December catalogue: Asian Art Society

DECEMBER 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

/asianartSociety

Cover image: Kitsune Ja mas presented by Galerie Mingei on p.62.

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We are proud to announce a new academic partner to the asian art Society. The asia Collections network is a non-profit organisation that aims to become a central reference point for the production, sharing and dissemination of knowledge on asian material culture in europe. in order to give visibility and voice to collections that deserve to be studied, preserved and more widely known, we foster the interdisciplinary and cross-cultural exchange among professionals with expertise and involvement in the arts and artefacts of asia.

The first online workshop organised by ACNeurope took place on Tuesday, 13 December 2022 .The presentation and roundtable discussion focused on the collection of Chinese graphics and paintings in the latvian national Museum of art. The Chinese graphics and painting collection of the latvian national Museum of art started to form during the 19th century with the works from Baltic-german collections and continued to develop throughout the years. now it consists of around 350 items of various provenance, such as the collections of latvians living in China and of Soviet union institutions. The objects include traditional

paintings and woodblock prints, as well as pith paper paintings and some other images heavily influenced by the european visual culture of the times and presumably intended for a european audience. The collection has previously never been studied in its whole, except for some of the nianhua 年画 folk woodblock prints and a few paintings. a four-month research was carried out by Kristine Milere and Marta logvyn. They talked about the results and main issues emerging from a recent four-month research project.

Marta logvyn, a leading research fellow of The Bohdan and Varvara Khanenko National Museum of Art (Kyiv, Ukraine). Kristine Milere, the exhibition curator and main Asian art collection researcher and research project manager at the Art Museum RIGA BOURSE (the Foreign Art Department of the Latvian National Museum of Art).

image: Unknown artist. Wei Tuo. Based on the fresco from the Fahai Temple dated to the Ming Dynasty. C. 1912 (?). Silk, watercolour. 176,3 x 94,4 cm. Donation from Ernests Strēlnieks in 1920. Photography taken in 1921.

HOW D i D yO u Ca ME W i TH THE i DE a OF a CN?

One needs only to make a list of European museums known to have collections of Asian artefacts to appreciate the vast scope of research on the histories and trajectories of material and cultural flows from Asia to Europe mainly over the past three centuries. There are more than a hundred of them, of different sizes, functions, shapes, scattered over the four horizons of what we call "Europe".

For many years now, Iside and I, before even starting to work together on this project, have been confronted with the lack of knowledge we have in the distribution of the Asian Collections in Europe. Nataša Vampelj Suhadolnik in September 2021, in her research presentation on East Asian collections in Slovenia, correctly observed this: " The vast majority of research focuses on collections and objects of East Asian origin located in the capitals of former colonial powers in Western Europe and in other political and cultural centers, while research on East Asian collections in “peripheral” areas is still quite meagre". Indeed, the creation of the European Association for Asian Art and Archaeology, has given much visibility to these collections. And while there are already projects and organizations aimed at promoting cooperation among museums in Europe and between European and Asian cultural institutions in general, a specific structure devoted to the creation of a network of mutual support, exchange, and collaboration among European museums with Asian collections are still few, are scattered all over Europe. This innovative project intends to fill exactly this gap, underlining the importance of a shared heritage crucially meaningful for and representative of the Asian cultures that produced it and are now increasingly connected to and present in European cultural contexts. At the same time, a distinctive endeavor of this project is to highlight that this shared heritage has also become meaningful for and representative of the hosting communities. The project

therefore proposes a response to current tendencies to use cultural heritage as a divisive element that accentuates differences and boundaries between cultures of origin and cultures of destination. Referring to the manifold histories of objects’ circulation, the emphasis is put on the mediating essence and function acquired by these particular cultural products and constantly redefined through re-contextualization. On the one hand, exhibiting artefacts from other cultures provides the opportunity to enhance the knowledgeand understanding of those cultures. On the other hand, it also allows us to observe some specific traits of the cultures that collect and display these artefacts, as they become embedded in the objects themselves. One of the main purposes of this initiativeis to explore ways in which the cultural identities embodied at different levels by the objects in the collections can be put in dialogue so that shared cultural heritage ultimately brings to the fore shared values in better integrated pluralist societies. This project arrives timely and necessary at a moment when the relevance and preservation of cultural heritage and issues of cultural cohesion and social harmony are at least temporarily and partially sidelined amidst othe priorities triggered by the global emergency of the COVID19 pandemic. Furthermore, an urgent rescue intervention is required to make sure that collections usually struggling to emerge because of a marginalized and peripheral position are not completely neglected and forgotten. This need, in fact, becomes more pressing at a time when even prominent institutions and collections are facing serious sustainability problems due to the pandemic crisis..

