April catalogue: Asian Art Society

APR il issue

WHO We ARe

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

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

Cover Image: Dragon finial presented by Brandt Asian Art on p.66 /AsianArtSociety

APR il AR t WORK 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

M O n K’s R elie F

Ancient Gandhāra region

3rd century

Schist

52,7 cm (h) x 40 cm (L)

Provenance:

Sotheby’s New York, 2005

The Rapoport collection (by repute)

Price on request

Obj EC t Pr ESE nt E d by:

Christophe Hioco

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

E: info@galeriehioco.com

W: www.galeriehioco.com

Around the first century AD, Buddhism spread westwards, encouraging the development of monastic centres, where art illustrating the wonderful life of the Buddha flourished, with stylistic influences from neighbouring regions or further afield. The figures on this fragment fully reflect this association, combining Indian Buddhist art with the arts of Central Asia and the West.

This fragment of high relief in the form of an arch probably decorated a stūpa, a monument symbolising Buddhist law. This schist sculpture is divided into two registers.

On the right-hand side of the upper register appear two women, dressed in drapery that delicately envelops their bodies. With their protruding breasts, slim waists and wide hips, these female figures are reminiscent of Mathurā, whose full, exaggerated forms reflect femininity. Adorned like Indian women, they wear thick anklets and heavy earrings. Their elaborate hairstyles, encircled by a headband, let a few strands of hair fall over their foreheads. Laden with offerings, they walk towards a small group of five monks, occupying most of the composition. Elevated on a pedestal, the monks adopt a meditative position, their right hand forming the Abhaya mudrā, a gesture of protection and absence of fear, with the palm facing forward as a sign of appeasement. The left hand receives offerings in a bowl. The group is sheltered by large sal tree foliage.

In the lower register, six figures walk towards

the right, one after the other. Three men, with bent backs and incised ribs, lean firmly on a stick. Their beards and long hair suggest that they are ascetics. The other three men stand out for their youthful appearance and confident, vigorous posture. They are young devotees, with bulging muscles, short curly hair and shaved beards that correspond to the masculine canon of Hellenistic art.

Few reliefs are known in which devotees, ascetics and monks are depicted together. The rest of the relief could, in all coherence, house the Teaching Buddha, the figures above sharing this cult of Buddhist Law, practised differently according to their status.

02

Relie F de P i C ting

K AR ti K eyA

Northwest India

18th century

Marble with traces of gilding and polychrome

28,5 cm (h) x 22,5 cm (w) x 6 cm (D)

Provenance:

German private collection, assembled between 1960-1995

Price on request

Obj EC t Pr ESE nt E d by: Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W: www.famarte.com

The rectangular relief carved in high relief depicts Kartikeya, also known as Skanda, the Hindu god of war, riding his mount, the crowned peacock. Kartikeya is flanked by two columns and placed within an arched niche with two makaras. His eight arms radiating around him and the hands holding his attributes, like a spear, a bow and arrow. He wears various garments including an underskirt secured around the waist by a belt. His face displays a serene expression with almond-shaped eyes, his hair combed in a chignon, with tresses falling on his shoulders and topped with a princely crown.

03

i llust RAti O n tO t H e

Ramayana: R AMA A nd

lAK s HMA nA

Attributed to Pandit Seu

Basohli, India

Circa 1730

Opaque watercolor heightened with gold on paper

Image: 20,1 cm x 31,1 cm

Folio: 21,6 cm x 31,8 cm

Provenance:

R. Hale, California, acquired by the family in the 1960s

Price on request

Obj EC t Pr ESE nt E d by:

Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The present painting is attributed to the famous, yet elusive artist, Pandit Seu. The honorific title ‘Pandit’ probably denotes that the family was originally of the Brahamanical order. While it is speculated that he lived from 1680-1740, it is rare to find any dated or signed works by his hand, resulting in a small number of paintings attributed to him.

Pandit Seu was working at a time when the fundamentalist Mughal ruler Aurangzeb had disbanded his ateliers, forcing Mughal artists to search for patronage in Rajput kingdoms and simultaneously disburse their style into other regions. As this was happening, Pandit Seu traveled outside of Guler to the plains and made contact with Mughal artists who taught him their painting techniques. He brought these back to Guler and Basohli and is credited with aiding in the shift to a more formal style within the greater Pahari region.

In the present portrait of the Ramayana’s protagonists, this Mughal influence is apparent. The figures appear as strong individuals, assuming a space that belongs entirely to them rather than in an overlapping fashion typical of earlier Rajput painting. The face of each figure is unique, with Rama’s low eyes and his voluminous hair fully distinguished from Lakshmana’s clean hairline and downturned nose. Their flowing garments are highlighted by the stark, monochromatic yellow background characteristic of the Pahari tradition. This painting serves as a benchmark for the beginning of an exploration into depth and naturalism in the Pahari region.

