August catalogue: Asian Art Society

august issue

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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

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Cover image: hevajra presented by Kapoors gallery on p. 74

le C tu R e :

Chinese Jades from the n eolithi C to the 20th C entury

musee

C er N us CH i

We do not joke with jade in China! it is too hard and also too symbolic! Jade is and remains the most important material at the symbolic, religious and propitiatory levels. For this stone sometimes considered magical by the Chinese, it seemed useful to us after more than twenty years of mission in China on scattered sites (neolithic cultures of the north-East, courses of the yellow and Blue Rivers, archaeological research institutes, etc.) to present an anthology allowing to approach and to understand the continuity, the evolution of the symbols and also to apprehend the forms which could have been the object of major trends linked to the mastery of particular techniques (abrasive, drilling…).

in accordance with archaeological and historical research, there are several periods for the presence of jade:

- A first period goes from the Neolithic - the oldestuntil the Qin dynasty (3rd century BC)

- a second chronological period brings together the han dynasties (2nd century BC - 2nd century ad) until the Song dynasty (10th century-12th century)

- a third period with the yuan, ming and Qing dynasties and the opening towards the republican

period, ie from the 13th century. at the beginning of the 20th century.

In order to illustrate these great periods, significant examples will be taken from pieces from Chinese and Taiwanese collections and from French institutions (na tional museum of natural history, Château Borély, etc.).

When: 14th September, 6Pm Where: auditorium of the musée Cernuschi. Who: by Christophe Comentale, honorary Chief Curator at the Museum-Musée de l'Homme..

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august art WO r K s

Pieces are published and changed each month. The objects 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 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

a pale C elad ON jade m O del O f a re C umbe N t tiger

China Song|yuan dynasty 13|14th century length: 5 cm Publication: morgan, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection, no. 52 Price on request

Rasti Fine art ltd. m.:+852 2415 1888

E.: gallery@rastifineart.com W: www.rastifineart.com

its head resting between its forepaws in a preying pose, with large round bulging eyes, bushy eyebrows and cup-shaped pricked-back ears, the hunched back with knobbly vertebrae and shaped lines to indicate the stripes, its long curling tail flicked up over the back, the translucent stone with a strong russet vein to one side of the body.

02

a yell OW is Hgree N a N d dar K grey jade playi N g b Oys grO up

China yuan dynasty (1279–1368) height: 3,9 cm

Provenance: Purchased from King Fung arts Co., hong Kong, on 8 October 1984.

Publication: morgan, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection, no. 32

Price on request

by:

Rasti Fine art ltd.

m.:+852 2415 1888

E.: gallery@rastifineart.com

W: www.rastifineart.com

The figures standing side by side, holding one another's arms and heads pressed against each other, one with flat and lined topknot hair, the other's tied into a knot, both with smiling expressions, the opaque stone with scattered strong dark patches.

For a similar dark grey and celadon jade boys group dated Jin|Yuan dynasty, see Tang's Hall of Precious Ltd., Illustrated Catalogue of Chinese Ancient Jade Sculptures, 2010, no. 12.

03 a gree N CH al C ed ON y agate spill vase m O delled as a N O pe N l Otus leaf

China

Qianlong (1736–95)

Fitted in a silk bound zitan wood rectangular box and sliding cover

Overall height with stand: 10,8 cm Price on request

m.:+852

Carved in relief to the exterior with a lotus flower to one side and a curled leaf on the other issuing from twisted tendrils, the main section in a stronger icy-green tone, the stone highly translucent, fitted yumu wood stand carved with lotus and waves

For an agate washer with similarly coloured agate was her see Zhang and Zhao (eds.), Scholar’s Paraphernalia: Classics of the Forbidden City, pp. 226-227, no. 237; an aga te finger citron washer of similar colours in ibid. p. 107, no. 237; another agate flower receptacle with lotus in Zheng (ed.), Small Refined Articles of the Study: The Com plete Collection of Treasures of the Palace Museum, p. 333, no. 330; a green and honey chalcedony washer in Wil son, Chinese Jades, 2004, p. 101, no. 98; a mottled agate spill vase with ivory stand in Knapton Rasti asian art, November 2010, no. 66; a golden agate cabbage vase in ibid., no. 67; and a similarly coloured Qianlong markand-period agate finger citron brushwasher in Chen, Su Gu Hua Jin: Tang Gugong Zhubao, p. 107.

s N uff b Ottle China

Possibly imperial, attributed to the Palace Workshops

1740-1800 Jade height: 5,4 cm (excluding the stopper)

Price: 14.000 USd

Clare Chu asian art llC

m.:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

A nephrite snuff bottle, very well hollowed, of natural pebble material, carved in tiered petals, representing a budding magnolia, a stalk carved on the foot.