W HaT a RE yO u R Mai N OB j ECT iv E s?

After many months of discussion with curators from different countries of Europe, we have brought together a group of specialists (curatorial, academics) in order to accomplish the following main missions: • We agreed that the main aim of the network will

be to connect collections with Asian materials across Europe while promoting and facilitating the cooperation among the professionals that work on these collections. The mapping will be divided by regions of Europe,led by a team of scientist working in each country so that we can finally have an exhaustive and comprehensive list availablefor building European projects.

•To help transmitting knowledge on Asian Materials, through teachings, consulting, group exchange, with universities, museum and other institutions.

•The focus will be on work on the ground rather than on scholarly discussions, delivering manageable projects proposed by the members of the network with the aim to improve the knowledge, visibility, and accessibility of the collections.

•Workshops will take place periodically to discuss adequate intervention to solve specific issues concerning research, cataloging, display, and conservation.

•Mapping of the Asia collections in Europe will be an essential task of the network. Criteria and

methodologies will be defined. This task will be organized in work groups by geographic areas.

• Assessment of the character of the collections will be accomplished through a questionnaire designed to retrieve a set of standardized essential details.

•

Results of the projects will be published and disseminated through an online journal.

Director and Co-Director

Iside Carbone (Royal Anthropological Institute of Great Britain and Ireland)

Arnaud Bertrand (Institut Catholique de Paris, ArScAn, AFAO)

To know more about ACN visit their website: https://asiacollectionsnetwork.com

Call FOR PaPeRS:

MATERIAL CULTURES AND ICONOGRAPHY IN FLUX: NAPLES, LISBON AND ASIA THROUGH THE SIXTEENTH CENTURY AND BEYOND

HOSTED BY: LISBON UNIVERSITY – CENTRE FOR HISTORY

IN COOPERATION WITH: UNIVERSITY OF NAPLES L’ORIENTALE | ASIA COLLECTIONS NETWORK | ASSOCIAZIONE ITALIA-PORTOGALLO

VENUE: LISBON UNIVERSITY – SCHOOL OF ARTS AND HUMANITIES

HYBRID FORMAT (online and onsite)

We welcome proposals for papers for this international conference that will be held on Zoom in synchronous webinar format on 27-28 July 2023.

We are proud to present the theme “MATERIAL CULTURES AND ICONOGRAPHY IN FLUX: ASIAN OBJECTS IN NAPLES AND LISBON THROUGH THE SIXTEENTH CENTURY AND BEYOND”.

The Portuguese Seaborne Empire (cf. Charles Boxer) and the enhancement of sea routes between Portugal and Asia made possible the flux of Asian (im)materiality to Europe promoted the introduction of Western ideas, customs, iconography and artefacts in Asia and vice-versa. Renaissance Europe gradually opened its doors to new challenges and knowledge from Asia increasingly spread westward. This was just the beginning of a constant flow of exchanges that started in the sixteenth century and is still ongoing.

Lisbon and Naples have played a pivotal role in the circulation of Asian spices, precious objects, porcelain, silk and even flora and fauna, which filled the rooms in the palaces of European royalty and wealthy families alike.

The maritime trade of diverse kinds of goods was part of a larger web of East-West connections that went far beyond mere commercial purposes. During the long period commonly known as the time of “discoveries”, the curiosity of European humanists, scientists, artists as well as ordinary people was stimulated by “exotic” objects and ideas.

The flow of (im)materiality encompassed advancements not only in the applied sciences, but also in the practical application of knowledge across the spectrum of human experience. The encounter of different cultural elements was witnessed in many disciplines, from science to humanism, from botanics to literature, from medicine to performing arts.

An example of this phenomenon of cultures in motion, is the establishment of the Chinese College in Naples (1730s). The arrival of young Chinese neophytes in Naples was part of a wider process that involved many different actors and objects of various types. Some pieces manufactured in the Royal Porcelain Factory in Naples during the eighteenth century, for instance, are good examples of the migration, perception, interpretation and adaptation of techniques, materials, models and patterns from East to West.

With the opening of transoceanic routes eastward, Lisbon contributed to make Asia closer for Europeans and facilitated the development of new perceptions of Asia. The Tower of Belem and the Jerónimos Monastery are still there to remind us of an age of explorations

and discovery of the (im)materiality of other cultures, meant as semiotic representations and catalyst ideas in the East-West relations.