04

s tele OF nARA si MHA

killing Hiraṇyakaśipu

Central India

10th-11th century

Sandstone

Height: 45 cm

Provenance:

American private collection

Price on request

Obj EC t Pr ESE nt E d by: Christophe Hioco

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

E: info@galeriehioco.com

W: www.galeriehioco.com

Narasimha, a fundamental avatar in Visnu mythology

This medieval stele represents Narasimha, one of the ten avatars of Visnu. Half-man, half-lion, he is widely represented in the temples of the Visnuite obedience. The mythological episode associated with him is linked to the defeat and death of the demon Hiranyakashipu. The latter, having conquered the privilege from Brahma of not being killed by either man or animal, neither by day nor by night, thus sowed unrest on earth. The son of the demon, a devotee of Visnu, thus incurred the wrath of his father. In a fit of mockery, Hiranyakashipu challenges Visnu and his gift of ubiquity at dusk. The latter then appears in a column in his half-man, half-lion form and disembowels the demon Hiranyakashipu, thus cunningly using his power since he is a hybrid creature who attacks him at a moment of vulnerability. The scene depicted here is crucial in Visnuite mythology, proving the omnipotence of the god to his devotees; but also his hold on the cosmic order.

A dramatic episode brilliantly illustrated Narasimha is shown here dismembering the demon, i.e. at the key moment of the episode, at the heart of the dramatic tension. Narasimha brandishes the club vigorously with his upper right hand, while his upper left hand holds the wheel. He disembowels the demon he is holding on his thighs, while he strikes the demon deadly blows with his claws. The god’s right leg is bent and rests on small figures. The scene takes place on a base composed of two registers, similar to that of architectural consoles.

Narasimha’s body, with its supple plasticity, is adorned with ornaments such as necklaces and bracelets, thus referring to his status as supreme god. This status is also symbolised by the size of the god, who is largely disproportionate, in order to underline the hierarchy between the characters, according to the iconographic tradition.

A skilfully composed scene

This scene presents a very dynamic movement, and was intended to provoke admiration and terror in the faithful. The composition is based on the main lines of the body of the avatar of Visnu. It is the diagonal line from the right arm to the left leg that gives this sculpture its power. This line is accentuated by the line of the right leg, which parallels it. The artists have obviously paid great attention to geometry, since the arm holding the club closes the composition, and the line of the demon’s body, which runs parallel to it, reinforces this dynamism.

The liveliness of the scene and the balance of the composition make this stele a very fine example of the talent of Indian artists in the illustration of mythological scenes.

05

sH ivA A nd PARvAti

Murshidabad, India

Circa 1780

Opaque watercolor heightened with gold on paper

Image: 25,7 cm x 20,3 cm

Folio: 28,2 cm x 22,9 cm

Price on request

Obj EC t Pr ESE nt E d by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The present painting depicts Lord Shiva and Parvati seated under a tree atop Mount Kailash. An even line of trees and palms dot the horizon, dividing a clear blue sky and a vast expanse of green. Shiva, seated on a tiger pelt, is adorned with serpents which curl around his neck and arms. On his forehead is his third eye, topped by a crescent moon. From his piled hair flows the river of Ganges which splits the mountain in two. He is equipped with two damaru —a divine instrument which produces the sounds that create and regulate the universe—one in his proper left hand, and another hanging from his trident, along with pennants that billow in the breeze. Beside him is Parvati, seated upon a lotus flower. She holds her hands open in respect as she gazes upon her lover. Both she and Shiva have glowing nimbuses marking their divinity. Below the couple rests Shiva’s faithful vahana, Nandi, the sacred bull.

06

gaṇeśa dancing

O n A l Otus F l OW e R

Northern India

Pala period

11th century

Grey stone

Height: 65 cm

Provenance:

Gantner museum

Dodier gallery

Price on request

Obj EC t Pr ESE nt E d by:

Christophe Hioco

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

E: info@galeriehioco.com

W: www.galeriehioco.com

Gaṇeśa, a particularly venerated god

This fragment of decoration, carved in high relief, depicts Gaṇeśa dancing on a lotus flower, above a decorative frieze of small figures. A kneeling devotee is recognisable on the left, and in the centre an animal, whose very fragmentary appearance makes identification complex. Son of Śiva and Pārvatī, this elephantheaded god enjoys great popular fervour, and is venerated in the various streams of Hinduism. He is the one who removes obstacles and contributes to the prosperity of any enterprise. As a gourmet god, his devotees honour him with offerings, especially sweets, which are placed underneath the god’s statues.

