October catalogue: Asian Art Society

OCTOBER issu E

WHO WE aRE

The asian art Society features an online catalogue every month listing quality works of asian art that have been thoroughly vetted by our select members, who are the in-house experts.

By bringing together a group of trusted dealers specializing in Asian art, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee of influential gallerists.

Cover image: Shishima mask presented by Galerie Mingei on p. 118 /asianartSociety

OCTOBER a RTWORK s

Pieces are published and changed each month. The objects are presented with a full description and corresponding dealers contact information Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. in order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence. in addition to this the asian art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase. items are presented by categories please check the table of contents.

Feel free to ask the price if the artwork is listed with a price on request.

01

Vaj R asaTTVa

China

Yuan imperial court

Late 13th century

Gilded copper alloy with gold, color pigment and stone inlay

height: 22,8 cm

Provenance:

Sotheby’s, 12th November 1987, Lot 255

Exhibition:

Pathway to Enlightenment: art of Tibet from australian collections

Perc Tucker Gallery, Townsville, 5th September to 2nd november 2002

Smile of the Buddha: image of Enlightenment, Drill hall Gallery, australian national University, Canberra, 1st November to 16th December 2007

Publication:

Imperial Yuan Gilt-Metal Buddhist Sculptures: Stepping Stones to the Early Ming Orientations, Nov./Dec. 2014. Fig. 5

A Merger of Cultures: Buddhist Art of the Yuan and Ming Eras, Robert Bigler, Zurich, 2018

Price on request

Obje C t Pre S ented by: hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

02

C H in E s E bapo pain T ing

China

Qing dynasty (1644-1911)

Late 19th century ink and color on paper

height: 28 cm

Width: 27,5 cm

Price: 1.000 USD

Obje C t Pre S ented by: alan Kennedy

M: +1 646 753-4938

E: kennedyalan@hotmail.com

W: www.alankennedyasianart.com

The Chinese paintings commonly known as bapo (literally “eight brokens”), were a late development in the history of Chinese art. They can be compared to trompe l’oeil paintings in Western art, in that they create the visual impression that actual texts or objects exist in random positions as if in a three-dimensional collage.

This bapo painting features various texts oriented in different directions. The texts appear to be fragments of woodblock-printed pages, and of rubbings taken from inscriptions in incised objects, such as bronze vessels. The four-lobed outlines of the painting could indicate that this work was meant to serve as a design for a ceramic or lacquer plate.

03

ja DE C a RV ing

China

Late Ming dynasty nephrite

12,7 cm (h) x 15 cm (l) x 11,5 cm (w) with the stand

Provenance: Private estate, Texas Price on request

Obje C t Pre S ented by:

Clare Chu asian art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W.: www. clarechuasianart.com

a celadon jade archaistic fangyi,rectangular, the body carved with rows of raised bosses on each side below auspicious characters, the lip with a leiwen design and curved lug handles, the four legs carved with stylized mythical beasts, with a carved wood stand.

This type of jade vessel is known as a ‘fangyi’. During the Shang and Zhou dynasties early vessels such as this were cast in bronze. ‘Fang’ means ‘square’ and ‘yi’ means ‘vessel’. Archaic Chinese bronze vessels were often decorated with inscriptions in ancient scripts and motifs such as mythical beasts and taotie masks. They are found in bronze and jade with either three or four legs depending on whether they are rounded or rectangular in form.

snu FF BOTTLE

China 1750-1800

Glass

Height: 5,1 cm

Provenance:

Joan and Ted Dorf, MD

Price on request

Obje C t Pre S ented by:

Clare Chu asian art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W.: www. clarechuasianart.com

A glass snuff bottle, of ovoid form with a cylindrical waisted neck and a concave oval base, the blue-gray glass with dramatic red and brown swirls.

it is undeniable that the Europeans at Court in the eighteenth century had a significant influence over glass production. This bottle, which finds its parallels in glass from Europe, appears to be a result of this. European influence over glass production in Beijing took a number of different forms. Glass objects from Europe were included in tributes sent by those countries and their influence would have provided the trigger for the production of innovative and unique pieces.

snu FF BOTTLE China

Circa 1910 inside painted glass

height: 6 cm

Provenance:

Manfred arnold collection

Price on request

Obje C t Pre S ented by:

Clare Chu asian art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W.: www. clarechuasianart.com

A glass snuff bottle, of flattened rectangular form with a cylindrical neck and an oval footrim, painted on the inside using ink and watercolors, one side with a snowy winter scene of huang Chenyen astride his mule with his attendant walking behind him, carrying a prunus branch over his shoulder, both traversing a snow-clad bridge, the reverse with a grassy bank with a pair of fighting crickets perched atop a bok choy, a dragonfly and a butterfly in the air above, signed Chen Zhongsan.

