic 32,8 cm x 28,6 cm x 23 cm Tomobako Price on request Artwork presented by: Galerie Mingei T.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery

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Embrace Made in Ithaca NY Ceramic 14,8 cm x 12 cm x 10,8 cm Tomobako Price on request ARTWORK PRESENTED BY: Galerie Mingei T.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery

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Fissure Made in Ithaca NY Ceramic 24,4 cm x 21,4 cm x 20 cm Tomobako Price on request ARTWORK PRESENTED BY: Galerie Mingei T.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery

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Blessing Made in Ithaca NY Ceramic 24,3 cm x 24,3 cm x 29,6 cm Tomobako Price on request ARTWORK PRESENTED BY: Galerie Mingei T.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery

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Embrace Made in Ithaca NY Ceramic 32,4 cm x 26,5 cm x 23 cm Tomobako Price on request ARTWORK PRESENTED BY: Galerie Mingei M: +33 (0)6 09 76 60 68 E: mingei.arts.gallery@gmail.com W: www.mingei.gallery

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Poster

Car Festival at Puri Circa 1957 Linen backed poster 99,7 cm x 62,23 cm Price on request Artwork presented by: Kapoor Galleries T.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W.: www.kapoorgalleries.com

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Banaras, See India 1954 100,33 cm x 62,23 cm Price on request Artwork presented by: Kapoor Galleries T.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W.: www.kapoorgalleries.com

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Air India, there is an air about India 1968 101 cm x 63,5 cm Price on request Artwork presented by: Kapoor Galleries T.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W.: www.kapoorgalleries.com

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Ajanta; 2500th Buddha Jayanti, India, The Land of Buddha 98,43 cm x 62,87 cm Price on request Artwork presented by: Kapoor Galleries T.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W.: www.kapoorgalleries.com

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Sibusiso Ngwazi

Born in KwaZulu-Natal in 1999, Sibusiso Ngwazi is a self-taught South-African artist renowned for his non-figurative paintings. His practice reflects his desire to break free from the constraints of traditional representational art and explores the limitless possibilities of abstraction. Ngwazi’s work is characterised by bold, vibrant colours and fluid lines that create a sense of movement and energy. His sweeping brushstrokes and the use of non-representational shapes are layered to create complex, multi-dimensional compositions. A master of texture, his variety of techniques and paints results in rich and tactile surfaces. Notwithstanding the complexity of his works, Ngwazi always imbues them with harmony and balance.

Revealing his devotion to intuition and strongly influenced by his spiritual beliefs, Ngwazi often starts a painting with his eyes covered. As a fresh take on action-painting, hand and brush, undirected by the eye, freely roam the canvas. “I cover my eyes, do the strokes, and then, in the middle of the painting, I remove the mask”. For Ngwazi, this blindness is integral to his creation process. Like the Spanish surrealist Joan Miró (1893-1983), his painting style can be described as “automatic” or “spontaneous”. As Miro, the artist believes in the importance of intuition and the subconscious; his works reflecting the freeflowing nature of the human mind.

COME MIDNIGHT 2022 Mixed media on canvas 180 cm x 162 cm Price on request Artwork presented by: Duende Art Projects T.:+32 485 98 20 36 E.: bruno@duendeartprojects.com W.: www.duendeartprojects.com

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Expressing a deep spirituality, Ngwazi’s paintings evoke a sense of transcendence. In the artist’s vision colours and forms have inherent spiritual properties and can be employed to entice an emotional response in the viewer, without relying on traditional representational imagery. Ngwazi considers himself as a vessel for a greater force – as observed in the confidence of his strokes and the energy that radiates from his abstract works. Experiencing Ngwazi’s paintings is utmost subjective, each work inviting the viewer to explore their own subconscious and emotional landscapes. In his captivating canvases we discover ourselves.

SELECTED SOLO EXHIBITIONS

One of South-Africa’s foremost emerging artists, Sibusiso Ngwazi has already gained strong recognition for his talent, showcasing his work in galleries and exhibitions across South Africa.

After moving to Cape Town in 2013, he has participated in several group exhibitions. In 2017, Ngwazi held his first solo exhibition which was well-received by both critics and art enthusiasts.