The benevolence of the god conveyed through iconography

Gaṇeśa is shown here with four arms representing the four paths of knowledge according to the Vedas. Ancestral texts that constitute the foundations of both Hinduism and Buddhism, they are certainly at the origin of the mythology surrounding the god Gaṇeśa, particularly concerning his animal form. He holds in his hand the axe, paraśu, which is also one of Śiva’s attributes, systematically present on his representations. This axe is said to remove sorrows and agitations. It also holds the knot, pāśa, which serves to capture error. All these attributes corroborate the benevolent image of the god, ready to answer the prayers of the faithful.

A dynamic composition created through pure forms

Under the Pala dynasty, whose sovereigns were mainly Buddhist, religious diversity was nonetheless encouraged. Both Buddhist and Hindu temples were decorated with sculptures. Pala art emerged on the model of the Gupta idiom, which had a great posterityin India, and which also spread to China, Japan and Korea. These canons are thus reused to create a separate entity in the Pala period. Here, the sobriety of the forms, the elegance of the movement, are particularly admirable and make this Gaṇeśa a very fine example of Pala art. Despite his stoutness, the god sketches a gesture whose fluidity brings a particular expressiveness to the work. His trunk has a geometrical shape that also contributes to the dynamism of the work, and gives it a graphic aspect without equal.

The richness of the sculpted details

The purity of the body’s forms is complemented by the decorative treatment of the ornaments, in particular the tiara on the god’s head, as well as the necklaces around his neck and the bracelets on his arms. His almost imperceptible clothing reflects the desire of Indian artists to create luminous images, in accordance with a religious requirement mentioned in the texts.

07

B O nd A ne CK l AC e

Necklace

Bonda

Orissa, India

Early 20th century

Glass trade beads, metal beads, cotton

Length: 34 cm

Price on request

Obj EC t Pr ESE nt E d by: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

08

A ge M-set g O ld

ne CK l AC e

South India

19th century

Comprising two rows of interlinked gold elements set with emeralds and rubies in geometric designs, with screw clasp

Lenght: 39 cm

Weight: 200,8 gr

Provenance:

Private UK collection, London, formed in the early 20th century

Thence by descent

Price on request

Obj EC t Pr ESE nt E d by:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

Necklaces from South India often feature repeated gem-set gold elements. For an example of such a necklace, see Molly Emma Aitken, When Gold Blossoms: Indian Jewellery from the Susan L. Beningson Collection, London, 2004, p. 103.

09

A P R in C ess e nj Oying

PAA n O n A t e RRAC e

Guler, India

Circa 1790–1800

Opaque watercolor heightened with gold on paper

Image: 18,7 cm x 17,8 cm

Folio: 23,2 cm x 21,3 cm

Provenance:

Spink & Son Ltd., London, 1985

Price on request

Obj EC t Pr ESE nt E d by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

Seated on an open white marble terrace before a blossoming tree and flanking cypresses, the princess strikes a ruler’s pose. She sits in a relaxed posture while wearing a courtly turban with an elaborate sarpech, atop a grand throne. The princess lifts a piece of paan to her mouth while two maids wait on her with a betel box and a chowrie. The ducks, captured in motion as they approach a small fountain in the foreground, highlight the fleeting moment frozen by this anonymous artist.

The painting is composed with a broad and vibrant color palette indicative of the Guler style. This naturalistic style of traditional Indian painting was developed by Hindu artists who were previously trained in the Mughal court. Paintings like this resulted from the patronage of Guler Rajas and typically possess a particular delicacy and spirituality, evidenced by the present composition.

Compare to four illustrations with similar female figures and vegetation published in Archer, Indian Paintings in the Punjab Hills, London, 1973, p.118, nos. 65–68.

10

Mini Atu R e OF A Hunting PAR ty

Mewar, India

18th century

Gouache, ink and gilt on paper

34 cm x 25,5 cm

Price on request

Obj EC t Pr ESE nt E d by: Kapoor Galleries

T.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The painting, showcasing a collective feast preparation scene in Mewar, reflects a fascinating blend of Mughal and Rajput stylistic features. The Mughal influence is evident in the clothing and rendering of human figures, demonstrating a harmonious integration of two distinct artistic traditions. Notably, the verso of the artwork contains text, presumably in Mewari, partly translating to “they’re cooking pulav” — a rice preparation. This linguistic element adds an intriguing layer, providing cultural context to the scene.