Snuff bottles produced from this material are usually left undecorated to allow the natural inclusions to show the material at its most attractive. This example is extremely appealing with its inclusions perhaps resembling the variations in the folded petals. This is one of a series of fruit and flower-shaped bottles, many of which survive only in the palace collections, see Masterpieces of Snuff Bottles in the Palace museum, nos. 120, 124 and 126. The quality of carving in the natural curve of the petals show control by the carver to produce a bottle that is remarkably delicate in appearance for an object carved of such a hard material. Bottle 126 mentioned here is in the shape of a yulan magnolia, with similar short vertical lines on the tip of each petal.

s N uff b Ottle

China

1750-1850

moss agate height: 5,4 cm (excluding the stopper)

Price: 5.500 USd

Clare

asian art

m.:+ 1.310.980.4084

A moss agate snuff bottle, very well hollowed, of squared form with rounded shoulders sloping to a cylindrical neck, and with a neatly carved oval footrim, the stone with green mossy tendrils suffused with ochre swirls resembling an abstract design of a dragon on one side.

moss agate is a type of chalcedony with dense inclusions of green Hornblende, which often resemble branchlike growths of trees. The Chinese refer to moss agate as shuicao which rather aptly translates as “water-weeds.”

tH e C e N tral part O f fabri C i N te N ded fO r t H e ma K i N g O f a drag ON rO be

China Qing dynasty (1644 – 1911)

Circa 1800 Supplementary weft weaving, silk and gold height: 126 cm Width: 125 cm Provenance: French collection Price: 2.000 USd

m:

This textile was once the central section of fabric that was woven for the purpose of constructing a dragon robe. The full length of a dragon robe panel can be seen in the illustrated textile in the collection of the University of alberta museums (accession no. 2005.5.114).

Four frontal dragons with five claws, oriented in the four cardinal directions, encircle what was intended to be the neck opening of the dragon robe, however another textile, unrelated to this textile and featuring a four-claw profile dragon, was added in order to fill in the empty area of the neck opening.

Surrounding the four frontal dragons are auspicious motifs including cranes, bats, precious jewels, endless knots, ruyi scepters, and clouds, while the dragon is a composite benevolent creature that is the ultimate symbol of imperial authority.

bOW l fO r HO ly as H es (v ib H utipatra) W it H Na N di a N d yON i-li N ga

Tamil nadu, south of india

18th century Bronze

10 cm (h) x 14 cm (W)

Provenance: Colette Ghysels collection, Belgium

Price: SOld

m.:+32

W:

Outstanding bowl for holy ashes in a globular shape, the top and bottom finely decorated with leaves. The rim represents three miniature nandi and three yoni-linga.

The bowl is illustrated with the head of Shiva, repeated three times, the standing figure of Ganesha and Vishnu with their attributes. in between the depiction of the symbol of the sun and the moon in relief.

The bottom underneath is illustrated with the symbol of Kurma, or Turtle, who is the second incarnation of Vishnu. Vishnu took the form of Kurma to help the gods to obtain the elixir of life during the churning of the ocean of milk.

See: Okada, a. (2000) Sculptures indiennes du musée Guimet, Paris : Réunion des musées nationaux, p. 139.

tat H agatab udd H a frieze

Bihar, india Pala period 10th - 12th century Phyllite 19 cm (h)x 47 cm (w) x 9 cm (depth)

Provenance: deaccessioned from the Gantner museum

Price: 22.000 euros

alexis Renard

T.: + 33 1

E.: alexis@alexisrenard.com W: www.alexisrenard.com

sC e N e frO m t H e Mahabharata

- King Dhritarashtra sleeping

Kangra, india 1810 - 1820

Pigments and gold on paper height: 33 cm Width 47,5 cm

Price on request

This painting is depicting a night scene; some characters are sleeping, while others are holding torches. King dhritarashtra is depicted sleeping, while his wife Gandhari, who choose to live with her eyes folded, to share the sufferings of her husband, is sitting in the room nearby. Some of the characters of the painting are named in devanagari as: on the left, Sahadeva, Bishma, Vidura, Bhimsen, Nakula and Drona, on the right, Kaurava.