Chen Zhongsan has painted this combination of scenes a number of times, begging the question: how is the seemingly innocent garden scene of insects related to the well-known tale of Huang Chenyen’s banishment from the Official Court? The central pair of fighting crickets represents Huang’s fighting spirit and his courage in the face of repeated misfortune, while the blossoming chrysanthemums, the flower of autumn, symbolize long life and endurance. Contrast this to the insects on the periphery of this scene, the praying mantis, normally shown in its habitat on the tops of flowers and plants, and the dragonfly, both emblematic of corruption and instability. The message is clear that good eventually will win over evil and that persistence is the key to achieving this.

06

gL ass BRus HW as HER

China

incised Yongzheng four-character mark and of the period (1723–35)

Width: 8,3 cm

Publication:

hong Kong auctioneers and Estate Agency Ltd., 26th October 1997, lot 142A

Price on request

Obje C t Pre S ented by:

Rasti Fine art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

a Beijing opaque celadon glass brushwasher, the compressed globular vessel supported on a sunken base and with narrow flattened rim, the colour of even tone with slight striations.

For a small Yongzheng mark-and-period compressed globular brushwasher see Lam, Elegance and Radiance: Grandeur in Qing Glass, The Andrew K. F. Lee Collection, pp. 188–89, no. 57, and for a Yongzheng mark-and-period opaque yellow glass oval waterpot see The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, p. 203, no. 194. A Yongzheng markand-period opaque turquoise bottle vase can be seen in Brown and Rabiner, Clear as Crystal, Red as Flame: Later Chinese Glass, pp. 100–101, no. 9, and for a Qianlong markand-period opaque glass alms bowl see ibid., p. 81, no. 47. Also, for a Qianlong mark-and-period opaque yellow glass bowl see Suntory Museum of art, The Glass That Gallé Adored—Glass from the Qing Imperial Collection, p. 59, no. 35, and a Qianlong mark-and-period ruby-red glass waterpot can be seen in Tsang and Moss, Arts from the Scholar’s Studio, pp. 150–51, no. 124.

07

B ELTHOOK

China

Warring States period/han dynasty (475 BCE–220 CE)

Length: 21 cm

Provenance: Private Japanese museum, Osaka Price on request

a gilt-bronze, silver- and turquoise-inlaid belthook, the curved shaft with a terminal modelled as a crouching bear above a further seated bear to the centre and dragon-head hook to the end, all within two bands of inlays with geometric designs

For a similar belthook see Osaka City Museum of Fine arts, Sengoku no bijutsu (Art of the Warring States), p. 104, no. 153. For two further turquoise- and gold-inlaid bronze belthooks see Lawton, Chinese Art of the Warring States Period: Change and Continuity 480–222 BC, p. 100, no. 50 and p. 109, no. 58, and another, dated Eastern Zhou dynasty, in Lawton, Asian Art in the Arthur M. Sackler Gallery: The Inaugural Gift, pp. 238–39, no. 156.

Obje C t Pre S ented by:

Rasti Fine art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

08

a WH i TE ja DE Vas E an D COVER

China

Qianlong nian Zhi mark and of the period (1736 – 1795)

Height: 11,5 cm

Price on request

Obje C t Pre S ented by: Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

An elegant white jade vase and cover flanked by two birds sitting on a rocky landscape.

Sui Sui Ping An (May you be healthy each year )

Grain = Sui = Year

Peace = Ping = Vase

Safe = an = Quail

09

ja DE p E n D an T

China Yuan dynasty (1279–1368)

Length: 4,5 cm

Provenance:

Jiu Ru Yuan collection, hong Kong, acquired in the 1980s

Price on request

Obje C t Pre S ented by: Rasti Fine art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

a white and creamy jade pendant in the form of a scapula bone, with naturalistically rendered details, the top covered in a deep russet skin, the underside with pierced aperture for hanging.

For a similar pendant in jade of a wolf knuckle bone from the same period see Rasti Chinese art, Works of Art, October 2014, p. 42, no. 32, and for a white jade astragal bone pendant see Lu (ed.), Zhongguo gudai yuqi yishu (Ancient Chinese Jade Art), p. 336. See another, dated Liao dynasty, in ip, Chinese Jade Carving, pp. 220–21, no. 199.