Dating back to the 16th century, a period marked by a balanced exchange between Mughal and Rajput painting elements, this artistic fusion was commonplace. Akbar’s atelier exemplifies this exchange, where Rajput elements found a place alongside Mughal influences, as described by Hajek in Indian Paintings of the Mughal School. The power dynamics of this cultural exchange reveal a reciprocal relationship that shaped the artistic landscape.

As the 17th century unfolded, Rajput art gradually yielded ground to the assimilation of Mughal influences. The present painting, attributed to Mewar, exemplifies this evolution, showcasing a strong adaptation of Mughal stylistic rendering and material culture. Noteworthy elements include Surahilike elongated pots and the depiction of a man wearing a transparent Jama (overlapping coat) with a Patka (sash), distinctive of Mughal attire.

Drawing parallels with Plate 24 in Hajek’s Indian Miniatures of the Mughal School – which portrays a Mughal military camp scene – the present artwork likely captures a royal hunting feast. The similarity in the delineation of the encampment suggests a shared artistic language. The background, adorned with foliage and terrain typical of Rajasthani miniatures, further enriches the visual narrative. It is in this melding of Rajput and Mughal sensibilities that the painting derives its harmonious charm.

11

t ul WAR

Mughal Dominions, India

Mid-to-late 17th century

Scabbard: By S. Brunn, Sword Cutler to H.R.H The Prince of Wales (1803-1819)

Price on Request

Obj EC t Pr ESE nt E d by:

T.: +44 (0)7866 424 803

E:info@runjeetsingh.com

www.runjeetsingh.com

12

nAvARAtnA P end A nt

North India

18th century

Diamond-Venus, Pearl-The Moon, Ruby – The Sun, Cat’s eye-Lord Ketu, Blue sapphire- Saturn, EmeraldMercury, Yellow Sapphire- Jupiter, Coral- Mars, Hessonite-Rahu

Price: 2.800 GBP

The piece is set with navaratna (nine holy stones) Each stone,the reverse with three elegant poppies against a white enamel ground. The navartana represents a planet revolving around the sun.

If the planets are in harmony and you wear a navartana, so will be your soul. DiamondVenus, Pearl-The Moon, Ruby – The Sun, Cat’s eye-Lord Ketu, Blue sapphire- Saturn, EmeraldMercury, Yellow Sapphire- Jupiter, Coral- Mars, Hessonite-Rahu

Obj EC t Pr ESE nt E d by:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

A C e RAM i C vA se OF B ul BO us d O u B leg O u R d FORM, de CORAted in enAM el

W it H A stylised design OF CR esting

WH ite WAves A gA inst

A B l ACK g RO und

Makuzu Kōzan II (1859-1940) , Signed: Kōzan. Impressed seal mark: Makuzu

Japan

Taishō/Showa period

Early 20th century

30 cm (H) x 21 cm (Diam.)

Box inscription:

Box lid: Kabin (flower vase)

Inside: Makuzu-yō, kokuyū tatsunami no e (Makuzu kiln, black enamel standing waves decoration), Kōzansaku (made by Makuzu Kōzan)

Sealed Kōzan

Price on request

Obj EC t Pr ESE nt E d by:

Gregg Baker Asian Art

M: +32 (0) 468 00 56 85

E: info@japanesescreens.com

W: www.japanesescreens.com

Miyagawa Hannosuke was the nephew and adopted son of Makuzu Kōzan I (1842-1916), one of the greatest potters of the Meiji period. Hanzan played an active role in the workshop and officially became Makuzu Kozan II in 1917.

The potters of the Makuzu workshop are known for their ability to respond to changing circumstances especially during the Meiji and Taisho eras, whilst exploring technical innovations and yet maintaining their fidelity to Japanese artistic traditions. They came from a long line of potters based in Kyoto and Makuzu Kōzan I took over the family business in 1860. In the summer of 1871, he set up a kiln and a shop in Yokohama and started to manufacture ceramics for the export market. This was a bold move for despite the obvious advantages of being close to the capital, Tokyo, and the tourist shops and trading houses of Yokohama, there was no tradition of porcelain manufacturing there. Nevertheless, during the 1880s Kōzan started to concentrate on producing the high-quality porcelain for which he is best known today, and the Kōzan workshop introduced a vast range of new decorative effects drawn both from Japanese and Chinese ceramic traditions and from newly developed Western techniques and styles, which made their pieces very popular in the West.