The Mahabharata is one of the two most important indian epic tales with the Ramayana its name is literally meaning “The Great Story of Bharata”, and it is said to have been written by Ganesha, the elephant-headed God, helped by the sage Vyasa. The main story is interrupted by many other texts, stories about hindu gods, for example the adventures of Krishna and the young and beautiful gopis. Composed of eighteen books, the Mahabharata tells the story of a war between the Pandava, sons of King Pandu, and the Kaurava, sons of King dhritarashtra, the blind half-brother of King Pandu, in their quest to conquer the throne of the kingdom of hastinapura. The bold outlines, the use of inscriptions within the image to identify the main characters, as well as the crowded composition, the figures in the sky, the treatment of the architecture and the use of windows to depict pair of figures are all stylistic elements associated with the master artist Purkhu of Kangra working at the same period.

i llustrati ON tO a r agamala series:

tO di r agi N i

mughal, india 18th century

Opaque watercolor heightened with gold on paper image: 13 vm x 7,6 cm Folio: 15,9 cm x 10,5 cm

Provenance: Private Florida collection, since 1992 Price on request

m.: +

E.: info@kapoors.com

W: www.kapoors.com

Standing beneath the pink blossoms of a small sapling, a lone nayika wanders an open glade. The vast empty landscape emphasizes the woman's loneliness, the only audience for her longing tune being a blackbuck deer— horns delicately embellished with gold and a jeweled necklace around its outstretched neck—who serves as a stand-in for her absent lover. a cool white sun peeks through the morning haze, bringing a tinge of gold into the slowly brightening sky—the flat layers of metallic and cool colors evoking the feeling of a spring morning. The iconography is immediately recognizable as that of Todi Ragini, which recalls the wistful mood of love in separation.

See another folio of Todi Ragini at the Royal Collection Trust (acc. RCin 1005127), which while stylistically quite different, shares a similar composition to the present painting, characterized by a scarce background and the trifecta of nayika, deer, and tree.

a gO ld a N d eNamel r i N g

mughal, india 17–18th century height: 3 cm

Provenance: Private collection, Belgium Exhibited and Published: Een Streling voor het Oog indische mogoljuwelen van de 18de en de 19de eeuw. Provinciaal diamantmuseumantwerpen, 1997 india and the renaissance p. 541 in laTiF, Bijoux moghul, 1982 Price. 35.000 USd

a gold ring depicting a bird with a Basra pearl hanging from its beak is enameled, the bird with white opaque enamel and red translucent eyes. The bird stands on a green enameled base, the shank in lal zamin enamel. The top is screwed onto the base leaving a small concealed place where potions could have been hidden.

This type of jewelry was not made for ritual use and was imported to Europe where it may have influenced renaissance European jewelry. Vasco da Gama discovered the sea route to india in 1498; the ports of lisbon and antwerp at that stage controlled the india trade. it is recorded that an indian necklace was amongst the gifts given to the Virgin of Belem by Vasco da Gama on his return from his first voyage to India. Indian jewelry is found and recorded in augsburg in 1551 and in the auction of Rembrandts collection in 1656. Examples in the Robert lehman Collection in the metropolitan Museum New York show Venus and Amor astride a sea monster which is clearly a makara as depicted in indian jewelry and is dated c1580 and in the Kunstbibliothek Berlin, Staatliche museen Preussischer Kulturbesitz is an elephant and pagoda with the monogram of Frederik 11 of denmark and Sophia of mecklenburg dated 1572.

There are many cross- overs, which lead one to speculate that these exotic jewels had a remarkable effect on designs in Europe and could well be dated, earlier.

J e C t Presented by:

m.: + 44 (0)

566 356

E.: sue@ollemans.com

W: www.ollemans.com

a g O ld pe N da N t

W it H vis HN u`s feet

nathdwara, india 19th century

length: 4,5 cm

Weight: 10 grs

Price: 3.500 USd

Sue

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

This leaf-shaped, scalloped pendant has two rings at top and one at the base, allowing it to be worn around the neck, or tied to the arm. Both sides are enameled. This side depicts Vishnupada, or Vishnu's feet. On the reverse, inside a floral and bird border, the name of the deity Shrinathji (a form of Krishna) is inscribed in devanagari (the script used for Sanskrit, the ancient holy language, as well as hindi, the spoken language of this region). nathdwara, the main pilgrimage center of Shrinathji worship, developed a strong industry of artists creating mementos for pilgrims to the site. Two peacocks hold the inscribed tablet.

Sometimes the lotus feet are referred to as a pool of sacred nectar that grants salvation to the world-weary pilgrims on the path. his feet are said to protect the soul.