10

Li O n H E a D pH u RB a

nepal

19th century or earlier

Price on request

Obje C t Pre S ented by: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

C H u RR a Bu TTER

C H u R n Han DLE

nepal 19th century or earlier

Price on request

Obje C t Pre S ented by: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

12

n in E-p RO ng ED

Vaj R a Tibet

12th century iron and bronze

Length: 22,5 cm

Provenance: Benny Rustenburg (1940-2017)

Price on request

The vajra is a ritual implement in Buddhism, particularly in Vajrayana or Tantric Buddhism. it originated from indian Vajrayana Buddhism and was later incorporated into Tibetan Buddhism. The term “vajra” is a Sanskrit word that translates as “thunderbolt” or “diamond.” as a diamond, it symbolizes an indestructible hardness and brilliance, while as a thunderbolt, it represents an irresistible force.

The nine-pronged vajra is a relatively uncommon form, and its appearance suggests its use in more advanced or specific tantric practices. The number nine is considered sacred in many cultural and religious traditions, including Buddhism, where it can represent the nine Vehicles to enlightenment as laid out in the nyingma school of Tibetan Buddhism. Each prong culminating in a Makara head. Makara is a fascinating sea creature in Hindu and Buddhist mythology, often depicted as a mix of various aquatic and terrestrial animals. it could symbolize the overcoming of fear and the navigation of challenging emotional or spiritual waters. in some interpretations, the Makara is seen as a guardian of gateways and thresholds, further underscoring the transformative power associated with the vajra. The combination of iron and bronze might has been chosen to balance the qualities of strength (iron) and resonance or harmony (bronze).

This powerful tool of the spiritual path in Vajrayana Buddhism, embodying the journey through the unconscious, the transformation of destructive forces into wisdom, and the attainment of enlightened truth.

Obje C t Pre S ented by: hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

13

gau Tama

s i DDH a RTH a Bu DDH a Tibet

13th century

Bronze with copper inlay, cold gold, and color pigments

Height: 21,5 cm

Provenance: Doyle NYC 2009

Price on request

A classical piece showcases a heavy influence of Indian artistry, infused with the unique Tibetan aesthetic. The Buddha statue is cast using the lost wax method, meticulously crafted with a butter-like bronze alloy. The choice of bronze alloy adds warmth and richness, enhancing the statue’s sacred presence and aesthetic allure.

The intricate copper inlay on the robe adds a touch of opulence to the statue. The fine detailing and delicate craftsmanship reflect the skill and dedication of the Tibetan artisans who brought this masterpiece to life. The cold paint adorning the face creates a stunning contrast against the bronze, with colors softly highlighting the features of the Buddha. The eyes, emphasized with vibrant red pigment, evoke a sense of intensity and focus, drawing the viewer’s attention to the profound wisdom and compassion of Sakyamuni. The deep blue hue of the lapis lazuli painted on the Buddha’s hair signifies spirituality and enlightenment, emphasizing the divine nature of the Buddha. The Buddha’s expression exudes a serene calmness, reflecting a state of inner peace and enlightenment. This nuanced depiction conveys the dynamic nature of the Buddha’s teachings, reflecting his commitment to challenging the status quo and promoting spiritual transformation.

The Buddha sits gracefully on a double lotus throne, emanating tranquility. With crossed legs, the hands rest on the lap in the earthtouching mudra. The right hand reaches toward the ground, fingers gently touching the earth, while the left hand rests serenely.

Obje C t Pre S ented by: hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

14

Ra RE CL ay

an D s TR a W

B ODDH isaTVa

s C u L p T u RE

Western Tibet

13-14th century

Clay and straw, on an iron base painted in polychromy

Height: 96 cm

Provenance: Private English collection

Price on request

Obje C t Pre S ented by: alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W: www.alexisrenard.com

This beautiful life-size sculpture is an exceptional example of Tibetan polychrome clay statuary that can be found in the Buddhist temples of the western himalayas.

it represents a Bodhisattva, deity of compassion, seated in an elegant and relaxed position: the legs are at rest, the left one is bent while the right one is relaxed. This position is related both to that of royal ease and to the Sattva posture, which frequently characterize Bodhisattvas.

his right hand in gyan mudra delicately placed on his knee, and his left hand raised in front of him in shuni mudra both evoke the posture of the bodhisattva Vajrasattva, who usually holds in his hands the vajra and the ghanta bell, symbolizing compassion and wisdom.

his bare torso, slender and slightly drawn, gives way to a slightly prominent belly. his skin is red, and he is depicted wearing only a dhoti and adorned with precious jewelry: buckles, necklaces, bazu bands on his arms and ankles, as well as an elaborate headdress with five finials.

These temple figures are made of a clay-based paste, shaped on a metal skeleton. Once dry, they were painted in polychromy.

it is extremely rare to come across a piece of this kind of material so well preserved.