As represented in The Great Wave off Kanagawa, also known as The Great Wave, the worldfamous woodblock print by Katsushika Hokusai (1760-1849), the extensive and freely drawn representation of rough waves often with foam and spray have been one of the most iconic and popular motifs in Japanese art history. In particular, rough waves have been repeatedly picked up by the Rimpa School artists since the Edo period, most notably by Ogata Kōrin (16581716) and Sakai Hōitsu (1761-1828) amongst others – it is highly probable that the stylised wave design of this vase was inspired by such decorative traditions of Rimpa motifs.

A set OF FO u R fusuma (sliding d OOR s)

PA inted in in K O n A B u FF g RO und

Nagasawa Rosetsu (1754-1799), signed: Heian Rosetsu sha. Seals: Nagasawa Gyo in and Rosetsu (Painted by Rosetsu of Kyoto)

Japan

Edo period

18th century

Maruyama-Shijo school

168,5 cm (h) x 374 cm

Price on request

Obj EC t Pr ESE nt E d by:

Gregg Baker Asian Art

M: +32 (0) 468 00 56 85

E: info@japanesescreens.com

W: www.japanesescreens.com

The moonlit landscape shows eleven puppies at play and sleeping on a riverbank.

Japanese buildings are often made up of rooms divided by fusuma (sliding doors); these are made of paper within a wood frame and gave rise to an important form of interior decoration. Castles, temples and the homes of the rich would employ famous artists to decorate these interiors. Maruyama Okyo and his pupils, including Rosetsu, painted a number of fusuma for temples where they remain to this day; and therefore, are rarely seen on the market. In 1786, on Okyo’s recommendation, Rosetsu toured Wakayama to paint fusuma in various temples there; he also received commissions from wealthy families in the area.

It is fair to assume that this set of fusuma, bearing the same seals as some of those used by Rosetsu whilst in the Province were painted during his tour of the region.

Nagasawa Rosetsu (1754-1799). Maruyama School painter. Rosetsu was born and raised in the family of a low-ranking samurai of the Yoda clan in Yamashiro. While still young, he went to Kyoto to study with Maruyama Ōkyo, the founder of the Maruyama School of Painting, where he learned the fundamentals of drawing. He was not satisfied with the wellbalanced, classical approach of his master and created his own style, resulting in a large number of bold, idiosyncratic works. On Ōkyo’s recommendation Rosetsu left for southern Kii Province (now Wakayama Prefecture) in 1786 and stayed for a year at the Muryōji, Sōdōji and Jōjuji temples of the Zen Buddhist sect. Rosetsu created over 140 wall and screen paintings during this short period of time, most of which have been designated Important Cultural Properties. He was in his mid-thirties when he executed these works yet they survive in these temples to this day, they are, without exception, very ambitious paintings.

He was an extraordinarily versatile artist, at times close to the suiboku (literally; water and ink) style of the Muromachi school of painting, and at others borrowing themes from Ukiyo-e masters and painting famous beauties. He often combined the bold composition of the Rimpa School with the humour of Zen-ga (Zen painting), frequently using a flat brush, or

holding the brush in a slanting position, using different tones of ink in the same broad stroke. Occasionally he worked in a sort of Western technique called doro-e, a thick paint mixed with Chinese white.

For a similar set of four fusuma in the collection of Mr & Mrs C.D. Carter, U.S.A. see: Maruyama, Seventy Years, Volume Two, p.248, pl. 464; a set of fusuma featuring puppies see: Exhibition Nagasawa Rosetsu: The 200th Anniversary of His Death. Nihon Keizai Shimbun, Inc 2000. Pp. 58 & 59, and a furosaki screen in the collection of Edo Sen-ke Kawakami Sosetsu, Tokyo, see: Nagasawa Rosetsu The Fanciful Painter, Miho Museum, pp. 96 & 97, pl. 40.

Works by the artist can be found in the collections of: Ashmolean Museum, Oxford; Art Museum, Princeton University, New Jersey; British Museum, London; Cleveland Museum of Art, Ohio; Daijo-ji Kasumi-mura, Hyogo-ken; Fine Arts Museum of San Francisco, California; Fogg Art Museum, Cambridge, Massachusetts; Freer Gallery of Art, Washington D.C.; Itsukushima Shrine Treasure House, Miyajima, Hiroshima-ken; Itsuo Art Museum, Osaka; Joju-ji, Wakayama-ken; Kotohira Shrine Museum, Kagawa-ken; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston, Massachusetts; Muryo-ji, Wakayama-ken; Nezu Art Museum, Tokyo; Sodo-ji, Wakayamaken; Stanford University Art Gallery and Museum, California; Tokyo National Museum; University of Michigan Museum of Art, Ann Arbor; Worcester Art Museum, Massachusetts.