Similar Examples: Philadelphia museum of art

A pair of gold flower ornaments used in the hair have been adapted to wear as earrings.

a pair O f g O ld fl OW er H air O r Name N ts

adapted as earrings mysore, india

19th century

Width: 3 cm Weight: 12 grs Price. 2.800 USd

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

Head O f a female deity

Rajasthan, india 11th century

Pink sandstone height: 19,5 cm

Provenance: Galerie Philippe dodier, France

Price: 8.500 euros

o b J e C t Presented by:

Farah massart

m.:+32 495 289 100

E.: art@famarte.be

W: www.famarte.com

The rounded beautiful face with a serene expression is marked by heavy-lidded almond-shaped eyes below gently arched eyebrows. The full lips form a benevolent smile. The ears are fully decorated with floral earrings. The goddess wears a refined and elegant double collar. Her wavy hair is adorned with an elegant floral beaded headdress.

jai N C H a N draprab H a

india

10th century Stone height: 42 cm

Provenance: Spink, london Xanadu Gallery llC, USa

Price on request

o b J e C t Presented by:

hollywood Galleries

T.: +852 2559 8688 +852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

ga N es H

Western india

18th century marble height: 38 cm Provenance: american private collection Price on request

o b J e C t Presented by:

hollywood Galleries

T.: +852 2559 8688 +852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

The rounded beautiful face with a serene expression is marked by heavy-lidded almond-shaped eyes below gently arched eyebrows. The full lips form a benevolent smile. The ears are fully decorated with floral earrings. The goddess wears a refined and elegant double collar. Her wavy hair is adorned with an elegant floral beaded headdress.

a d iam ON d a N d

eNamel gO ld t iger b azuban D

north india

19th century

Width: 5,8 cm

Weight: 25 grs

Price. 15.000 USd

Sue Ollemans

m.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W: www.ollemans.com

in the form of a rosette with openwork foliate motifs to each side, small suspension loops between each petal, a tiger reclining in the central roundel, decorated in polychrome enamel with bubri motifs to the tiger and petals to the surround, the reverse with a central roundel containing a large rosette, surrounded by floral motifs, later mounted as a brooch.

iN dia N KH a N jar W it H a gree N jade H a N dle

india and iran 18th century for the handle, 19th century for the blade

Green jade, wootz damascus steel, steel damascened in the koftgari technique, wood and velvet height 36,5 cm Price: 12.000 euros

The dark green jade handle is finely carved with flowers and leaves, some of them softly bent. The upper cover of the scabbard is decorated with water and water plants in the koftgari technique. The later persian blade is in fine wootz damascus steel.

A TA chi-dō g us OK u s amurai a rm O ur

Japan momoyama period

16th century iron, lacquer, silk, wood, gold

Provenance: Private collection, Japan

Exhibition: mononofu Katchu. mayfair london. 14th-15th may 2022

Price 30.000 GBP

Thatcher

m.: + 44

davidt@davidthatcher.co.uk

W:

Certification: Tokubetsu Hozon Certificate No. 12042142 issued by Kokusai Nihon Katchū Bugu Shinkō Kyōkai 国際日本 甲冑武具振興協

Hon kozane maru tachi-dō [wrap around cuirass made from individual scales] in black lacquer with blue lacing in the kebiki [complex] style. Etchu zunari kabuto [head shaped] with russet iron hachi with yasurime [incised decorative grooves] five lame hineno kiritsuke ko zane shikoro [neck guard in mock hon kozane] laced in the kebiki style. Shu urushi nuri ressei men-no-shita menpo [red lacquered face mask] with four lame kiritsuke kon zane suga [throat guard].

Ko-gusoku (other parts) medium size kiritsuke ko zane chu-sode (arm guards) of six lames laced in the kebiki style. The kote are of the oda style featuring iron fittings and chain mail, the haidate are constructed of kiritsuke ko zane numbering five lames laced in the kebiki odoshi style. Five lame shino-suneate (thigh guards) with kikkogane (hexagonal knee guard).

Supplied with a yoroi-tate (armour display stand) and yoroi-bitsu with (armour travel storage box with outer black lacquered leather cover with gold mon [crests].

Crests associated with a branch of the inoue samurai clan 井上氏 possibly hamamatsu of Shinano province now nagano prefecture.

j e t s ON g KH apa

mongolia

18th century

Gilt bronze height: 45 cm Provenance: JF Chen collection acquired in ny in the 1970's

Price on request

o b J e C t Presented by:

Kapoor Galleries

m.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

Tsongkhapa, also known as Je Rinpoche, was born in the amdo region of Tibet in 1357. he was a highly respected Buddhist scholar and is credited as being the founder of the Gelug Buddhist sect, known as the "yellow hat" sect, one of the most powerful and widespread in the Buddhist religion. Revered as an incarnation of the bodhisattva manjushri, he was reported to have seen and conversed with the deity from a young age. The current bronze example can be seen holding the stems of lotus flowers supporting a sword and book, which are the prime attributes of bodhisattva manjushri.