Christian Luczanits wrote a remarkable piece on the polychrome clay statuary that populates the Buddhist temples of Tibet: Buddhist Sculpture in Clay, Early Western Himalayan Art, late 10th-13th centuries, Chicago: Serindia Publications, 2004.

a LE a F FRO m THE

D EV i m a H aT mya: H O mag E OF THE gOD s

Guler, india

Circa 1850

Opaque watercolor heightened with gold on paper

22 cm x 32 cm

Provenance: Collection of the Marquess of Tweeddale

Sotheby’s New York, 16 & 17

September 1998, lot 561.

Private collection, USa

Price on request

Obje C t Pre S ented by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

This bright and striking painting depicts a delegation of gods, led by indra and agni, who worship the various forms of the great goddess Devi: indrani, Lakshmi, Brahmani, Maheshvari, Varahi, Bhairavi, narasimhi, Kaumari, and Kali at the forefront. The painting is in the Kangra style, which became well established in the Guler State by the mid-eighteenth century. The detailed rendering of each figure, with bright orange, green and light pink hues, reflect the evolution of the Guler style throughout the nineteenth-century. The distinct orange horizon is particularly telling of its date.

16

FOL i O FRO m an

u s H a-a ni Ru DDH a RO man CE s ER i E s:

C H i TR a LEKH a

V isi T s a ni Ru DDH a in D W a RK a

Garhwal, india

Circa 1840

Opaque watercolor heightened with gold on paper

22,9 cm x 30,5 cm

Provenance:

Private European collection

Price on request

Obje C t Pre S ented by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The present painting comes from an Usha-aniruddha romance series in which Usha, daughter of Vana, King of the Daityas, has a dream of a wonderfully handsome prince with whom she instantly falls in love. Usha, calling upon her friend, the magical Chitraleka, speaks thus, “Listen carefully my friend. My husband is very attractive, his eyes are beautiful like a lotus, his gait is gracious like that of an elephant. if you do not produce him before me i will die” (h. Dehejia, and V. Sharma, Pahari Paintings of an ancient Romance: the Love Story of Usha-aniruddha, new Delhi, 2011, p.28). Chitralekha aids her in drawing portraits of all the princes until Usha recognized aniruddha among them–the grandson of Krishna!

here we see Chitralekha in the holy city of Dwarka, built by the divine architect Vishwakarma. The majestic palace is made of pure gold, its columns and arches adorned with glittering jewels that sparkle like the stars in the sky. Chitralekha, leaning against a golden arch, gazes upon the sleeping figure of Aniruddha, his princely crown beside him. When Chitralekha awakens the prince, he explains that he too has had a dream of a beautiful romance. Thus, he agrees to accompany Chitaleka to Usha.

Sleeping in a chamber just to the left of Aniruddha is Krishna, who has a nearly identical countenance to his grandson–the only distinguishing feature being his crown, which unlike Aniruddha’s, bears his signature peacock feathers. The male figure beside him is likely a messenger, there to alert Krisha that aniruddha has disappeared. When Krishna finds his grandson gone, he wages war on Usha’s kingdom, and a great battle ensues.

See a similar folio from a Kangra Usha-aniruddha series, currently in the Victoria and albert Museum (acc. iS.111968). In this folio, Chitaralekha reveals her portraits to Usha and then magically flies through the sky on her way to find Aniruddha. The Garwhal and Kangra traditions are both known for their exquisite romantic charm. The present folio, however, is executed in a palette that would surely steal the eye away from a comparable pastelcolored Kangra illustration of the same subject.

17

Dan C ing gan E s H a

Madhya Pradesh, Central india 10th century

Sandstone

53,3 cm x 39,4 cm x 19,7 cm

Provenance:

Moreau-Gobard Gallery, Paris, by the early 1960s

Acquired from the above by Mr. & Mme Michael Rade

Thence by descent

Price on request

Obje C t Pre S ented by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

Faithful attendants surround Ganesha expressing his role as patron of the arts in a dance echoing that of his father Shiva. he sways atop a platform supported by two lions who flank a devotee seated in prayer. Stacked rows of attendants with offerings and praise take the place of columns and enshrine the god along with the assembly of lotus-bearing male figures above. The mouths of makara on either side of the male figures release scrolling tree-like embellishments, mirroring the movement of the snake’s curling head and tail which Ganesha stretches overhead.

This deep sandstone relief of the elephant-headed god filled with figures ornamented in large beads and clad with striped dhotis is rendered in a style common to medieval sculptures from central india. The present form of Ganesha, albeit petite in comparison, is worthy of studying beside a fine tenth-century image of Ganesha attributed to Madhya Pradesh at the Metropolitan Museum of Art (acc. 2007.480.2); see similarities in the design of his jeweled headdress and manner of depicting the god’s voluminous ears.