The goal of this conference is to examine how the flow of material cultures, iconography and symbols is reflected in the collections of Asian objects in Europe, with a particular focus on Naples and Lisbon. Thus, we welcome submissions from interdisciplinary fields that propose novel approaches to new and old theoretical challenges.

The conference will give researchers an opportunity to present their studies to an audience of peers, in a friendly and stimulating atmosphere, as well as to network with fellow academics in the field of (im)material culture in flux in and outside Asia.

abstract Submission

All abstracts must be submitted in English. The abstract should be written in 250-300 words containing title, brief introduction, objectives, relevance, methodology and major findings of the paper. Please submit the abstract to: asiacollectionsnetwork@gmail.com by 31 December 2022.

Oral Presentations

The length of presentations should not exceed 20 minutes. In case the presenter chooses to speak in a language other than English, the committee strongly recommends to provide the audience with a handout giving at least a summary in English language.

Submission of Full Papersfor Publication

The text of the articles will be preceded by an abstract of 250 to 300 words and a maximum of 5 keywords. If the text has been originally written in a language other than English, the titles, abstract and keywords must also be given in English. If the text has been originally written in English, the title, abstract and keywords must be provided only in this language.

Registration

The conference is free but registration is required and it will open on 1 June 2023.

All participants are responsible for their travel and accommodation costs, as well as for visa application fee. A certificate of participation will be provided, when required, upon payment of € 30.

Organising Committee

elisabetta Colla – CH-ULisboa – UNIARCH – ACN –ACN-EUROPE guia Minerva Boni – L’Orientale di Napoli – UNIOR iside Carbone – RAI – ACN – ACN-EUROPE – CH-Lisboa luis afonso – CH-ULisboa – ARTIS – ACN-EUROPE Patrizia Carioti – L’Orientale di Napoli – UNIOR Tiziana Iannello – Independent scholar Vincenza Cinzia Capristo – AISC (Associazione Italia Studi Cinesi)

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DECEMBER a RTWORK 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.

01Cl OTH FR ag MENT (MO u NTED)

Late Roman / Coptic Egypt

4th / 6th century

Wool, linen; tapestry weave 25 x 28 cm Price: 12.000 USD

O B je CT P R e S en T e D By:

Thomas Murray

M: + 1 415.378.0716

E: thomas@tmurrayarts.com

W: www.tmurrayarts.com

A fabulous and rare example of a ‘proto-roundel,’ known to have decorated the shoulders of Late Roman tunics. Note the complexity of the double border and eightpointed star, a very auspicious mandala-like design that served as an apotropaic device.

02a s a M a N i D BOW l W i TH a N E pig R ap H i C paTTERN

Samarkand, Transoxiana, Uzbekistan

10th century

Earthenware, amber slip, yellow pattern under a transparent glaze Diameter 20,3 cm

Provenance: Formerly in an English private collection, acquired from Mansour Gallery in 1968 Price: 8.000 euros

Alexis Renard

T: + 33 1 44 07 33 02

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

Samanid bowl with flaring sides, decorated in a brown slip with white slip decoration under an amber glaze, the sides with a large frieze of floriated kufic inscription, the base with a circle motif.

For a closely fragmentary example, see: Institut du Monde Arabe, Terres secrètes de Samarcande – Céramiques du VIIIe au XIIIe siècle, p. 96.

A related piece was published in Crossroads of Continents on page 82.

s i BER ia N

Cal END a R

Calendar carved from mastodon tusk ivory, with notches on it to mark the Russian Orthodox holidays

Russia

Carved from mastodon tusk ivory

17,8 cm x 2,54 cm x 1,9 cm Price: 9.500 USD

O B je CT P R e S en T e D By:

Thomas Murray

M: + 1 415.378.0716

E: thomas@tmurrayarts.com

W: www.tmurrayarts.com

04Bu DDH a Sākyamuni and THE MED i C i NE Bu DDH a

Tibet

Late 16th c – first half of 17th century

Tempera on canvas Height: 80cm or 31 inch Width: 50cm or 20 inch Price on request

O B je CT P R e S en T e D By:

Christophe Hioco

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

E: info@galeriehioco.com W: www.galeriehioco.com

In the center of the composition reigns Śākyamuni, the historic Buddha, his right hand making the earth witness gesture (bhūmisparśa mudra). Below him is Bhaisajyaguru and around him the other medicine Buddhas.