Compare this powerful piece with a related gilt-bronze figure of Tsongkhapa, 18th century, illustrated in B.lipton and n.d.Ragnubs,Treasures of Tibetan art: Collections of the Jacques marchais museum of Tibetan art , p.70, no.22.

i llustrati ON tO

t H e bH agavata

p ura Na: p radyum Na Weds ru K mavati

nepal Circa 1775

Ground mineral pigments

on paper image: 33,7 cm x 50,8 cm

Folio: 36,5 cm × 52 cm

Provenance: Private american collection, by 1972 Publication: himalayan art Resources (himalayanart.org), item no. 7505

Price on request

C t

Kapoor

m.: + 1 (212)

E.: info@kapoors.com

W: www.kapoors.com

by:

The present painting is from an important series depicting the exploits of Krishna as described in Book Ten of the hindu epic, the Bhagavata Purana. The Bhagavata Purana chronicles the ten avatars of Lord Vishnu, each of whom must save the world from danger, destroy evil, and protect virtue. Shown here is Krishna's son Pradyumna–the incarnation of Kama, the god of love–marrying the beautiful Rukmavati. Their son, aniruddha, later becomes embroiled in a love affair with the princess Usha, starting a war between his grandfather, Krishna, and Usha's demon father, Banasura.

The holy city of dwarka, home of Krishna, appears sprawled across the folio in a stunning birds-eye view comprising multiple perspectives—a characteristic feature of this nepalese series. Pradyumna and Rukmavati are depicted in the center of a large wedding celebration, surrounded by a myriad of attendants and courtiers. Pradyumna–identifiable by his characteristic blue skin symbolic of his relation to Krishna—is adorned with a golden crown and wreathed in flowers as he grasps the arm of his bride. See a painting from the same series at the metropolitan museum of art (acc. 2019.64) depicting Pradyumna with his first wife, Mayavati, entering Dwarka for the first time.

Hevajra

Central Tibet

17th century distemper on cloth 98,6 cm x 72,8 cm

Provenance: The Bortolot collection, acquired in new york, September 1984.

Publication: himalayan art Resources (himalayanart.org), item no. 36291.

Price on request

m.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

hevajra, whose name is perhaps best understood in English as “Oh, Vajra!” is the tantric manifestation of the Buddha Akshobhya (the ‘Immovable One'). His name epitomizes the adamantine nature of Vajrayana teachings. here, the skull-cup-bearing form of tutelary deity hevajra stands in pratyalidhasana with his consort nairatmya. The deities of the highest yoga tantra dance atop a double-lotus trampling Vishnu, Indra, Shiva, and Brahma in their stride.

The eight-headed, sixteen-armed hevajra clasps skull cups holding a variety of beings in each hand; an elephant and the earth-goddess Prithvi in his primary hands. his proper-right hands hold a variety of animals while his proper-left hold a retinue of other Hindu deities. While it is often difficult to differentiate the animals when this tantric deity is represented in sculptural form, this painted image depicts each animal distinctly and charmingly.

The lineage descending from the primordial buddha Vajradhara (in blue at the top center of the composition) is accordingly that of multiple Kagyu traditions that emerged after the lifetime of one of Marpa's four principle disciple's named Ngogton Choku Dorje(1036-1097), accredited with the transmission of the hevajra teachings that gave birth to this image. descending down each side of the composition are the Eight Offering Goddesses described in the hevajra sadhana (or meditation script). at the bottom of the composition there are three forms of hevajra representing body, speech and mind (from left to right, respectively).

The symmetrical style of the composition conforms to an interpretation of the classic menri style as practiced by Khyentse Chenmo (b. 1420s) of Gongkar Chode monastery and the Karma Kagyu tradition. The style, thus known as “Khyenri,” is marked by a bright palette, great attention to small detail, portrait-like faces, and varied modes of fiery nimbuses and halos surrounding each figure.

OttO ma N KN ifeb ichaq Turkey

Ottoman Empire Circa 1800

Green hard rock, silver, steel, sheath in silver, leather on wooden bore height: 36 cm

Price: 3.500 euros

T.:

W: www.alexisrenard.com

A small silver flower topped by a diamond is mounted on the end of the green hard rock handle. The shoulder bears an arabesque design in openwork silver. The straight, steel blade has one cutting edge. The sheath, made of leather and silver on wood, is engraved with a design of shells and a shell-shaped chape.

For a closely related weapon, see : Exhibition catalogue, Splendeur des armes orientales, acte expo, Paris, 1988, p. 43.