18

sH i Va as

T R ipu R an Ta K a, T HE D E s TROy ER

OF T R ipu R a

india

Circa 1750-1780

Opaque watercolor heightened with gold on paper

18,7 cm x 24,4 cm

Provenance:

Royal Mandi

The estate of Carol Summers (19252016)

Christie’s New York, 20 March 2019, lot 698

Price on request

Obje C t Pre S ented by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The narrative illustrated here is that of Shiva as the destroyer of Tripura, the three mythical demon cities in the sky. Tripura was gifted by Brahma to the evil demon Taraka’s three princely sons as reward for undertaking severe penance. These impenetrable fortresses revolved around the sky and could only be destroyed by an arrow that could merge the three cities and set them ablaze. With these boons, the three princes abused their power, wreaking havoc across the universe and taunting the gods. Unable to stand against the princes’ power, the gods begged Shiva for help.

In order to defeat the Tripura, Shiva crafted his weapons from pieces of the other gods. his chariot, made from the earth, is depicted here, upheld by wheels made from the sun and the moon. Brahma, the Creator, with four heads and four arms, is his charioteer. Shiva’s bow, made from Meru the mountain, is strung with the serpent Vasuki, who can also be seen wrapped around Shiva’s neck. Shiva’s cosmic arrow, which he used to destroy all three cities in a single shot, is made from Vishnu, the Protector, his blue face appearing on the tip of the arrow. Tripura is not depicted as three separate cities, but instead, is personified into demon form. The scaled pattern on the demon’s skin serves to represent the earth, and can also be seen on Shiva’s mountainous bow. Scattered across the demon’s chest and legs are buildings and animals, indications of the floating cities merged into flesh. This sort of representation helps to visualize Shiva’s foe, not simply as three fortresses, but as a formidable enemy. it can also be taken to symbolize Tripura’s metaphorical meaning as the three components of man: the physical body, the intellect, and the soul. By destroying Tripura, Shiva is said to have merged the three essential components of man into the supreme consciousness.

The reverse of this folio contains Devanagari numerals ‘48’ and bears a stamp and inventory number from the Royal Mandi Collection.

19

pORTR ai T OF a

CO u RT i ER

Deccan, india 1680-1720

ink and pigments on paper

height: 22 cm, Portrait: 14 cm

Width: 14 cm, Portrait: 7,5 cm

Price on request

Obje C t Pre S ented by: alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W: www.alexisrenard.com

a young courtier is depicted here in the tradition of Mughal portraits, full-length, against a sober background that focuses attention on the subject.

His white garment, sash and turban are finely embroidered with floral motifs, again in the fashion of the Mughal court. Behind his silhouette, we can easily guess the various weapons the young man carries: a talwar sword and a dhal shield strapped to his shoulder, as well as a katar, on which his left hand rests. In his right hand he holds two cut flowers.

Our fine-featured young man bears a certain resemblance to Sikandar adil Shah, born in 1668, of whom two other portraits are known. The young Sultan is depicted in a Bijapur miniature made around 1680, representing the entire adil Shahi dynasty, in the Metropolitan Museum, New York (inv. no. 1982.213).

another portrait of Sikandar is in the Fondation Custodia (Paris) and published in: Zebrowski, M. (1983), Deccani Painting, London: Sotheby Publications by Philip Wilson Publishers Ltd, p. 149, no. 118.

an inscription in Persian in black ink adorns the red margin and mentions the pencil of Kuhna (the old one), which can be understood in two ways, either to signify the age of the work or to refer to an artist named "Kuhna".

20

Ragama L a pag ESankarabharan r agini

Rajasthan, Bundi, india 1765-1780

ink and pigments on paper

Height Page: 32 / 27,5 cm

Width Page: 20 / 16 cm

Price on request

Obje C t Pre S ented by: alexis Renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W: www.alexisrenard.com

This painting was part of a ragamala, or ’bouquet of ragas’, produced in Bundi in the 18th century. Another page from a ragamala in a very similar style is kept in the Art Institute of Chicago (1965.1127).

Originally, a raga is a medieval indian musical system, intended to provoke a particular feeling in the listener, or rasa. Each melodic composition refers to an emotion, a state of mind or a mood (love, grief, devotion, waiting for a loved one...), sometimes associated with a season or a specific time of day (dawn, dusk, spring...), thus creating an image or a story.

This indian concept of raga was then transposed into paintings, called ragamalas, a unique amalgam of painting, feeling, poetry and music. The tradition of ragamala paintings, deeply rooted in the indian world, has been the subject of numerous variations by artists’ studios since the 16th century, following a classification of different typologies of ragamalas. These paintings of feelings, which have no equivalent Western concept, were then available in female (ragini) or male (raga) versions.

in this painting, a young woman is accompanied by an older woman to the gates of a lush palace. She is greeted by two courtesans, while a prince watches her from the balcony, holding out a flower in her direction. The young courtesan bows her head in shyness.

in his book on the art of the Ragamalas, Klaus Ebeling describes a painting on a comparable theme called "Sankarabharan Ragini" ("a shy damsel is led by an older woman into a man’s room"). See: Ebeling K. (1973), Ragamala Painting, Basel / Paris / new Delhi: Ravi Kumar, p. 247, No. 208.