In early 2021, Sibu started hosting open studio exhibitions at his home in Little Mowbray. His work has caught the attention of key figures in the South African art world, such as the art critic Ashraf Jamal, who writes about him in his upcoming book ‘Abstraction and Figure’. Ngwazi has attended several art residencies: in late 2021 at South-Africa’s Nirox Foundation, in 2022 at Joseph Awuah-Darko’s Noldor Residency in Accra, Ghana, and at the Asisebenze residency in Johannesburg. With his first solo show in Europe, Ngwazi is poised to make a major impact on the international art scene.

2023 “Atmosphere”, Daor Contemporary, Cape Town 2023 “Sunny Side Up”, Graham Contemporary, Johannesburg 2022 “Modernity & Its Offspring”, Asisebenze Art Atelier, Johannesburg 2022 “Asisebenze Group Show”, Asisebenze Art Atelier, Johannesburg 2022 “Autumn 2022”, DAOR Contemporary, Cape Town

2023 Turbine Art Fair, Johannesburg 2023 “The Blind Side”, Duende Art Projects, Antwerp, Belgium 2022 ‘Revelations’ Youngblood Africa gallery, Cape Town 2022 “Metamorphosis”, Chilli Art Projects, London 2021 “I trust my stroke”, Nirox Foundation, Krugersdorp 2017 “Nostalgias” (curated by Mongezi Msomi), At The Palms, Kwa-Zulu Natal SELECTED GROUP EXHIBITIONS

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EVENING DATE III 2022 Mixed media on canvas 180 cm x 163 cm Price on request Artwork presented by: Duende Art Projects T.:+32 485 98 20 36 E.: bruno@duendeartprojects.com W.: www.duendeartprojects.com

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INSIDE THE FIELD 2022 Mixed media on canvas 188 cm x 138 cm Price on request Artwork presented by: Duende Art Projects T.:+32 485 98 20 36 E.: bruno@duendeartprojects.com W.: www.duendeartprojects.com

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Suda Kokuta (1906-1990) Suda Kokuta (1906-1990) was one of the major abstract artists in post-war Japan, who produced various experimental works deeply rooted in Zen philosophy. He is also known for his distinctive figurative painting from the early period as well as calligraphy characterised by vigorous, dynamic brushwork.

Suda started his career as a figurative painter in an individualistic drawing style with a particular emphasis on the line, the most fundamental visual element in all art. While exhibiting at major group exhibitions from 1933 and enjoying success as an artist, he is also known to have studied Zen philosophy intensely. Buddhism is to continuously inspire the artist throughout his life. In 1941, he moved to the ancient capital of Nara and lived in the quarters of Shinyakushi-ji and Todai-ji temples where he spent six years painting the Buddhist sculptures treasured there.

In 1949, he met Hasegawa Saburo (1906-1957), one of the pioneers of Japanese abstract painting, who had a profound knowledge of traditional Eastern philosophy. Meeting with Hasegawa, Suda realised the essence of Zen is abstract and shifted his artistic style from representational to abstract. For the next 20 years, he continued to experiment with various mediums and styles, producing abstract painting with a tactile quality and complex texture, to express the profound universe of its philosophy.

Untitled Signed Koku; signed and dated on the reverse 1959 Mixed media on paper 38 cm (h) x 28 cm (w) Price: 5.000 euros Provenance: Private collection, Japan Artwork presented by: Gregg Baker Asian Art T.: +32 468 00 56 85 E.: info@japanesescreens.com W.: www.japanesescreens.com

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In 1955, Suda was invited by Yoshihara Jiro (1905-1972) to join the new avant-garde group Gutai but he chose not to, preferring to stay independent in his own creative process. Yet he actively engaged with other avant-garde artists based in the Kansai region including Yoshihara and Morita Shiryu (1912-1998). In addition to regular solo and group exhibitions in Japan, from the late 1950s he started to exhibit overseas including: the 4th Sao Paulo Biennale in 1957, the 11th Plemio Resonne International Art Exhibition of Italy and Houston USA in 1959, and then the 1961 Carnegie International Exhibition, Pittsburgh USA. In the 1970s, Suda returned to figurative representation but this time a trace of abstraction remained on his canvas. He enjoyed to mix both styles, finding that abstract and representational paintings were not something contradictory.