A POR t RA it PA inting OF tAK e AK i e n OMOtO (1836-1908)

Japan

Meiji period

Late 19th century

With a label on the original box, Ink, colour and gofun on silk.

9,5 cm (h) x 50 cm (w)

103,5 cm (h) x 64,5 cm (w) (incl. mount)

Price on request

Takeaki Enomoto, a Meiji government official, is painted in very fine detail standing next to a Chinese style table upon which a globe, painted in white gofun and a book bearing a coat of arms. He is wearing a western frock coat and holding a cane. Takeaki Enomoto was a ket player in the events which led to the establishment of the Meiji government. He also made a significant contribution to Japan’s relations with the West in the late 19th century. He was born as a lower-ranking samurai, but rose up to hold various essential posts in the Edo period government.

Enomoto studied Dutch naval science in Nagasaki, which during the Edo period was the only city in which the Dutch on the small artificial island Deshima, were permitted to stay and trade. He then continued his studies in Holland from 1862, and became fluent in Dutch and English. In 1867 he returned to Japan and was appointed to a senior naval post in the Tokugawa bakufu (government). However, in 1868, the Tokugawa bakufu was overthrown by the warlords of Satsuma and Choshu, and the Meiji Emperor was reinstated as the figurehead of a new government. Enomoto resisted the takeover of the Meiji government by fleeing with eight warships to Ezo (Hokkaido) and establishing a Tokugawa ‘republic’ as the last military stronghold opposing the new regime.

Obj EC t Pr ESE nt E d by:

Zebregs&Röell

+31 6 207 43671

dickie@zebregsroell.com

www.zebregsroell.com

In spring 1869 Enomoto surrendered and peace was officially restored to the whole of Japan. When he surrendered Enomoto sent the notes he had made on navigation in Holland to the commander of the army, stating that they would be useful for the country. This conduct impressed the Meiji government and therefore he was imprisoned rather than executed. In 1872 he was pardoned and immediately appointed to office in the government. He was sent to St. Petersburg as a diplomat to negotiate over the ownership of Sakhalin and Kuril islands. He was successful in concluding a treaty giving Sakhalin to Russia but keeping the Kurils for Japan. His achievement was celebrated as the first in which Japan and a Western power were treated as equals. Enomoto rose to cabinet rank within the Meiji government and his positions included that of the Minister of Agriculture and Commerce. The globe and book here are clear references to Enomoto’s international experience. The book bears a coat-of-arms with notable similarities to that of Napoleon III (18081870). During Enomoto’s time in the Tokugawa government negotiations between France and the Shogunate began. The first French military mission to Japan, sent by Napoleon III, arrived in 1867. With the mission came Captain Jules Brunet (1838-1911) a military officer who joined the last stand of the Shogunate “republic” in 1868 by fleeing north with Enomoto to zo.

The Yasukuni shrine in Tokyo for Japanese (war) heroes keeps Enomoto Takeaki’s military uniform he is wearing in the present portrait. This uniform was presented by Napoleon III to Enomoto.

B O jA gi PAt CHWORK

WRAPP ing C l Ot H

Korea 20th century

Bast fiber

122 cm x 122 cm

Price on request

Obj EC t Pr ESE nt E d by:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

17

dRA g O n Fini A l

Tibet

17th century

15 cm x 10 cm

Price on request

Obj EC t Pr ESE nt E d by: Brandt Asian Art

M: +44 (0)7774 989 661

E: brandt@nildram.co.uk

W: www.brandtasianart.com

A dynamic Buddhist finial in gilt copper. (Condition with dents overall).

18

Five-PRO nged

W RAt HF ul iRO n vAj RA

Tibet

13th to 14th century

Lenght: 19,5 cm

Provenance: Dr Templeman Australian Price on request

Obj EC t Pr ESE nt E d by: Hollywood Galleries

T.: +852 2559 8688 +852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

The word "vajra" translates to "diamond" or "thunderbolt" in Sanskrit, emphasizing its qualities of indestructibility and irresistible power. In Tibet, Vajra also known as dorje, is a ritual object representing both the indestructible nature of enlightenment and the power to overcome obstacles. This iron vajra features five prongs, each representing the five wisdoms and the five elements. Its creation during the 13th to 14th century reflects the artistic and cultural developments of that period. As an ancient symbol of spiritual authority and thunderbolt-like strength, this iron vajra serves as a tangible link to the rich history and deep-rooted beliefs of Buddhist traditions.