21

H E a D OF a FE ma LE

F igu RE

Rajasthan, india 11th century

Reddish sandstone

Height: 19,5 cm

Provenance: Galerie Philippe Dodier, avranches

France

Collection de Monsieur R.L. acquired from the Galerie Philippe Dodier

Price on request

Obje C t Pre S ented by: Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W: www.famarte.com

The beautiful rounded fleshy face with a spirit of life and serenity is marked by heavy-lidded almond-shaped eyes below gently arched eyebrows. The full lips form a benevolent smile. her wavy hair is surmounted by a remarkable flowerhead with beaded festoons. Both ears are full adorned, the left ear is decorated with a heavy circular earring. A refined double necklace enhances the elegant neck of the lady. Remains of ancient pigments are visible in the reddish sandstone.

22

ja DE C up

Mughal india or Central asia

17th century or earlier

Width across handles: 10,5 cm

Price on request

Obje C t Pre S ented by:

Rasti Fine art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

a pale celadon jade two handled oval cup, the curved body extending down to a pointed splayed foot and recessed base, the two pointed handles simulating bird heads, the stone with slight russet and pale grey inclusions

This unusual cup or bowl is presumably formed after a kashkul, or begging bowl. For an agate bowl of identical design dated possibly 17th century and attributed as Ottoman, Mughal, or South indian see hein, The Treasure Collection at Rosenborg Castle: The Inventories of 1696 and 1718, Royal Heritage and Collecting in Denmark–Norway 1500–1900, Vol. 2, pp. 269–71, no. 534. For another comparably shaped pale celadon jade bowl with very similar base attributed to Central or West asia see Deng, Exquisite Beauty—Islamic Jades, p. 45, no. 033; it is also illustrated in Deng, Treasures from across the Kunlun Mountains: Islamic Jades in the National Palace Museum, p. 76, no. 038.

23

The Navagrahā

Bihār, Bengal, North-east India

Pāla period

11th-12th century

Black stone

Height: 37 cm

Length: 78 cm

Provenance:

Christie’s Amsterdam 2006

Private collection, the netherlands

Price on request

The Navagrahā represent the divinised planets, playing a role in the destiny of beings. The work is well-preserved, with all nine deities intact. The varied positions and sinuous modelling give the bas-relief an elegant appearance, underlined by the refinement of the black stone. The faces of the divinities are surprisingly delicately modelled, with a sense of detail that testifies to the sculptor’s virtuosity. it is also worth noting that each of them is depicted with its attributes, and its mount in the lower frieze, making it easy to identify them.

The iconography of the nine planets is a classic scheme. The last two are actually astronomical phenomena: Rāhu is the deity of the eclipse and Ketu, with a serpent’s tail, is the comet. According to the legend of Rāhu’s origin, the gods churned the sea of milk to extract the elixir of immortality. The demon Rāhu, noticing this, tried to seize the elixir. Sūrya and Chandra, the sun and moon respectively, denounced him to the god Viṣ u, who to punish him decapitated him using his cakra, a disc with a sharp edge. however, a drop of the elixir had fallen on Rāhu’s tongue, and his head remained immortal. Driven by a desire for vengeance, Rāhu set out in eternal pursuit of the sun and moon, seeking to devour them. Since the demon has no body, the sun and moon keep escaping through its severed neck, causing eclipses.

This bas-relief was originally on the lintel of a sanctuary door. it is a symbolic place signifying good fortune. all nine deities are present, each with their own distinctive iconography. On the left are Ganesh, but also Surya, Chandra, Mangala, Buddha, Brhaspati, Shukra, Shani, Rahu with the lunar disc and Ketu with the body of a snake, surmounting a lotiform throne.

Obje C t Pre S ented by:

Christophe hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

24

B RE as T OR T E mp LE

C LOTH, CER i K

p EL angi

Bali or Lombok, indonesia 19th/early 20th century Silk; stitch resist tritik and tie dye pelangi

305 cm x 56 cm

Provenance: amann collection

Price: 2.500 USD

Obje C t Pre S ented by:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

These cloths use dyeing techniques that permit a great freedom to create spontaneous, colorful patterns, a true rainbow (pelangi) of possibilities. This is a wonderful example from a famous old German collection.