By this time, he was also practicing calligraphy and expressed philosophical words in ink with dynamic lines full of vitality. His obsession for the

quality of the line, his talent as a painter and his strong spirituality soon brought him recognition as an outstanding calligrapher. The eminent avant-garde calligrapher Inoue Yuichi (19161985) likened Suda to the old masters Hakuin (1685-1768) and Tessai (1836-1924), both renowned as calligraphers as well as painters.

Throughout his life, he pursued his own art, continuously achieving breakthroughs in his creations. His studio was a spiritual battle field for Suda as his painting process was intensely demanding both mentally and physically – since encountering with Zen Buddhism, he sought to embody its deep, universal philosophy and spiritual freedom onto the canvas. As such, his work seems to have enduring, magnetic power which transcends time and space and continues to resonate with us today.

For more about the artist visit our website http:// japanesescreens.com

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The Master of the Water, Pine and Stone Retreat Celebrated collector, dealer and scholar of the Chinese aesthetic and its expression in works of art, the artist has, in recent years, discovered his own voice in ink painting. The discriminating and sophisticated eye he has brought to collecting antiquities, translates into his refined and scholarly ink aesthetic. Like the best literatipainters of Chinese history, his paintings of scholar’s objects and landscapes express his inner reality and personality, rather than seeking to achieve formal likeness or bravado displays of craftsmanship. Filling his every painting with refined ideas and personality, this neo-literati has even honed his ‘three perfections’ (poetry writing, calligraphy and painting), inking his observations about life, nature and treasured objects as written inscriptions on his paintings, but in English, his native language; the final effect is as much a homage to the Chinese literati tradition, as it is to his own scholarly sensitivities.

The inner life of strange stones and, indeed, of Stone Fools is truly intriguing. One never knows what will happen after stepping out of the world of red dust and into the realm of the stone. This very day I found myself lost in a stone I was painting only to be invited to take tea with an immortal.

Taking Tea in a Strange Stone With three seals of the artist, 水 松石山房 Shuisongshi shanfang (‘The Water, Pine and Stone Retreat’), 石狂 Mozhe buxiu (‘Let ink be my immortality’), and 竹 虛老人 Zhuxu laoren (‘Old man as empty inside as bamboo’ 2019 Ink and water-colours on clouddragon paper mounted down on xuan paper 70 cm x 77 cm Price on request Artwork presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com

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One night feeling an unnatural chill I opened my eyes to a strange light beside the hearth from which no further heat spread. It grew steadily brighter, shimmering at the edges as if trying to become solid form but not quite able. As I stared at it, it began take the shape of a stone, twisted and magnificent and encased in light. Climbing from the bed, I grasped it in awe, wondering at its perforated perfection. In the moonlight from the open window, I selected a spot in the dirt floor and forced its pointed base into the ground, where it stood radiant. Some might have taken this event as a meeting with a sylph, or a message from the gods and rushed about like an excited chicken proclaiming a miracle, but Stone Fools are not so readily deluded and recognize a stone dream when it occurs. Awakening in the morning, I recalled it to the brush.

Inscribed by the Master of the Water, Pine and Stone retreat at the Garden at the Edge of the Universe, after adding a plinth of moonlight and clouds in the early Winter of 2019.

Inscribed by the Master of the Water, Pine and Stone retreat at the Garden at the Edge of the Universe in the early Winter of 2019.

Dreamstone With for seals of the artist, 水松石 山房 Shuisongshi shanfang (‘The Water, Pine and Stone Retreat’), 石狂 Shikuang (‘Stone fool’), 竹 虛老人 Zhuxu laoren (‘Old man as empty inside as bamboo’), and 墨者不朽 Mozhe buxiu (‘Let ink be my immortality’) 2019 Ink and watercolors on clouddragon paper mounted down on xuan paper 72 cm x 178 cm Price on request Artwork presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com

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Wang Mansheng

Following graduation in 1985 from the Chinese Department of Shanghai’s Fudan University, where he majored in classical literature, Wang Mansheng worked for over a decade as editor, director and producer at China Central Television, Beijing. Since his move to New York in 1996, he has devoted himself full-time to painting and calligraphy.

The imaginary landscapes Wang creates using experimental techniques, tools and media in concert with traditional brushwork, are composed in dialogue with Chinese classical themes.