The main Sanskrit text concerning Bhaisajyaguru, the Bhaisajyaguruvai ūryaprabhā sūtra,

relates how this buddha was born from a wish by Śākyamuni, who wanted to care for the suffering of the creatures of the world. Bhaisajyaguru reigns over a paradise to the east called Vaidūryanirbhāsa. Modeled after the Pure Land of Amitabha which tradition says is in the west, this paradise is its geographic opposite. Many parallels with the Amitabha cycle seem to indicate that this cult arose at a later date.

The most ancient translation in Chinese of a sutra concerning Bhaisajyaguru dates from the 4th century. It is not known when the cult was introduced in Tibet. The Bhaisajyaguruvaidūryaprabhā sūtra, which allows worshippers to enter his paradise, is recited in the land of snow. Prayers to Bhaisajyaguru ask for better health.

With his right hand, Bhaisajyaguru makes the giftgiving gesture while holding the myrobolan fruit, which is considered to be a panacea. The god’s complexion is blue, the color of the vaidurya gem, identified as being either beryl or lapis lazuli. He is leading a group of several other therapist buddhas. These characters surround Śākyamuni. Their number varies depending on the tradition involved: either eight in all, as here, or eight not counting Bhaisajyaguru. Their personalities also vary. The list found in the Ngor mandalas (first half of the 15th century), as related by Theresia Hofer (2014, p. 272), is different from that of the woodcuts of the Three Hundred Icons (sKu-brnyam sum-brgya) reproduced by Lokesh Chandra (1991, pp. 730-732, No. 136-144). Originally the Three Hundred Icons were made in Beijing for the dGe-lugs-pa church in China, Mongolia and Tibet, for scholastic purposes and as part of justificatory politics designed to pacify Mongolia. Decreed by the Emperor Qianlong (1736-1795), it was

put into practice by the Grand Lama of Beijing Rolpa’i-rdo-rje (1717-1778), who wrote the preface for the first edition. These representations were widespread and became the standard in most of the lamaic world, eclipsing other traditions.

Comparing the list supplied by T. Hofer, that by L Chandra and the buddhas shown on this painting, it can be seen that the buddhas don’t follow strictly the order of the cardinal points and the intermediary points of the Ngor mandalas; their colors are less subtle than those mentioned by T. Hofer. Our sources say nothing about the complexion of some or their traditional position in space. The hypotheses presented here are the most plausible ones, but remain open to comment or correction.

Starting from Bhaisajyaguru and moving around Buddha Śākyamuni in the auspicious direction (pradaksinam), holding the object of veneration in the right hand, we find the following Buddhas. At the throne, Svaraghosarāja (sGro-dbyangs rgyal-po) making the gift-giving gesture. At the head stands Survanabhadravimalaratnaprabhāsa (gSer-bzong dri-med rin-chen-snang) with reddish-yellow skin, making the teaching gesture with both hands and located to the west. Higher up, we recognize the golden Suparikīrtita Nāmaśrī (mTshan-legs yongs-sgragsdpal), making the renunciation gesture (hand out, palm turned upward), corresponding to the south. At the top of the composition reigns Abhijnārāja (mNgonmkyen rgyal-po), red like coral, making the gift-giving gesture, corresponding to the northeast. Lower down, on the right of the composition, we find, in succession, Ratnaśikhin (Rin-chen gtsug-tor-cam) - undoubtedly the Ratnacandrarāja mentioned by T. Hofer - with yellow skin, making the gift-giving gesture - here of renunciation - and which may correspond to the southwest. Below that, Aśokottamaśrī (Myang-nganmed mchog-dpal), with a pale red complexion and related to the northwest, is meditating. Finally, below that, with pink skin according to texts, Dharmakīrti Sāgaraghosa (Chos-sgrags rgya-mtsho‘i dbyangs) makes the teaching gesture with both hands and corresponding to the north. Variants are noticeable both compared to the list of Ngor mandalas and to the woodcuts of the Three hundred icons, and following another ritual and textual tradition.

There are several deities in the lower section of the painting. On either side of Bhaisajyaguru, we recognize the two Tara goddesses, white and green. In the lower left corner is bodhisattva Maṅjuśrī, in the middle bodhisattva Avalokiteśvara in his Sa ak ari manifestation, and finally in the lower right corner a god with an angry look and blue skin brandishing a sword and holding a skullcup (kāpala), which is probably meant to be Mahākāla.

The painting, with its artful subtlety, is characteristic of the sMan-bris style.