25

a R a RE B a L in E s E

p OLy CHRO m E WOOD

s TaT u E OF TW a LE n

Singaraja,north Bali, indonesia

Late 19th/early 20th century

height: 32 cm

Price: 3.500 euros

Obje C t Pre S ented by:

Zebregs&Röell

+31 6 207 43671

dickie@zebregsroell.com

www.zebregsroell.com

Standing on a square lotus base, in a dancing pose, wearing a traditional cloth and crown.

Twalen is the most powerful and mysterious of the four short, squat clown-like figures who serve as advisers and sidekicks of the main princely protagonist of Balinese stories. Known as punakawan, Twalen and his junior sidekick, Merdah, are on the side of the hero of the story, whereas Delem and Sangut, are on the side of the hero’s nemesis. The roles of punakawan can be compared to the Shakespearean fool because they are wise, often wiser than the prince, despite their antics and uncouth behaviour. Twalen also carries a mystical aura of representing the old pre-hindu gods. he is much revered in Bali. his Javanese counterpart is known as Semar. The characteristics – short dwarf-like body, legs and arms, a large head with an animal-like snout, two widely spaced teeth, bare breast, large belly, checkered (kain poleng) sarong, a flower behind his ear – are all standard. The crown he wears indicates royal origins despite his rough exterior. The statue was probably part of a set of four depicting all four punakawan. Such images were sometimes kept within temples but in the beginning of the 20th century also were produced to sell outside temples, to the Dutch.

26

Ra RE gOLD nan D i Ring

Sumatra, indonesia

Srivijaya

671 – 1025 CE

Size: US6

Weight: 12 grs

Price: 6000 GBP

Obje C t Pre S ented by:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

Srivijaya was a Buddhist Empire based on the island of Sumatra. it was an important center for the expansion of Buddhism and the first polity to dominate much of the South -East asian maritime trade.

nandi is the bull vahana (mount) of the Hindu God Shiva. he is also the guardian deity of Kailash, the abode of Shiva. almost all Shiva temples display stone-images of a seated nandi, generally facing the main shrine. it is also the god of happiness, joy, and satisfaction.

27

F E ma LE D i V ini T y

Cambodia

10th century

Sandstone, Koh Ker school

Height: 27 cm

Provenance:

Bernard Buffet collection, before 1980

Galerie Barrère, Paris / hong-Kong

Price on request

Obje C t Pre S ented by:

Christophe hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

This statue represents a female divinity, who could be identified as the goddess Uma.

Viewed from the front, this sculpture is in keeping with the traditional codes of Khmer art. Depicted bare-chested and clad in a sampot covering her legs, the powerful, generous forms characteristic of the Koh Ker school are combined with the hieratic rigour typical of Khmer art. This particular aesthetic is underlined by the highly geometric drape of the garment, which is made up of subtly incised folds.

Khmer art, unique from the outset, has retained over the centuries the iconographic codes and modes of representation established at its inception. Originally, the sculptures were polychrome. They were adorned with garments and jewels for religious purposes.

among the original features of Khmer art to be found in this sculpture are the incisions under the goddess’s breast, which are systematic but whose shape has evolved over the centuries. This detail also emphasises the volumes of the goddess’s slender figure. In the same way, the pocket of the garment - folded under the belly - is a fundamental element of Khmer representations.

Like this sculpture, all Khmer works are carved in sandstone, a stone that is abundant in the country. This material allows sculptors to play with the modelling of flesh and polishing, and its high density allows for the refinement of details.

Influenced by India, the Khmers adopted not only their main religions - Buddhism and hinduism - but also other cultural aspects, notably writing in Sanskrit. hindu until the 16th century, the Khmer rulers erected numerous temples on the angkor site, before making Mahayana Buddhism the state religion.

This sculpture can be identified as the goddess Uma, also known as Parvati. a goddess of Siva, she is one of the main goddesses of hinduism, and is given particular importance in the Sivaite cult, which spread throughout Cambodia during the medieval period.

28

Bu DDH a HE a D

Thailand

13th century

Terracotta , haripuñjaya style

height: 21 cm

Provenance:

a. B. Griswold, Josette Schulmann in 1975

Private collection, Meerbusch

Exhibition:

The arts of Thailand, travelling exhibition between 1960 and 1962, United States, directed by M. C. Subhadradis Diskul, curator at the national Museum of Bangkok.

Publication:

alexander B. Griswold, The arts of Thailand, 1960, cat. 36, p. 65.

Price on request

Obje C t Pre S ented by:

Christophe hioco

T: +33 (0) 1 53 30 09 65

E: info@galeriehioco.com

W: www.galeriehioco.com

The kingdom of haripuñjaya was founded in the 8th century by a dynasty of Mon emigrants from Lop’burī, where the artistic tradition of Dvāravatī was flourishing. It lasted until 1292, when Lamphun, its capital, was taken by the Thais of the Lanna kingdom.