19

iRO n vAj RA Tibet

Iron, copper and brass

Lenght: 19 cm

Provenance:

Dutch private collection

Price on request

Obj EC t Pr ESE nt E d by: Hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

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 combination of iron, copper and brass might has been chosen to balance the qualities of strength (iron) and resonance or harmony (copper and brass).

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.

20

jA de B Oy China

Qianlong period (1736-95)

Length: 5,7 cm, later soapstone stand

Provenance:

Edward T. Chow

Price on request

Obj EC t Pr ESE nt E d by: Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

A white jade model of a recumbent boy holding the stem of lotus sprays with both hands, the bud and leaf of the plant extending over the boy’s back, the leaf covered in russet skin, the smiling figure with a tuft of hair to one side of the head, the underside well defined and with further russet flecks, the pure white stone highly polished

For another 18th century white and russet jade carving of a recumbent boy, see Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, pp. 230-231, no. 181; another similar example in Knapton Rasti Asian Art, The Property of Mr Philip Cardeiro, 2009, no. 121; and a white jade recumbent boy with lotus in Wilson, Chinese Jades: Victoria and Albert Museum Far Eastern Series, p. 80, no. 86.

21

B RO nze Cens OR China

18th century

13,5 cm x 7 cm

Weight: 874 gr

Price on request

Obj EC t Pr ESE nt E d by: Brandt Asian Art

M: +44 (0)7774 989 661

E: brandt@nildram.co.uk

W: www.brandtasianart.com

An unusual and well-formed incense burner, the base designed with six lappets, supported on six feet, with cast Ming mark.

22

snu FF BOttle

China

1750-1860

Lapis Lazuli

Height: 5,7 cm

Provenance:

Joe Grimberg, Singapore

Sotheby’s New York, The Joe Grimberg Collection, 14 September 2010, lot 62

Robert Hall, London

Barry Friedman, New York Price on request

Obj EC t Pr ESE nt E d by: Clare Chu Asian Art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W:www.clarechuasianart.com

A lapis lazuli snuff bottle, well-hollowed, of vivid blue tone with gold flecks of aventurine, of tapering rectangular shape with chamfered raised panels on each face below a flat shoulder, cylindrical neck and slightly concave mouth, all supported on an oval footrim with shallow base.

Possibly imperial, attributed to the Palace Workshops.

Older lapis lazuli bottles are rare, but are generally of a small size as in the case of this example. Often these bottles were left unadorned, but by stylistic comparison with similar nephrite bottles with the same dating, a possible imperial attribution may be given. The National Palace Museum houses eight lapis lazuli bottles of a similar strong color tone. Lapis lazuli has been mined in the remote Badakhshan Province of northeastern Afghanistan for over 6,000 years and was brought into China along the Silk Road. As a stone it was extremely important to Buddhism both for its bright color and its healing effects. It is highly symbolic of that which is sacred, pure or rare and is the given color of the principal Medicine Buddha. In one of the major sutras concerning this Buddha, Shakyamuni tells his close disciple Ananda:

I beseech you, Blessed Medicine Guru, Whose sky-colored, holy body of lapis lazuli

Signifies omniscient wisdom and compassion

As vast as limitless space, please grant me your blessings.

23

Ming d ynA sty

Wind OW

China

Ming Dynasty

136 cm x 63 cm

Price on request

Obj EC t Pr ESE nt E d by:

Brandt Asian Art

M: +44 (0)7774 989 661

E: brandt@nildram.co.uk

W: www.brandtasianart.com

A large introcately carved window, the main panel carved with a reticulated repeat floral pattern. The small lower panel carved with a bat among clouds. All with a dark green remnants of paint.

24

snu FF BOttle

China

1750-1820

Glass

Height: 5,8 cm

Provenance:

The Cloud Contemplation Studio Price on request

Obj EC t Pr ESE nt E d by:

Clare Chu Asian Art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W:www.clarechuasianart.com

A glass snuff bottle, of red overlaid on snowflake, with the elephant’s body narrowing towards the animal’s four small feet that support the entire body, one narrow side carved with its head turning to one side and the other narrow side centered by the tail between the wrinkled skin and rear legs, well-detailed blankets hang to either main side, with tasseled ends, all below a ruyi-shaped cloudcollar that envelops the rounded shoulders below single wide rounded vase-form band at the neck.