Bibliography:

Chandra, Lokesh, Buddhist Iconography, A compact Edition. New Delhi: International Academy of Indian Culture- Aditya Pradaksinam, 1991

Hofer, Theresia, (Ed.), Bodies in Balance. The Art of Tibetan Medecine. New York : Rubin Museum of Art, 2014

05a s i NO-Ti BETa N p illa R COv ER

China for the velvet panels, Tibet for the cotton lining Kangxi period (1661-1722) for the velvet panels, the cotton lining probably of a later date Velvet weaving, silk and gold threads, cotton threads, ink Height: 176 cm Width: 113 cm. (at the top widening to 166 cm at the bottom) Provenance: Lisbet Holmes, a leading London dealer active during the second half of the 20th century Price: 4.000 USD

B je CT P R e S en T e D By: Alan Kennedy

M: +1 646 753-4938

E: kennedyalan@hotmail.com

W: www.alankennedyasianart.com

Three rectangular Chinese silk velvet panels have been sewn together, one atop the other, and additional velvet side panels have been added. The principal design motif is an imposing four-clawed frontal dragon that dominates each panel.

Luxurious Chinese textiles were highly valued in Tibet, and often used in Buddhist temples and monasteries. These silk velvet panels were probably sent by the Chinese court as tribute items to honor the importance of Tibetan Buddhism in China. When assembled in Tibet to serve as a cover to wrap around a pillar, a cotton lining was attached and an ink inscription was added at the top of the lining.

It is rare to find an inscription associated with Chinese textiles in Tibet. Part of the inscription reads, “The pillar ornaments that correctly spiral to the right, Bellow the dragon’s roar of imperial/royal decree.”

O

06ja DE a RCHER’s R i N g

China Qianlong (1736–95)

Diameter: 3,2 cm

Provenance : Private English collection Price on request

O B je CT P R e S en T e D By:

Rasti Fine Art Ltd.

M:+852 2415 1888

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

A white and deep russet jade archer’s ring carved in relief with a scholar seated at a table in a pavilion, an attendant seated at the doorstep highlighted in the russet skin

For a white and russet jade ring of similar design and the same period see Knapton Rasti Asian Art, November 2010, no. 41.

07ja DE a RCHER’s R i N g

China Qianlong (1736–95)

Diameter: 3,2 cm

Provenance : Private English collection Price on request

O B je CT P R e S en T e D By:

Rasti Fine Art Ltd.

M:+852 2415 1888

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

A white and deep russet jade archer’s ring, carved in relief with two grazing horses below a willow tree beside rockwork, the animals and tree top highlighted in the russet skin.

8ja DE a RCHER’s R i N g

China Qianlong (1736–95)

Diameter: 2,9 cm

Provenance : Private English collection Price on request

O B je CT P R e S en T e D By:

Rasti Fine Art Ltd.

M:+852 2415 1888

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

A white and russet jade archer’s ring, carved in relief with a horse with its head lowered below a pine tree surrounded by grass and rockwork, the animal and tree highlighted with the deep russet skin, the white areas highly polished.

s N u FF BOTT l E

China

1821-1850

Porcelain Height: 2 1/4 in (5.6 cm) (excluding the stopper)

Provenance: Mary Morrison, Vancouver, Canada Price on request O B je CT P R e S en T e D By:

Clare Chu Asian Art LLC

M:+ 1.310.980.4084

E: clarechuasianart@gmail.com

A porcelain snuff bottle, of cylindrical form with a waisted neck with everted mouth, decorated in iron-red enamel with gilding, with a continuous scene of a fiveclawed dragon flying through scrolling clouds above waves from which a second dragon is rising, the base with a Daoguang nianzhi mark and of the period.

Imperial kilns, Jingdezhen.

The majority of Daoguang ‘mark and period’ bottles exhibit the design of the ubiquitous cricket, sometimes perched on an open cage, executed in famille verte enamel colors. This bottle is striking in its use of ironred enamel, a pigment which is soft and easily rubbed, though this is not the case here, as the bottle is in excellent condition.

s N u FF BOTT l E

China 1780-1850

Jade Height: 2 3/8 in (6 cm) (excluding the stopper)

Provenance: A Private Collection, Brittany, France Price on request

A nephrite snuff bottle, of squared form with rounded shoulders sloping to a cylindrical neck and with a neatly carved oval footrim, carved using the rich russet-brown skin over a yellowish-green ground with on one side a figure seated on a rock among pine and rockwork with his attendant by his side carrying a staff from which hangs a double gourd, a wrapped bag tied with a bow at his feet, with steps leading to a gate in the clouds in the background, the reverse with pine and scrolling clouds. Master of the Rocks School

This bottle is a classic example of the school known as the Master of the Rocks School where the scenes depicted are often inspired by well-known Ming dynasty paintings. The contrast of the yellowish-green jade with the rich russet skin provides a setting for the carver to show his skill in portraying the scene while leaving a depth of leathery skin to ensure the tactile nature of the piece.