It developed alongside the Dvāravatī kingdom and the Khmer kingdom of Lop’burī, both of which brought clearly identifiable stylistic influences. The art of Harīpunjaya is the original combination of these artistic contributions, giving rise to sculptures of remarkable expressiveness.

The expressive character of Mon features can be seen in this piece: the broad face with a forehead that flares out at the temples, the high, well-marked cheekbones, the broad nose and full lips hemmed with a thick double line. The eyes are flush with the face and the upper eyelid is lowered. The eyebrows, supporting the gaze, form a continuous, slightly undulating line. The hair, defined by a characteristic border, is made up of spiky conical curls that were traditionally modelled separately and then applied.

29

j izai Kagi Hanging

H OOK

Japan

Mid 19th century or earlier

20,3 cm x 17,8 cm x 7,6 cm

Price on request

Obje C t Pre S ented by:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

30 s H inz O

Shinto deity

Japan

Early heian period

C 14 test 886-996 (94 % probability)

Wood and pigments

height: 18 cm

Price on request

Obje C t Pre S ented by:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

31

W OODE n

L a C qu ERED

sH is H imai mas K

Japan

Dated Tenbun 9 (1540)

Wood core, leather and twine

24 cm x 28 cm x 22 cm

Price on request

Obje C t Pre S ented by:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

A fabulous dried lacquer mask dated the 5th month of Tenbun 9 (1540) for shishimai festival dancing. It is made with a combination of dry lacquer, wood core, leather and twine, all covered in crackled black lacquer with gilded eyes and teeth. The jaw flaps open and closed, made to frighten little children and said to ward off evil. The mask is in surprisingly good condition considering its age.

The Shishimai or lion dance involves performers donning lion-shaped masks and wearing a large cloth with an arabesque lion pattern. it is believed to have originated in india. The "shishi" is inspired by the lion, and traveled to Japan from China as a mythical creature capable of expelling evil. in the middle of the eighth century, the lion dance started being performed at shrines and temples. From the middle of the 14th century to the beginning of the 17th century, entertainment groups from Ise traveled the country, performing the lion dance and distributing talismans from ise Shrine. This is believed to have spread the dance to a wider audience. now Shishimai is seen all over Japan, and its styles differ greatly from place to place.

32

Noh mask of Chūjō (中将)

Unknown carver

Japan

Edo period

18th century

Wood, gesso, polychrome pigments

Kiribako storage box

21 cm (h) x 13,7 cm x 7,8 cm

Price on request

Obje C t Pre S ented by:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

The Chūjō mask portrays Heian-period poet and nobleman, Ariwara no Narihira (Zai Go-chūjō, 825–880), who gained the court rank of Chūjō or captain, at the age of 53. The expression represents that of an elegant, graceful aristocrat, with high eyebrows that conventionally indicate someone of high court rank. however, two distinct vertical wrinkles where the eyebrows meet the bridge of the nose impart a certain sadness.

The mask could be worn for the role of a handsome young nobleman or that of an aristocratic warrior of the heike clan who dies on the battlefield. Worn by the leading player, shite シテ, in the second act of plays like URIN'IN 雲林院 and MiChiMORi 通盛, where the gentle, tragic side of the warrior class is emphasized.

33

nOH mas K OF O K ina

(Ha K us H i K ij O)

Unknown carver

Japan

Edo period

18th century

Wood, gesso, polychrome pigments, beard applied animal hair, free moving lower jaw attached with silk cords

Kiribako storage box

The cartouche-seal on the reverse is unreadable

18,6 cm (h) x 15,9 cm x 7,9 cm

Price on request

Obje C t Pre S ented by:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

0kina 翁, also known as Hakushikijō, this white-faced mask of a happy old man is used in noh theater and festival performances of the play OKina, also known as ShiKiSanBa. Deep wrinkles form round patterns on his forehead and cheeks. The wavy slit eyes brim with mirth, and the joyful mouth exposes only a few stubs of teeth. The chin, severed from the mask and then re-attached by means of hemp cords passed through holes in the upper and lower jaw. Pompoms made of hemp are glued on for eyebrows. a black horizontal strip at the upper edge of the mask indicates where it meets a black lacquer hat.

Okina masks range from quite large to smaller than the human face. The oldest mask with an original inscription dated 1477 is kept at the Istukushima Jinja Shinto Shrine in hiroshima Prefecture.

34

pai R OF g OLD

pi ERCED E a RR ings

W i TH g OLD LE a F

DRO ps an D ins ET

W i TH T u R qu O is E

Qajar, Persia

19th century

Length:76 cm

Price: 3000 GBP

Obje C t Pre S ented by:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com