Wang’s works have been exhibited widely. This includes in China, the Beijing Art Museum, Today Art Museum, Xuhui Art Museum, and Shanxi Museum and in the USA, at Godwin-Ternbach Museum, Rockefeller Brothers Fund, China Institute in America, The Baltimore Museum of Art, and Princeton Art Museum. His paintings and calligraphy are held in important public and private collections.

Old Tree 8 2014 Price on request Artwork presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com

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Waseem Ahmed

Waseem Ahmed (b. 1976) is a Pakistani artist from Hyderabad, and is renowned as one of the country's leading artists in the field of contemporary miniature paintings. His distinct style uses traditional Mughal aesthetics and techniques while being placed in a contemporary context, often addressing socio-political themes.

Ahmed's work comprises drawing, gouache, pigments, and gold leaf on Wasli paper, creating vibrant compositions. Although he approaches his art with a traditional framework observed in miniature paintings, Waseem incorporates his own subject matter and themes into his body of work. The content of his artwork consists of inventive, recurring subjects, often inspired by mythological and contemporary figures of both Eastern and Western influence. His use of flora and calligraphy are other signature elements that distinguish his style. His work has been widely celebrated both in Pakistan and globally, with multiple solo and international shows. He currently works and resides in Lahore, where he teaches miniature painting as well as continues to produce his own, innovative work.

Untitled 2023 Dry pigment, color, and silver leaf on archival handmade Wasli paper, framed 71,12 cm x 52,58 cm Price on request Artwork presented by: H. Edward Gallery T.: +1 (646) 753-2819 E.: hedwardgallery@gmail.com W.: www.hedwardgallery.com

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Yamada Hikaru (1923-2001)

Born in Tokyo, the son of Yamada Tetsu (18981971), a Buddhist monk and later a ceramicist, Yamada Hikaru was raised in Gifu prefecture and studied pottery making at Kyoto Koto Kogei Gakko (now the Kyoto Institute of Technology).

After graduation in 1945, he stayed in Kyoto and began to produce ceramic ware. At first, his works were rather orthodox, such as vases with slipcutting technique similar to traditional Chinese Cizhou ware, and exhibited at the conventional Nitten (The Japan Fine Art Exhibition). Soon after, however, pursuing the new possibilities of ceramics, he co-founded Seinen Sakutoka Shudan (Young Pottery-makers’ Collective) in 1946 and then Sōdeisha (Crawling through Mud Association) in 1948 with two other like-minded potters Yagi Kazuo (1918-1979) and Suzuki Osamu (1926-2001).

In particular, Sōdeisha, a name which refers to a Chinese term meaning ‘glazing flaw’, became the most influential avant-garde ceramic group in Japan. The aim of this group of potters was to install a more artistic and expressive

dimension in pottery, relieving the final object of its utilitarian purpose and giving new form and meaning to the discipline. Therefore, their creations could not be categorised as mere ceramics and they were often referred to as Objet-yaki (Ceramic Art Object). Each member experimented with innovative techniques and forms, in an effort to break previous boundaries and to create something new and expansive within the world of Japanese ceramics. In the mid-1950’s, he started his artistic innovation by cutting and closing the mouth of a vase, completely removing its function as a vessel.

Constantly evolving Yamada went on to create different series of works such as the “Tower” in the 1960’s, “Numerals” and “Ears” in the 1970’s, “Black Pottery” in the 1980’s, “Silvered clay screen” from the late 1980’s and “Silvered clay pipes” in the 1990’s. This present work is one of the silver glazed works from the artist’s late career and represents his iconic twodimensional representations.

For more about the artist visit our website http:// japanesescreens.com

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Gindei Toban (Silver-glazed Clay Plate) Sealed Hikaru to lower right Japan 1991 A silver glazed ceramic panel, mounted in a Perspex and wooden box frame Ceramic panel: 34 cm (h) x 47,5 cm (w) Frame: 36 cm (h) x 50 cm (w) Price: 12.000 euros Exhibition: Yamada Hikaru To-ten (Ceramic exhibition), Shinjuku Isetan, Tokyo, 21-26 November 1991 Publication: Hikaru Yamada, Claywork, (2004), p237, pl. 253.

Artwork presented by: Gregg Baker Asian Art T.: +32 468 00 56 85 E.: info@japanesescreens.com W.: www.japanesescreens.com

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