O B je CT P R e S en T e D By: Clare Chu Asian Art LLC

M:+ 1.310.980.4084

E: clarechuasianart@gmail.com

11a pai R OF i M p ORTa NT D ia MOND BR a CE l ET s (KADA)

Hyderabad, India

19th century

Outside circumference 28cm

Inside diameter: 9.3cm Width: 2.7cm Weight: 356grams Price: 35.000 USD

O B je CT P R e S en T e D By:

Sue Ollemans

M: + 44 (0) 7775 566 356

E: sue@ollemans.com

W: www.ollemans.com

A pair of heavy kada inset in the kundan style with rubies and emeralds. The inner shank decorated with fine enamels of red asters against a white ground. The whole mounted with two rows of pearls interspersed with diamonds.

EWER India

Late 16th century - early 17th century Brass Height: 30 cm Price: 6.500 euros O

Alexis Renard

T: + 33 1 44 07 33 02

E: alexis@alexisrenard.com

W: www.alexisrenard.com

The engraved drop-shaped belly of this Mughal ewer is resting on a high cylindric foot, and bears an elegant sinuous pourer. Water used to be poured in the high circular handle through its small reservoir.

For a closely related example, see: Zebrowski M. (1997), Gold, Silver and Bronze from Mughal India, London: Alexandria Press in association with Laurence King, p.155.

13pORTR ai T OF Fa RRu KH siya R & pORTR ai T OF THE E M p EROR au R a N gz EB

Murshidabad, India

Circa 1750-1760

Pigments and gold on paper Height: 24 cm Width: 19,5 cm Price: 5.500 euros

Murshidabad, India Circa 1750-1760

Pigments and gold on paper Height: 24 cm Width: 19,5 cm Price: 5.500 euros

Alexis Renard

T: + 33 1 44 07 33 02

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

O B je CT P R e S en T e D By:

a g O l D a D ia MOND sa R p E s H

Himachal Pradesh, India

Late 19th century

11,5 cm x 9,5 cm Weight: 95 grams Price: 30.000 USD

O B je CT P R e S en T e D By:

Sue Ollemans

M: + 44 (0) 7775 566 356

E: sue@ollemans.com

W: www.ollemans.com

A large gold repousse and diamond sarpesh inset with a rose-cut diamonds. The largest of which is approximately 4 carats.

The deity depicted is a form of Kali set under the sun and moon holding a rifle to the side of her. Kali is the goddess of, time, death and doomsday and is often associated with sexuality and violence but is also considered a strong mother-figure and symbolic of motherly-love. Kali also embodies shakti - feminine energy, creativity and fertility - and is an incarnation of Parvati, wife of the great Hindu god Shiva. She is most often represented as a fearful fighting figure with a necklace of heads, skirt of arms, lolling tongue, and brandishing a knife dripping with blood. However in this unusual representation she is holding instead a rifle.

Egret feathers would be attached to the back of the piece and worn on a turban.

15Sūrya Head

Bangladesh

4e-6e century Gupta period

Terracotta

Height : 21 cm - 8inch

Provenance : French private collection Price on request

O B je CT P R e S en T e D By:

Christophe Hioco

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

E: info@galeriehioco.com W: www.galeriehioco.com

The majesty of Sūrya

The god Sūrya, god of the Sun, is probably represented here. He wears a serene, subtle indolent expression, while his full lips seem to be smiling in a knowing way. Heavy eyelids fall over his almond-shaped eyes, surmounting a straight, thin nose. Despite the absence of some of its attributes, these features are characteristic of the representation of Sūrya during the Gupta period, as are the well-drawn curls that frame his round face. A richly ornamented diadem surmounts the god’s head, giving him a majestic aura that was once underlined by a nimbus, which only a part has been preserved from the ravages of time. The left earring is also preserved, a testimony to the care given to ornamentation in the Gupta period.