Elephants were very popular within the Palace during the eighteenth century and this is reflected in decorative motifs and forms which were repeated frequently on bronzes, jades and porcelain emanating from the imperial workshops. Given the profusion of elephant-form works of art throughout the imperial palaces, reception rooms and private apartments, it is no surprise that there were also elephant-form snuff bottles made, the majority of which were produced in the glass workshops in the Forbidden City. Elephant form glass bottles are usually seen in opaque yellow, being produced as a staple of the Palace Workshops towards the end of the eighteenth century or early into the nineteenth century. In form, they tended to be larger and thicker than the average glass bottle particularly those produced within the Palace, often resulting in an awkward look which the stiff carving did little to dissipate. This example, however, in ruby-red overlay may be an earlier counterpart and certainly the softer shape and more fluid carving would support this idea. Elephant form bottles also exist in enameled porcelain, though much smaller in size and in a reclining form, and can be dated from the late Qianlong period onwards through to the Republic Period. The elephant is a symbol of strength, sagacity and prudence and that the rebus formed from an elephant supporting a vase is taiping youxiang (a sign of peaceful times).

25

jA de s e A l

China

18th century

Length: 5,1 cm

Height: 3,5 cm

Price on request

Obj EC t Pr ESE nt E d by: Rasti Fine Art Ltd.

M.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

A russet-flecked white jade seal of irregular pebble form with areas of deep russet inclusions, one corner with an area of darkgrey flecks, the tactile natural form of the stone suited for holding in the hand and wellpolished, the four-character seal face reading 世掌肆綸 shizhang silun.

Shizhang silun translates as ‘generations of positions at court’ or having multiple family generations working in the civil service.

26

snu FF BOttle

China

1730-1780

Glass

Height: 5,8 cm

Provenance:

Christie’s Paris, 8 June 2010, lot 5598

Robert Hall, London

Barry Friedman, New York Price on request

A glass snuff bottle of an opaque yellow tone of even color throughout, the slender meiping body spreading outward from the short foot and shallow concave base, steeply sloping at the narrow shoulders to a slightly waisted cylindrical neck with a wide mouth.

Imperial, attributed to the Palace Workshops, Beijing.

One of the important colors in the Qing period, and specifically until the end of the eighteenth century, was opaque yellow. Yellow was the color bound by Imperial regulations and restricted in its usage to members of the Imperial family. The Archives from the Zaobanchu mention opaque yellow as early as 1702 and it appears that different tones of yellow were used in parallel, being designated for specific members of the royal family. While the Yongzheng Emperor favored a more lemon-yellow, the Qianlong Emperor preferred a bright clear yellow. During the Qianlong era, it appears there were eight different colors of yellow designated for Imperial use. The four most relevant colors are as follows: Ming huang (bright yellow), Jin huang (golden yellow), Xiang se (incense yellow), and Xing huang

Obj EC t Pr ESE nt E d by:

Clare Chu Asian Art LLC

M.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

W:www.clarechuasianart.com

(apricot yellow). Ming huang was reserved for use by three people: the Emperor, the Empress and the Empress Dowager. Although the Emperor wore other colors such as blue and red on differing occasions, this color could not be worn by anybody other than this illustrious trio. The taking of snuff was a leisurely pursuit and although the social rituals attached to this were universally accepted within the Court, they were never formalized to be included as part of ceremonial paraphernalia. One area where the overlap would have occurred is in the seventeenth and eighteenth centuries through the use of yellow. Only members of the Imperial family, if they took snuff, would have owned yellow glass bottles.

27

A ge M set A nd enAM el nA gA R ing

Thailand

Rattanakosin Dynasty

Rama V; Chulalongkorn 1853-1910 19th Century. CE

High carat yellow gold, designed as a coiled dragon relieved in red, green and white enamel, accented by navartana, no assay marks.

Size: G / 3.25

Weight: 18.1g

Provenance:

Private English Collection

Publications:

Richter A: The Jewelry of Southeast Asia, Thames & Hudson, 2000

Boardman J and Scarisbrick D: The Ralph Harari Collection of Finger Rings Thames and Hudson

Price on request

Obj EC t Pr ESE nt E d by:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

The fine ring of solid gold is in the form of a curled serpent or naga. Such a motif was the exclusive prerogative of royalty in the Thai Kingdom. Such pieces were considered heirloom pieces to be passed on from one generation to the next.

In Buddhist lore the naga is based on the cobra king Mucilanda who by tradition sheltered the Buddha whilst he was meditating after which Mucilinda assumed the human form, bowed before Buddha and returned to his palace in joy.

The piece is set with navaratna (nine holy stones) Each stone represents a planet revolving around the sun.

If the planets are in harmony and you wear a navartana, so will be your soul.

Diamond-Venus

Pearl-The Moon

Ruby – The Sun

Cat’s eye-Lord Ketu

Blue sapphire- Saturn

Emerald-Mercury

Yellow Sapphire- Jupiter

Coral- Mars

Hessonite-Rahu