The golden age of indian art

The Gupta period is often referred to as the golden age of Indian art. The important development of art and literature, as well as the emergence of numerous regional workshops, gave rise to a taste for ornamentation, as well as for the refined character of representations. Terracotta became a material of choice for artists, as this head of Sūrya shows. Terracotta was given a major decorative role, particularly in the ornamentation of temples and stupas, which were entirely covered with sculptures, pillars and lintels. Terracotta is used for both secular and mythological representations, and this work belongs to the second category, bearing witness to the know-how of Bangladeshi artists.

a witness to gupta art

In fact, Gupta art has often come down to us in religious form; this is probably due to the quality of execution and the particular care given to this type of work. This representation of the Sun God is a virtuoso demonstration of Gupta art and its codes of beauty. The softness of the features and their atypical elegance is characteristic of this period, as is the richness of the ornamentation and jewellery. The use of terracotta, which gradually declined thereafter (with the exception of the Bengal region), is also very characteristic of this period. The degree of preservation of this work should also be emphasised, despite the apparent fragility of the terracotta.

sH u Rusu K u KOD ai

Japan Meiji period 1887

Red lacquer drum stand

43,7 cm x 25,4 cm x 23,3 cm (h)

Tomobako Price: 3.300 euros

O B je CT P R e S en T e D By:

Galerie Mingei

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

E: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Wa NCH i N

Signed by Masho saku (made by Masho) and Inscribed: Edasumi* ya, mukashi no hana no, na wa nan to (What is the name of the tree, from which this branch of charcoal comes, and what flower bloomed on the tree?)

Japan Taishō-Shōwa period Circa 1920-1940

Japanese bamboo scholar wrist rest carved with three skulls in Musashino field 21 cm x 5 cm x 1,5 cm (h)

Price: 2.200 euros

O B je CT P R e S en T e D By:

Galerie Mingei

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

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

Edazumi is a branch charcoal used as kindling to ignite sumi charcoal for a tea ceremony fire. The edazumi is actually a small branch of carbonizes oak, azalea or camellia painted white with lime. The size of the edazumi branch differs according to the school, but at Urasenke, it is 18cm long for the ro (sunken hearth), and 15cm long for furo (portable brazier). Supply of edazumi is very limited outside of Japan, because of how fragile it is.

k ōrin maki-e MOK us E i K as H i BON

Japan

Meiji period

Circa 1900

Wooden lacquered Kōrin maki-e tray

37 cm x 26 cm x 6,5 cm (h) Awasebako (collector’s storage box)

Price on request

O B je CT P R e S en T e D By:

Galerie Mingei

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

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

This tray is decorated with ancient symbols of power in raised lacquer designs scattered across the raw natural wood surface. The designs include magatama beads in mother of pearl and lead; a mirror in silver with gold calligraphic designs; an engraved spear head; the golden head of a staff; etc. The box is titled Kōrin maki-e mokusei kashibon (wood sweets tray decorated with lacquer designs in the Kōrin style). This is a spectacular work of art combining the gorgeous design technique of the Kōrin style and the appreciation of wabi-sabi in the degraded wood surface.

Ki T su NE ja (狐蛇) nō-men

Anonymous Japan

Edo period, 18th century

Fox demon noh mask, Kitsune Ja type, Mounted on museum-class bronze stand

14,5 cm x 10,5 cm x 20,5 cm (h) Price on request

O B je CT P R e S en T e D By:

Galerie Mingei

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

E: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Kitsune Ja is a rarely encountered model. According the respected specialist Stephen Marvin, in "Heaven has a face - so does Hell, The Art of the Noh Mask", ".../... the guild artist Kawachi fashioned another hornless Hannya at the behest of Sakon Shigenari, tenth grand master of the Kanze troupe. Named Kitsune Ja and designated a junhommen, this mask is painted gold, too, and therefore closely resembles Deija. A careful comparison reveals a few minor differences, however: the former has a domed forehead with black specks dotting the scalp in place of hair, faint denjo mayu, shallow ridges undulating across the brow, red highlighting of the whites of the eyes, larger ears, and a more feral appearance. Most distinctive are the thick individually carved teeth. Also, veins snake across Deija’s temples, whereas Kitsune Ja has no veins. Kitsune means fox, and Kitsune ja was so named because of the characters it represents; the fox demon of Sesshöseki and the fox spirit of Kokaji. Thus, this mask is worn for kishin rather than onryo roles.../..."

ya M a M i CH i Okegawa-dō g us OK u

Japan

Myōchin School. Kaga region

lacquer, gold, copper, silk

9.000 GBP

M: + 44 (0) 7971955214 E: davidt@davidthatcher.co.uk W: www.davidthatcher.co.uk

Fully matched suit of Japanese armour dating from the mid-Edo period.

The suit is laced in moegi [green] silk braid. The lowest plates on the helmet, mask, shoulder guards and skirt are decorated in a special rasied shibo-urushi-nuri effect gilded in kinpaku gold leaf.

Kabuto [helmet] Russet iron eight-plate construction with gilded multi-stage tehen-no-kanamono [crown]. Five lame black lacquered shikoro [neck guard]. Silk shinobi-no-O [helmet cord] Silk and hemp internal ukebari [helmet liner].

Menpo [face mask] russet iron outer with a red lacquered interior. Yak hair moustache. Four lame iron black lacquered tare [throat guard].

Dō [body armour] is made in the ni-mai style [two section] connected by a hinge with protruding byo [round rivets] with horizontal plates in the form of yamamichi [mountian pass]. Decorative gilded saihaino-kan [nipple ring]. Kikko-gane kohire [protective winglets] and matching kikko-gane eri-mawashi (protective collar]. Six sections kusazuri [protective skirt].

Mino

ch A w A n (TE a BOW l)

Japan

Late 17th /early 18th century Price on request

SOLD

O B je CT P R e S en T e D By:

Arie Vos

M: +32 476 87 85 69

E: arie.vos@kitsune.be W:www.kitsunegaroo.com

A Mino yaki chawan with Shino-glazed kuchi (mouth); the potter must probably have been inspired or influenced by the Karatsu kawakujira tea bowls of which the border is simulating whale fat.

This items comes with a storage box.

TAKATori ch A ire (TE a C a DD y)

Japan A 17th century Price on request

Arie Vos

M: +32 476 87 85 69

E: arie.vos@kitsune.be W:www.kitsunegaroo.com

A takatori yaki chaire enclosed in a hako (storage box) of which the lid labels it as “matsukaze” (referring to the sound of the wind going through the pine trees). The lid is in bone and of later date; so is the shifuku (storage bag).

K A r AT su ch A w A n (TE a BOW l)

Japan Late 18th century Price on request

SOLD

O B je CT P R e S en T e D By:

Arie Vos

M: +32 476 87 85 69

E: arie.vos@kitsune.be W:www.kitsunegaroo.com

A Karatsu chawan with a finely crackled glaze and slight incision to the front forming half a circle. The chadamari (tea well, inside the bowl) shaped as a full circle.

This item comes with a collector’s box (the inscription on the lid reads “chawan”). On the back side of the lid is a description “Wa en sai”, harmony – circle – purification.

sE aTED Bu DDH a

Śrī Laṅkā 10th century

Late second Anurādhapura period (459-993)

Gilded bronze

Height: 8 cm or 3 ⅛ in Price on request

O B je CT P R e S en T e D By:

Christophe Hioco

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

E: info@galeriehioco.com

W: www.galeriehioco.com

Typical iconography of the southern Buddhist world Buddha Śākyamuni - the historical Buddha - is depicted here seated in meditation with his hands in his lap (dhyāna mudrā). He is standing in the so-called noble attitude (vīrāsana), with his legs simply crossed over each other, leaving the sole of his left foot visible. From the top of his skull emerges the flame (siraspata) which attests to his spiritual transcendence. The monastic garment, which is smooth here, covers only his left shoulder, and a section of fabric highlighted by fine incisions falls to the waist and very low down on the back. A split hemline elegantly borders the garment at the chest and calves.

A characteristic canon of Śrī Laṅkā art

A perfect example of the Sinhalese Buddha style, this beautiful object shows a perfect balance between stylisation of form and extreme refinement of finish. The face, almost circular, shows the obvious desire to translate individualised features: the small, wellmarked eyes, the slightly blunt nose and the fleshy mouth give it a very lively expression. The supple modelling of the torso and the very graphic geometry created by the broad, robust shoulders, the very slim waist and the angular knees are also very pleasing.

a work of devotion

The main subject of sacred iconography, this representation of the Blessed One is part of the exceptional production of small gilded bronzes for votive purposes or for private worship from the end of the second Anurādhapura period (459-993). It fits harmoniously into the series published by Ulrich von Schroeder.

This rare Buddha has been in an American private collection since the late 1960s and was published and exhibited in 2003 at the Phoenix Museum of Art in the USA to illustrate the arts of the Śrī Laṅkā.